Classic Film Review: Heavens Above! (1963)

Heavens Above! stars Peter Sellers as an irreverent minister posted by accident to a snobbish parish. A name mix-up means that Reverend John Smallwood transfers from being a hapless prison chaplain to a complacent town where he proceeds to stir things up in his own gentle style. He sticks to the Bible rather than the Church, which causes a few problems. This satirical look at contemporary life also features Cecil Parker, Ian Carmichael, Eric Sykes, Miriam Karlin and Isabel Jeans.

I enjoyed this one, though not as much as I expected I might. It's amusing seeing the mix-up between the two John Smallwoods and watching the 'wrong' one's introduction into the village. Peter Sellers plays the idealistic minister perfectly - not once do you get the impression that the poor chap knows what on earth he's doing. His influence on Lady Despard (Jeans) is entirely realistic at first, as are the progressions of the other major stories. For instance, after seeing a large family evicted from their plot of land Smallwood invites them to stay at the vicarage with him. In this film everyone but Smallwood has an ulterior motive, even Lady Despard who is desperate to save her soul. As such, things don't exactly work out well.

There are moments of brilliance, including when the food bank established to help the poor begins putting the local tradesmen out of business. It's an excellent examination of good intentions gone awry but the film itself begins to lose its way in the last third with a plot twist that's memorable for all the wrong reasons.

In truth, when I think of this film I'm likely to think more of the bizarre ending than anything else, which is a shame. Heavens Above! makes some good points, perhaps as relevant today as they were then, but it loses its effect somewhat and I wish a more plausible ending could've been found.

Classic Film Review: In Search of the Castaways (1962)

In Search of the Castaways stars Hayley Mills as Mary Grant, one of a pair of siblings determined to find their missing sailor father. They are aided by Jacques Paganel (Maurice Chevalier), who finds their father's message in a bottle, and Lord Glenarven (Wilfred Hyde-White) and his son John (Michael Anderson Jr). In an adventure that takes them from South America over to Australia and involves a flood, an avalanche, pirates, savages and a volcanic eruption (amongst other things), the quartet search for Captain Grant (Jack Gwillim). The film also features George Sanders as Thomas Ayerton and Wilfrid Brambell as Bill Gaye.

I found that this one requires concentration - if only because so much happens that you could find the group having lurched from one disaster to another and you missed it because you blinked. They switch continents quite quickly, managing to come out on top under the direst of circumstances. My favourite sequence was perhaps the flooded tree one, where the strange extended family get into a spot of bother when a big cat takes refuge alongside them.

The quest to discover the whereabouts Captain Grant only really takes shape when they land on the right continent and there George Sanders appears to do his dastardly devil routine. He's so good at it but, despite seeing it in so many films, I can't help but think of him opposite Ethel Merman in Call Me Madam (1953) - that's the peril of me having a musical mind!

Hayley Mills is as endearing as ever in this relatively lightweight piece. This is the fourth film of hers I've reviewed on here, though my favourite probably remains The Trouble with Angels (1966, review here). The brilliance, however, comes from Wilfrid Brambell as the loopy Bill Gaye. He's the stand-out in a loopy film and it's worth watching him for the volcano scenes alone.

Classic Film Review: Father of the Bride (1950)

Father of the Bride stars Spencer Tracy as Stanley Banks, a man who recounts his experiences dealing with the financial and emotional troubles associated with organising his daughter Kay's (Elizabeth Taylor) wedding. Joan Bennett plays Stanley's wife Ellie and the cast also includes Billie Burke as Mrs Dunstan, Don Taylor as Buckley Dunstan and Leo. G. Carroll as Mr Massoula. Also, watch out for an appearance by a young Russ Tamblyn as Tommy Banks.

As a family comedy this film works brilliantly. Elizabeth Taylor is charming as Kay with Joan Bennett also wonderful as Ellie. However, this film is Tracy's through-and-through. The warmth and humour he injects into the role without being too over-the-top is yet another sign of his brilliance and he's certainly cemented himself as one of my favourite actors. His rapport with Joan Bennett is good, but it's his reactions to the wedding insanity that make the film. There's a brilliant scene where he is trying on an old suit, something few actors could make as entertaining and realistic as Tracy manages to.

There aren't many twists and turns in Father of the Bride but it's still very entertaining. It doesn't become mawkish thanks mainly to Tracy, though it still manages to show the very real emotion behind Kay's marriage, and shows a very human set of people. As a Billie Burke fan, I enjoyed her small role and all of the actors who play even a small part make the most of it. You can tell when a film is lovingly directed and Vincente Minnelli rarely disappoints on that score. Overall, this is a brilliant gentle comedy well worth watching over and over again.

