The appearance of the central authority figure (Harry Andrews), arriving in a Rolls Royce, only fuels the desires of the younger “Brewster” (Alan Bates), who seems willing to do almost anything to climb the ranks. The problem is, practically everyone around shares this ambition, so he’ll need to devise something unique to stand out – or, more crucially, to attract the attention of the authority figure's daughter (Millicent Martin), who performs the title song. By chance, while having lunch in a café, he meets “Charlie” (Denholm Elliott). "Charlie" is an unemployed man receiving a generous £250 monthly allowance from his family to stay out of trouble. He quickly recognizes Brewster’s aspirations and they collaborate on a scheme together. However, as Brewster begins to achieve success, he finds that his former colleague is becoming more of a hindrance, and with his landlady eager to deepen their connection, he might discover a rather lasting resolution. Keeping this quiet proves challenging, so can he reach his ultimate objective without being discovered? It's an entertaining critique of the greed that characterized a ruthless younger generation attempting to displace the established figures who operate by clever, but more refined principles during Britain’s post-war recovery. Bates and Elliott have good chemistry; Elliott gets a substantial role for once instead of just background support, while Bates is compelling with a knowing look and an obvious drive for personal gain. I appreciated the ending, even though perhaps I shouldn't have, and although it incorporates some familiar plot elements that occasionally feel distracting, it’s a sophisticated portrayal of shifting allegiances.

Source on TMDB