Meet Me Tonight (1952)

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Three short stories by Noel Coward comprise this film. The Red Peppers: The constant squabbling between married song and dance team Lily (Kay Walsh) and George Pepper (Ted Ray) takes a turn when their co-workers begin carping, too and they get more than they bargained for when they complain. Fumed Oak:  Henry Gow (Stanley Holloway) reaches the end of his rope with his nagging wife (Betty Ann Davies), tyrannical mother-in-law (Mary Merrall) and his hopeless adenoidal misery of a daughter (Dorothy Gordon) announcing his plans for escape. Ways and Means:  High society fraudsters Stella (Valerie Hobson) and Toby Cartwright (Nigel Patrick) prove to be the guests from hell and it takes the ingenuity of chauffeur and burglar Murdoch (Jack Warner) to sort them out for their hostess Olive (Jessie Royce Landis) after their plan to rob her proves an insult too far… Adapted by Noël Coward from his own one-act plays (Tonight at 8.30) and directed by Anthony Pelissier this is very much of its time and the viciousness of Henry Gow towards his family might be personal to Coward but plays a little differently today. There is little trace of the attractive urbanity of his most famous work however the sparky performances and pleasant twist conclusion is one for completionists, and that includes fans of Coward’s compositions, co-written with Eric Rogers. Cinematographer Desmond Dickinson does a decent job of making Pinewood resemble Monaco for the last episode while the editing is by future director Clive Donner.

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The Greatest Showman (2017)

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Any other critic might call it a celebration of humanity. A young Phineas Barnum and his tailor father Philo are mocked at the home of the wealthy Hallett family but he falls in love with their lovely daughter Charity and they keep in touch by letter when she is sent to school. When he grows up the adult Phineas (Hugh Jackman) marries Charity (Michelle Williams) and moves from job to job while rearing two little girls in poverty until he hits on the idea of a show with nature’s oddities, creating a community of people who are shunned – Tom Thumb, the Bearded Lady, the Irish Giant, et al. He persuades high society playwright Philip Carlyle (Zac Efron) to join forces to give him respectability and their success brings them fame – even Queen Victoria wants an audience with them. Phineas meets Swedish songbird Jenny Lind (Rebecca Ferguson) and mortgages everything to bring her all over the USA but she wants him as well – and betrays him, lying to the press, prompting Charity to leave him. When he returns to NYC protesters burn down the circus and Philip runs into the burning building to try to rescue his beloved Anne (Zendaya) an acrobat of colour whom he must battle society to spend his life with …  This moves quickly and expeditiously, daring you to see the cracks – in fact it’s really a stage musical with few concessions to anything you don’t know outside the business of show. It’s got a very inclusive message which is right-on for the current climate. Written by Jenny Bicks and Bill Condon and directed by first-timer Michael Gracey, there were reshoots apparently supervised by James Mangold who receives an executive producer credit – he had worked closely with Jackman on Logan.  It all adds up to a very nice night out at the musical theatre – even if it bears little relationship to the reality behind the real-life subject or even the musical Barnum by Cy Coleman, Paul Stewart and Mark Bramble. The songs are by Benj Pasek and Michael Paul and bear no relationship with any music produced in the nineteenth century:  to call the music ersatz would be misleading, it’s very contemporary and could come from any new musical you’ve seen or heard lately. However it’s a great showcase for some heartfelt, showstopping numbers  – particularly Lettie Lutz (Keala Settle) leading on This Is Me and Efron and Zendaya’s Rewrite the Stars. There are few dramatic segues so this won’t trouble your brain overly much:  it’s a swaggering, confident piece of work which has little faith in the audience – a criticism constantly made of Barnum himself by the resident journo critic James Gordon Bennett (Paul Sparks) who chronicles his highs and his lows but eventually comes round.  He says it there, it comes out here. Praise is due cinematographer Seamus McGarvey for keeping everything looking absolutely splendid.

The Good Companions (1957)

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What originally attracted me was the magnificent way you were all so loyal. Miss Trant (Celia Johnson), a philanthropic, adventure-seeking spinster, joins forces with songwriter Inigo Jollifant (John Fraser) and the newly unemployed Jess Oakroyd (Eric Portman) to re-energize a faltering musical theater troupe, the Dinky Doos who purvey their ramshackle show throughout the English provinces much in the way they did twenty-five years earlier. Although rock ‘n’ roll, striptease and television are about to capture the world’s attention, the troupe revels in its sense of community, and Jollifant falls for the star, Susie Dean (Janette Scott), who ultimately gets her chance on the West End…. The romance between the leads provides much of the subplotting in this second (musical) adaptation of J. B. Priestley’s popular 1930s classic but Scott plays her part a little too low key compared with Hollywood style and it’s really the backstage situations which arouse interest here and the occasionally showy cameos by personalities – Anthony Newley shows up and advises Fraser, Anybody can write a concerto, it takes a composer to write a pop! Joyce Grenfell does her bit with aplomb (providing another somewhat unexpected romance subplot) and when a fight breaks out in a theatre it’s rather fun to watch Thora Hird (who’s Portman’s missing wife) bash people with an umbrella. Hugh Griffith as the twitchy old trouper Morton Mitcham is always worth watching. The score and songs by Laurie Johnson aren’t particularly memorable but the final musical scene-sequence is quite well achieved and Gilbert Taylor’s colour cinematography is very warm. Rather charming, in its own way if not always appropriately staged (how ironic). Adapted by J. L. Morrison and T. J. Hodson and directed by J. Lee Thompson, if you can credit it!

