Denis Dimbleby Bagley Richard E. Grant is a high-flying yet fragile advertising executive whose world starts to crumble during a pimples-cream commercial shoot. His long-suffering but supportive wife, Julia Bagley Rachel Ward, stands by him as the pressure of the job and a growing ethical crisis push him toward a breakdown. Bagley’s boss, John Bristol Richard Wilson, represents the corporate side of the industry, pushing for sensational campaigns even as his employee teeters on the edge.
As the film shifts into farce, Bagley’s crisis of conscience about the ethics of advertising collides with a surreal, grotesque affront to his psyche: a boil on his right shoulder comes to life, complete with a face and a voice. The boil’s cynicism about the ad world provides a counterpoint to Bagley’s awakening ethical concerns, turning the office and the hospital into a playground for absurdity and critique. The voice of the boil is provided by Bruce Robinson, lending a sharp, sardonic twist to the proceedings, while the rest of the cast threads through the chaos with their own shortcuts and quirks. The film even features the voice of a Male Love Bird, performed by Eric Idle, adding another layer of whimsy to the satire.
In a desperate bid to reclaim control, Bagley decides to have the boil removed in a hospital procedure. Just before entering the operating room, the boil head expands and literally takes over Bagley’s head, wearing a moustache and presenting a new persona. The medical team, unaware of the swap, treats the situation as a routine growth, and they lance the “boil-headed” replacement, leaving Bagley’s real head to be mistaken for a mere boil on his left shoulder.
With the boil now inhabiting his head, Bagley returns home to celebrate what should be a wedding anniversary, while the original head remains in effect as a visible boil on his left shoulder. The new, boil-headed personality brings a colder, more ruthless edge to his public image, transforming his approach to his work and the pitches he crafts. This dramatic transformation intensifies the clash between ambition and empathy, replacing warmth with a chilling efficiency that terrifies those around him, including Julia, who ultimately chooses to leave him rather than endure the changed marriage.
The boil’s influence does not end in a simple defeat; it withers but does not die, leaving Bagley spiritually intact yet professionally revitalized. He returns to advertising with a hard-edged tenacity, reshaping campaigns and climbing back up the ladder, while his personal life bears the consequences of the metamorphosis. Ultimately, Julia’s departure marks a poignant coda: a marriage fractured by a man rewritten by a surreal, comic-force of self-division. The film closes with a satirical wink at the world of advertising, revealing how spectacle and success can come at a profound personal cost, even as Bagley—now a relentless figure in the industry—persists on the quest for triumph.
