We'll take those four as read, if you don't mind, dear. Besides, he's only responsible for a sixth of them. Here are the other films he didn't direct either, but can claim at least a quarter of creative responsibility for, sometimes more. Any excuse for some archive digging.
Key:
TV film
Proper film
7. Romance with a Double Bass (1974, co-written with Robert Young based on a screenplay by Bill Owen based on the short story by Anton Chekhov)
Chancing upon John Cleese and Connie Booth's exhibitionist short film was quite the unexpected discovery. I'm still not totally sure I didn't dream it.
It's a nice enough story, but it's the Fawlty Towers connections that make it, as we get to see the convincing Russian off-shoots of Basil, Polly and even Manuel whose paths in life turned out quite differently. Bolly shippers will adore it.
6. The Strange Case of the End of Civilization as We Know It (1977, co-written with Jack Hobbs and Joseph McGrath)
Even at less than an hour, a little too long is spent on elementary satire before we finally meet Sherlock Holmes A.D. 1977 and the more specific send-up can begin. It's even commendably accurate to canon. In a way.
Cleese certainly has the look for it, so it's a shame he didn't try on the role in something more serious, really. But it's Arthur Lowe's spectacularly slow Watson that steals the show.
5. Fierce Creatures (1997, co-written with Iain Johnstone)
The Wanda reunion isn't great, but it's not the abomination it's made out to be. Mainly because John Cleese is in it.
4. How to Irritate People (1968, co-written with Graham Chapman, Marty Feldman and Tim Brooke-Taylor)
This proto-Python revue has more similarities than differences with the imminent series, featuring half of the regulars and two early versions of repurposed sketches. What's noticeably lacking is the po-mo stream-of-consciousness surrealism brought by the rest of the ensemble, as we stick more rigidly to the sustained theme and sketches have actual punchlines. Historically fascinating all the same, with production cheap and nasty enough to feel enjoyably like a stage show.
3. Clockwise (1986, didn't write)
Alright, Cleese didn't write this one, and surprisingly wasn't even in Michael Frayn's mind when he wrote the neurotic headmaster that fits the performer like stolen vestments or a suit with the sleeve torn off, but it's a more essential part of his filmography than ones where he's voicing an animated bird or whatever. It's a lot of fun, and its accidental tour of rural 80s England very nostalgic.
2. The Rise and Rise of Michael Rimmer (1970, co-written with Peter Cook, Graham Chapman and Kevin Billington)
Supposedly mainly written by Cleese and Chapman, who show up briefly, this is really more of a Peter Cook film, though his robotic performance, while sort of appropriate, is the least impressive of an exemplary ensemble. I'm not old or well-informed enough to get the specifics of the satire, but the broad strokes will doubtless remain depressingly relevant forever. With good gags throughout, this deserves to be better known.
1. A Fish Called Wanda (1988, co-written with Charles Crichton)
Cleese abandoned a mooted Fawlty Towers film because he didn't feel confident in his ability to stretch the laughter wave out to two hours. So he did something completely different that brought the obsessive polish and perfect timing of that series to the big screen and ended up being one of the best romcoms of all time. Not that I'm much of an expert there.
