Brilliant and touching

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Blistering performances.

Morgan! would be most appealing to those 21 and older who enjoy British humor and British films. In addition, this is a new wave movement type film and is different from previous British films. Morgan is not my cup of tea. British humor many times eludes me completely. I found the film totally pointless and a waste of my time. However, there are very few British film that I enjoy. I was lenient in rating this film hoping that someone might enjoy such a film. It is a crazy film. The movie is not a prime time type movie. At best, it is a rainy day afternoon type movie. Have a party. Have the movie as background noise. I really don't think anyone will be watching.

I was moderately charmed by 'Morgan' when I first saw it in 1966, partly because it afforded a (romanticized) view of Swinging London and it has its absurdist moments. Watching it again after 42 years, however, I was repelled by Morgan's vandalism and obsessive behavior--we would now call it stalking--and the seeming helplessness of the people he is determined to harass. Morgan's 'eccentricity' wears very thin very quickly, and he becomes tedious and offensive; in the end, one longs for him to be punished and suffer. Stuffed shirts like his nemesis Charles Napier are always cinema villains, but I found him sympathetic under the circumstances. Irene Handl, as always, is delightful as Morgan's long-suffering, class conscious, Marxist mum, and we see Vanessa Redgrave before her Madame DeFarge period. In the end, a waste of David Warner's considerable (comic) talents.

This film cannot be spoiled; its value comes from experiencing the film itself. You could focus upon the plot of a man distressed by his former wife's remarriage, but the core of appreciation comes when the viewer, with Morgan, realizes that when we chose our skins, our outward appearance, we may mask even from ourselves our inner selves. We roar with laughter as Morgan flees in a burning gorilla suit, then discover real inner terror when he stops.It helps if one understands the references to Marx and the loose grip on reality evidenced by Morgan's mother, and by implication Marx himself, but the final scene, with one amazing image, sums up the film.

In 1966 when I lived in London I fully expected to see this movie. Many of my friends, especially the girls, were raving about it. Funds diverted to beer, or girls, deprived me of the chance. So it has taken me nearly forty years to actually see it. Thoroughly of the time, and yet it must have seemed so radical even then. I watched it as a chaser to Alfie (Michael Caine) and it was interesting to compare the styles of two icons of British female acting, Redgrave and Asher, in one evening. Both movies dealt with serious and potentially unattractive issues; adultery, abortion, promiscuity and mental illness and injected enough humor into the screenplay to keep ones attention the while. I am prompted to revisit "Up the Junction" and " A Taste of Honey" with Rita Tushingham, another sixties icon.