Classic Film Review: The Gay Divorcee (1934)

The Gay Divorcee stars Fred Astaire as Guy Holden, a dancer visiting London who comes to the aid of Mimi Glossop (Ginger Rogers) when she traps her skirt in a trunk in the middle of customs. Guy is enamoured but Mimi apparently less so. While he is literally scouring London for her, she and her Aunt Hortense (Alice Brady) are trying to orchestrate a divorce from Mimi's unwilling husband. They turn to a reluctant old solicitor flame of Hortense's, Egbert Fitzgerald (Edward Everett Horton), who also happens to be the friend hosting Guy in London. The idea is for Mimi and a co-respondent to be caught in a hotel in Brighton but a depressed Guy, who still doesn't know the truth about Mimi's situation, is dragged along by Egbert and the stage is set for an amusing showdown.

This is only Fred and Ginger's second film together but, for the most part, they've already found their rhythm. Leaving aside the dance numbers, the comedic interplay between the pair of them when Mimi's dress is stuck at the beginning is brilliant. These two could bounce off each other as well as Hepburn and Tracy and it makes for a thoroughly enjoyable film. Equally, the main supporting cast of Alice Brady as the forgetful aunt and Edward Everett Horton as the bumbling solicitor are brilliant, not to mention the fact that Betty Grable has a small role. Watching Horton and Grable dancing together in 'Let's K-nock K-nees' is a delight, especially since Horton is no natural dancer.

The other songs are pretty good too. I was charmed by 'Needle in a Haystack', a song and dance solo performed by Guy as he gets ready to go out. The stand-out song from the film is 'Night and Day', part of a beautiful yielding moment when Mimi gives in to her growing feelings - only for another spanner to be thrown in the works quite quickly. Watching Fred and Ginger dance that number together is riveting, there's no other word for it. 'The Continental', coming in at over seventeen minutes long, is spectacular with its rows of dances and catchy song, but it does tend to flag a little when Fred and Ginger aren't involved.

Ultimately, this is a gorgeous musical comedy, with Fred and Ginger melding together perfectly as they would in another eight films. It's not their best collaboration but it's no less enjoyable for that.

Book Review: Four Stories by Alan Bennett

Four Stories compiles 'The Laying on of Hands', 'The Clothes They Stood Up In', 'Father! Father! Burning Bright' and 'The Lady in the Van' in one collection. All display Bennett's trademark humour and skills of observation whilst looking at vastly different situations. 'The Laying on of Hands' takes place at the funeral of a masseur who seemed to have some very famous clients (including the presiding vicar), all of whom are a bit concerned about his cause of death. 'The Clothes They Stood Up In' tells the story of a couple who come home from the opera to find their flat has been stripped of everything from the curtain rings and light fittings up. 'Father! Father! Burning Bright' is about a school teacher who goes to see his dying father while 'The Lady in the Van' is the true story of the woman who ended up living on Alan Bennett's drive (and you have no idea how much I'm looking forward to seeing Maggie Smith take on that role in the near future).

I thought I enjoyed the first piece in this collection, then I read the second and enjoyed it more. I wasn't as keen on the third piece but the final one easily became my favourite and left me laughing in the early hours of the morning. Firstly, 'The Laying on of Hands' is a brilliantly witty analysis of modern culture with some genuinely laugh-out-loud moments. Both the images of celebrity and religion which Bennett depicts in this story are recognisable and there are numerous asides that showcase Bennett's peculiarly British humour.

'The Clothes They Stood Up In' explores the upheaval caused by this wholesale burglary and the way it forces Mr and Mrs Ransome to adjust, which the latter does with more success. I particularly enjoyed her connecting with the places in her vicinity which she had never contemplated visiting before. I also appreciated the resolutions of the tale and found it a very compact and fulfilling story that nevertheless says a great deal.

I think my problem with 'Father! Father! Burning Bright' was that it just didn't seem to have the same flow the others have. Quite often I got disorientated about who was saying what and where, possibly symptomatic of its roots in visual drama. Also, I disliked pretty much every character and didn't care much about them, the honourable exception being Aunty Kitty.

'The Lady in the Van' is easily my favourite piece, told with understated Bennett humour and all the more enjoyable (as cruel as that sounds) for being true. It's full of little incidents that create a grotesque picture of life inside and outside that van with Bennett's postscript adding some fascinating notes about her life and history.

All in all, this was a pretty good collection, and I'll definitely be reading three of the stories again.