Light Up the Sky! (1960)

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What used to be called the forces comedy is a venerable film tradition but this starts out as a very stagebound vaudeville adaptation and mutates into something darker and dramatic. Narrated to camera years later by seemingly inept and dippy motorcycle-riding Lt. Ogleby (Ian Carmichael) who is actually quite bright and insightful, he regales us with the antics of a bumbling band of misfits manning a rural searchlight battery during the Blitz. Benny Hill and Tommy Steele are the McGaffeys, who take off to perform sketches at the theatre every chance they get and McGaffey the younger (Steele) is in trouble – or rather his girlfriend is. Then there’s grumpy Lance Corporal Tomlinson (Victor Maddern) who wants time off to get married.  Ted Green (Sydney Tafler) is mourning his son and tries to give advice but it goes unheeded. As the stories become stronger – someone going AWOL but being helped at the eleventh hour – the stakes are raised and there is (inevitably) a tragic sacrifice the next time a German plane comes close … Robert Storey’s play Touch it Light was adapted by Vernon Harris and while the comedy mixes oddly with the drama for the most part, it becomes a far stronger work in the concluding half hour. Directed by Lewis Gilbert.

Pool of London (1951)

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Look beyond the shadow of its walls and what do you find?  Dan (Bonar Colleano) is an American merchant sailor docked in London who’s persuaded by music hall performer Charlie Vernon (Max Adrian) to smuggle stolen diamonds to Rotterdam – but he finds out from girlfriend Maisie (Moira Lister) that the watchman on the job was killed and it’s pinned on him. Jamaican shipmate (Earl Cameron) is there to help but he’s involved in a relationship with ticket seller Pat (Susan Shaw) and is unwittingly drawn into the crime with the police hot on their trail. Some fabulous shooting around postwar London – from the Thames to Rotherhithe Tunnel and all the back streets in between, this is a detailed and fascinating portrait of the underbelly of portside life in the bombed-out city with a couple of thrilling chases and a nailbiting theft. Cameron makes a terrific impression portraying the first interracial relationship in British cinema. The performances are wonderful all round, with nice support from Leslie Phillips and Alfie Bass among a very impressive cast. An atypical Ealing film, written by Jack Whittingham and John Eldridge, produced by Michael Balcon, directed by Basil Dearden and adorned with an adventurous score by John Addison.

 

 

It’s in the Bag (1944)

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A Gert and Daisy film – which is to say a comedy starring a couple of English vaudeville and radio comic performers (sisters Elsie and Doris Waters) – in which the robust Cockney biddies discover they’ve inadvertently got rid of £2,000 sewn into the hem of their late grandmother’s dress and have to go to all sorts of extremes to retrieve the dress and thereby the fortune. It involves donning masquerade at a theatre to impersonate the snobby Rose Trelawney (Vera Bogetti) who’s trawling protegé Peach St Clair (a very young Megs Jenkins) about for his/her nascent stage career. There’s a funny sleepwalking scene  on rooftops, some farcical scenes as they give their military outfit the runaround and the pair bring the house down at the conclusion with one of their (allegedly) typical rousing singalongs, but the ‘social satire’ for which they were acclaimed seems like a very distant relic at this juncture, probably not helped by the ‘lost’ wartime release being cut by something like 20 minutes for DVD with neither titles nor credits. The pair’s brother was Jack Warner, of Dixon of Dock Green fame. Written by Con West, directed by Herbert Mason.

