I didn’t find this to be a particularly strong film, honestly – though Peter O'Toole delivers an exceptional portrayal as the “Earl of Gurney,” who is poised to enter the House of Lords following his father’s unfortunate demise involving a rope and a tutu. His family finds the prospect deeply unsettling. The reason for their concern? The prospective peer genuinely believes himself to be Jesus. He frequently spends his time either meditating or reclining upright on a cross-shaped object in the main hall, while the rest of his rather unusual family, along with their tipsy valet, "Tucker" (Arthur Lowe), carry on with their lives. They conclude that the best course of action is to marry him off, produce an heir, and then commit him to an institution so they can return to a more conventional existence... What’s likely most striking about this very theatrical black comedy is its willingness to tackle subjects ranging from religion to vivisection, blasphemy (for some), and suggestive remarks – insidious innuendo, if you're not familiar with the term – and it almost certainly wouldn’t be produced today, 50 years later, as it’s about as politically incorrect as one could imagine. British cinema often appears to treat the church with a degree of mockery when humor is involved, and Alastair Sim admirably continues that tradition; Lowe shines as the butler—who has inherited £30,000 from the deceased and is therefore quite comfortable (when he’s sober), and the performances by William Mervyn and Coral Browne as his main co-conspirators are enjoyable as their underhanded plan unfolds. Unfortunately, though, it moves at a relentlessly rapid pace that proves difficult to maintain, and despite the star's Oscar nomination, the narrative begins to lose momentum rather quickly, and the humor starts to feel repetitive. The comedy is anything but subtle, and I eventually stopped finding it amusing. It’s beautifully filmed, with Cliveden House—formerly the Astor residence—serving as the backdrop for the family’s ancestral home, and John Cameron's score blends original music with elements ranging from sea shanties to high opera, effectively complementing this outlandish critique of the class system. The film is too lengthy; excessively so, in fact, but at times it showcases innovative and amusing British filmmaking, and fans of O'Toole will likely appreciate (as he probably would) the wedding scenes near the conclusion... It’s entertaining, but stretched too thin.

Source on TMDB