Classic Film Review: Tom Thumb (1958)

An adaptation of the famous fairy tale, Tom Thumb stars Russ Tamblyn as the boy no bigger than a thumb whose existence is granted as a wish to Jonathan (Bernard Miles) and Anne (Jessie Matthews) by the Forest Queen (June Thorburn). While Tom falls into trouble with villains Ivan (Terry-Thomas) and Antony (Peter Sellers), the Forest Queen is also faced with the fact she wants to become human to be with Woody (Alan Young), but is he worthy of her love after he loses Tom?

I'm sure I must've seen this when I was younger but all the detail had passed me by so I came to it fresh. Russ Tamblyn is phenomenal, both in acrobatic ability and charm. He's so perfect for the role that I honestly can't imagine anyone else playing it with such energy. The rest of the cast is equally as enjoyable, Terry-Thomas and Peter Sellers in fairly typical roles for them and hamming it up something rotten. I enjoyed the interplay between June Thorburn and Alan Young and, really, every minor role was brilliantly cast.

This is a very flamboyant, colourful film and it has two centrepiece musical numbers - 'Tom Thumb's Tune' and 'Talented Shoes', both of which are extremely catchy and likely to torment you for days. The first is Tom's greeting by the toys in his room which showcases Tamblyn's athletic ability wonderfully and the second is a number in the town square with - you've guessed it - talented dancing shoes. If I have one niggle with this film it's that the scene in the villains' lair went on a little too long but it was funny enough and gave a little tension to the finale. The special effects are not at all shabby for 1958, not spectacular by any means but in keeping with the story as a whole and thoroughly enjoyable.

Definitely one I'd rewatch - and perhaps with my father too since he came in the room for two minutes and stayed for half the film!

Classic Film Review: Hue and Cry (1947)

Hue and Cry tells the story of a group of street boys led by Joe Kirby (Harry Fowler) who realise that a comic is being used to tell a gang of thieves when, where and how they should commit their latest robbery. Joe's accusations are dismissed by the police and his boss so he and his friends decide to do some digging on their own. They first suspect the writer of the comic Felix H. Wilkinson (Alastair Sim) but then they identify the code and realise the culprit must be someone in the production process. But will anyone believe a bunch of troublesome kids?

Once this got going, I enjoyed it. The opening scenes introducing the kids are a little tricky because there are so many of them introduced in a short burst but once the focus settles more on Joe it's easier to follow. All the kids are good actors too, something I was surprised about. It's not laugh out loud comedy but there are some funny moments and some genuinely tense ones. Alastair Sim is playing his usual type of part but it's enjoyable enough in this context, especially when the boys don't know whether to trust him or not.

The ending of the film is quite fun and there is a sense of real danger, even though it's a comedy and everything should work out fine. All in all, this is a good film with some excellent performances from younger actors. I couldn't remember where I'd seen Harry Fowler before but it turns out I watched him in another Ealing production Went the Day Well? (1942, reviewed here) where he was equally as impressive. Something to look out for on a trivia level is that Fowler later married his co-star Joan Dowling, though she committed suicide after only a few years of marriage. My advice with Hue and Cry is, if you're struggling to get into it, give it a little longer to capture your attention.

Classic Film Review: The Constant Husband (1955)

The Constant Husband stars Rex Harrison as a man who wakes up one morning in Wales with no recollection of who he is. With the help of a professor (Cecil Parker), he tracks his life down to a swanky house in Hampstead and learns that his name is Charles Hathaway. However, when he is kidnapped he learns that he has a trail of wives behind him and that the police would like a chat. Kay Kendall also features as the Hampstead wife, Monica, and Margaret Leighton stars as council for the defence.

This is a gentle comedy which, once you know the premise, holds very few surprises. Harrison is perfectly cast as the bemused 'Charles', particularly in the opening scenes where he's trying to get his bearings. He also has a good rapport with the ever-dependable Cecil Parker as the professor. Their scenes together throughout the film are a highlight. I've adored Kay Kendall since watching her in Genevieve (1953, reviewed here) and The Constant Husband occupies a special place in her biography as it brought her together both personally and professionally with future husband Harrison. This adds an extra layer to their scenes together, especially for the film buffs like me. 

I think this film's problem is that it spreads itself too thin. Although we only really encounter Monica and Lola (Nicole Maurey) as 'Charles's' wives, the court scenes are diluted by the fact that we're focused on many women and not just one or two. Of course, that adds to the comedic effect but I always like a bit more character with my comedy. I did enjoy Margaret Leighton as the defence counsellor though, again, she was used more as a satellite to Harrison than anything else. 