The Goodbye Girl (1977)

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Ask an actor a question you get his credits. A confection so tonally sublime it’s ridiculous. Neil Simon wrote a screenplay about Dustin Hoffman’s early days starring Robert De Niro and directed by Mike Nichols. De Niro was all wrong – comedy not quite being his thing – and Nichols quit and Simon went back to the drawing board and came up with this and a far more simpatico cast several months later with a new director, Herbert Ross. Paula (Marsha Mason, ie Mrs Simon) is the former Broadway dancer who finds out her married lover has abandoned her and daughter Lucy (the brilliantly smart-assed Quinn Cummings) to do a movie in Italy (with Bertolucci!) and without her knowledge has sublet his apartment where they live to a colleague straight in from Chicago. Actor Elliot Garfield (Richard Dreyfuss) is self-conscious, neurotic and driven and fussy and moves in to Lucy’s bedroom as Paula realises she has nowhere else and won’t move out and needs someone to pay the rent. Elliot is preparing to give his off-off-off-off-Off Broadway Richard III for director Mark (Paul Benedict) who wants him to play it as ‘the queen who wants to be King.’ Elliot succumbs. As Paula tries to get fit and lose flab to return to the stage, Elliot’s camp-as-a-caravan site Richard flops terribly and her sympathy for him becomes something else. Their living arrangements are suddenly rendered more complicated … The humour, the performances and the text are tightrope-worthy:  Paula could be a shrew in the wrong hands (Simon famously declared he hated actresses…); Elliot could be plain irritating (Dreyfuss is simply perfect in an Oscar-winning role); and the screamingly funny queer reading of Richard III just couldn’t be done nowadays (unless a woman were playing it….) because the millennials/snowflakes/whatever identity politics you’re having yourselves would be crucifying everyone concerned. And Quinn Cummings, who later became a part of the wonderful TV show Family, is simply brilliant as the snarky daughter whose man crush is taken away from her. All of the performances were recognised in this perfectly handled backstage comedy but these are roles that couldn’t even be conceived nowadays. The Seventies. Love them. Love this.

Easter Parade (1948)

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When Broadway star Fred Astaire’s dance partner Ann Miller leaves him for a solo act he wagers he can make a star of the next girl he sees – who happens to be Judy Garland. This sheerly delightful Irving Berlin musical comedy is a wonderful backstage romance and even the performance of Kennedy pimp Peter Lawford warbling A Fella with an Umbrella can’t ruin a gloriously atmospheric colourful romp in turn of the century New York. Highlights include the showstopper Steppin’ Out With My Baby and The Girl on the Magazine Cover, plus the final title number. From a story by husband and wife team Frances Goodrich and Albert Hackett, who co-wrote the screenplay with Sidney Sheldon. Two accidents caused casting changes – Gene Kelly broke his ankle playing volleyball and suggested Astaire replace him, while Cyd Charisse’s broken leg meant Miller got her big break at MGM (as it were!). Gorgeous stuff as you’d expect from director Charles Walters. Easter blessings and chag Chanukah sameach.

The Country Girl (1954)

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This is the film that earned Grace Kelly her Best Actress Academy Award and nowadays her performance looks better than ever:  look at what she has to do. She plays the dowdy, dependable but once glamorous wife of faded alcoholic Broadway star Frank Elgin (Bing Crosby) whose chance at a comeback is created by temperamental director Bernie Dodd (William Holden) against his backers’ better judgement. Dodd believes Kelly’s a suicidal drinker but she’s actually fronting for the massive insecurity of her husband, an habitual and chronic liar who’s using their son’s death in his care as an excuse for his cowardliness and retreat to the bottle. Kelly has to keep him going while the out of town previews go badly and go along with his stories to Dodd, who thinks she’s destroying him until he finally sees Frank on a bender and Frank confesses. Then Dodd realises his antipathy is based on his pure misogyny – he’s down on marriage since he cheated on his ex-wife obviously – and thinks he’s in love with her. Kelly thinks she is sympathetic to him too but she wants her husband’s comeback to work too. This Clifford Odets story is adapted very well by producer/director/writer George Seaton with key observational touches – there’s a lovely bit where Kelly overhears the audience’s opinions in the interval and smiles to herself – in between the big scenes, which are adorned with some crackling expository and personal dialogue. One of Crosby’s final lines is to die for. However he overplays his moroseness and Holden is occasionally too strident although that’s probably the Odets character – making Kelly’s job of pivoting between the pair that much harder. Some of her best moments are beautifully adorned by Victor Young’s supremely subtle score. A cracking backstage drama that deals with addiction, bereavement, guilt, grief and a dying marriage:  you know, the little things. Now, let’s put on a show!

My Friend Irma Goes West (1950)

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The famous radio sitcom gets another big screen go-round in this diverting entertainment whose principal attraction is the Lewis-Martin team, sidekicks to wannabe card sharp John Lund, Hollywood actress Wilson and singer Lynn. Lewis’ goofy scenes with a chimp are very funny and even the PC crowd will forgive him for redding up as an Indian. (Lewis, that is.) With gangsters, kidnapping, a loony tunes fake producer, TV stardom, and a typically good music track by Leigh Harline. Written by Cy Howard and Parke Levy, directed by Hal Walker.