‘Johnny English’ may not translate

British comedy, I’ve come to learn, is an acquired taste for most Americans. While I grew up watching “Monty Python” and “Fawlty Towers” on PBS with my parents, I just assumed everyone else thought it was hilarious, too. Apparently the only exposure a large percentage of Americans have had to British comedy is through reruns of “The Benny Hill Show.” Now I can see the problem.

So it’s quite possible that “Johnny English” may be an acquired taste for American audiences. British comedic actor Rowan Atkinson is best known for his innovative BBC TV series’ “Black Adder” and “Mr. Bean,” which both became cults hit in the United Kingdom and the U.S. Perhaps bolstered by the success of his Mr. Bean character on the big screen, in 1997’s aptly name “Bean,” Atkinson chose another popular character from his comedic repertoire: Johnny English. Only this character is virtually unknown in the U.S. — he actually originated in a series of 17 award-winning TV commercials for Barclaycard, a British credit card company.

Johnny English’s leap to the big screen has already broken box-office records in the two months its been in release in Britain and Europe, and is expected to be the first of a possible series. But it remains to be seen whether that success will translate on the eve of its debut in American theaters.

Spoofing the British spy films of the past (and present) “Johnny English” is also heavily influenced by the humor of the Pink Panther films. English is a blundering civil servant in the British Secret Service, whose absolute incompetence leads to the demise of the service’s entire roster of agents. English, and his hapless assistant Blough (played marvelously by another funny Brit, Ben Miller) are assigned to recover the Crown Jewels and capture the party responsible. Enter John Malkovich as the laboriously accented Frenchman Pascal Sauvage, who we come to learn has not only absconded with the royal family’s jewels, but also wants to right a 200 year old wrong and have his family line restored to the British throne. With the help of double agent Lorna Campbell (played competently by pop singer Natalie Imbruglia), the bungling English must reveal the wealthy and influential Sauvage for the treacherous Frenchman that he is.

When the film is funny, it’s very funny, but it doesn’t really get rolling until the last 15 minutes, where Atkinson’s spot on comedic timing is finally showcased (in fact, the “comic nudity” that garners the film its PG rating is among the most hysterical moments of the movie). It’s hard to decide whether Johnny is even a likable fellow — at times his ineptness is almost more painful to watch than entertaining.

I’m not sure why Peter Howitt was chosen to direct this exercise in decidedly British farce. Howitt is more versed — and I’d gather, probably more comfortable — in more dramatic, thoughtful filmmaking, as can be seen in his first two directorial outings, the underrated “AntiTrust” and “Sliding Doors.” But thoughtful is not a word I’d use to describe “Johnny English.” — it’s certainly not meant to be. It’s just unfortunate that “Johnny English” doesn’t take full advantage of Atkinson’s natural affinity for the physically absurd.