Ultimately, this is a steady film to enjoy once and then rewatch perhaps for choice scenes. It's not awe-inspiring but Harrison puts in a congenial performance as the central character confused by the actions of a self he doesn't remember, tying the judge in knots as he tries to understand the peculiar 'defence' the bigamist puts up. It's all solid fun, though I watched it more for Kay Kendall than anything else. 

Classic Film Review: I Married a Witch (1942)

I Married a Witch tells the story of a politician whose family is plagued by a curse from a sorcerer and his daughter they burned at the stake centuries earlier. Wallace Wooley (Fredric March) is the latest member of the family to suffer by the curse but with an added twist - thanks to a lightning strike, the tree where the ashes of the sorcerer and the witch were housed has been shattered, setting them free. Daniel (Cecil Kellaway) and Jennifer (Veronica Lake) aim to make Wallace suffer further on the eve of both his wedding to Estelle Masterson (Susan Hayward) and the election for state governor. They create a love potion but, when it backfires, Daniel and Jennifer find themselves on opposite sides of the argument.

I loved this whimsical fantasy. It doesn't take itself too seriously and includes some laugh out loud moments along with brilliant performances from the cast (even if - or perhaps especially because - March and Lake didn't exactly get on). This was my first experience of Lake and, I have to say, I was impressed. Her sultry performance is stunning and she fits the part perfectly, even in the scenes where just her voice is heard. I'm struggling to think of an actress who could've played this part quite so well. March, too, is well-cast but it's definitely Lake's film. The smaller parts are taken by accomplished actors, including the ever-reliable Robert Benchley as Dr Dudley White and the equally-excellent Robert Warwick as Mr Masterson. Watch out too for Helen St. Rayner in a brief, comedic appearance as a wedding singer. It was her only credited role so IMDB tells me and I thoroughly enjoyed it.

At 77 minutes it's fairly short but that means it doesn't have too much slack to become boring. The fire scenes near the beginning are amusing but I much preferred the quiet interplay between March/Lake and Lake/Kellaway. The special effects, too, are good enough for 1942, especially the taxi ride and the broom activity. I thought the resolution was pretty neat and the little epilogue was cute, if only to see Veronica Lake as a matronly housewife for a few short moments.

This is a lovely little comedy that deserves a little more attention. I'll definitely be delving into more of Veronica Lake's filmography.

Classic Film Review: Swing Time (1936)

Swing Time tells the story of Lucky Garnett (Fred Astaire), a dancer who is forced to leave his fiancée Margaret (Betty Furness) to go out and raise $25,000 so that her father will let him marry her. When he and his friend Pop (Victor Moore) get to New York, they encounter dance instructor Penny Carroll (Ginger Rogers). Lucky tricks Penny into 'teaching' him to dance and they have the potential to be successful but conductor Ricky Romero (Georges Metaxa) wants Penny for himself and Lucky realises he's getting far too close when he should be itching to go home and marry Margaret. The wonderful Helen Broderick rounds out the main cast as Mabel.

I absolutely adored this film. It's rare that a musical of this era has numbers which are not only entertaining but also further the plot and characters. The score by Jerome Kern and Dorothy Fields is exquisite, including such gems as 'Pick Yourself Up' when Penny's trying to teach Lucky how to dance and 'A Fine Romance' when they're trying to resist each other in a gorgeous snow scene. Astaire's rendition of 'The Way You Look Tonight' is sweet, enjoyable for its sentiments and not the strength of his singing voice. The pinnacle of this film, though, is the majestic 'Never Gonna Dance' near the end. It not only serves as a visual representation of Lucky and Penny's romance, from their first walk around the dance floor to the Penny's walking away, but it's also a deeply sensual and passionate representation of love as a whole. I could easily watch it for hours and those dozens of takes it took to produce such brilliance was well worth Ginger's poor bleeding feet.

There are plenty of comic moments in this one, plenty coming from Victor Moore and Helen Broderick as Pop and Mabel. I enjoyed Broderick in the generally lacklustre The Bride Walks Out (also 1936, reviewed here) and she reasserts her comedic credentials in this one. In addition, Astaire and Rogers bounce off each other so well that every one of their scenes in a delight, from Lucky's first pursuit of Penny down the street to retrieve his lucky quarter to the finale. The plot, though light, is at least coherent and there are several link backs and pointers that demonstrate that the film was conceived as a whole, for example the trouser gag which begins and ends the story. Perhaps there was too much focus on Lucky's friends at the beginning, but once he got to New York, all that was forgotten.

Ultimately, if a film makes me smile just thinking about it then it's a good one. I haven't stopped smiling while I've been writing this review so take that as your recommendation.

Class Film Review: The Bachelor and the Bobby-Soxer (1947)

The Bachelor and the Bobby-Soxer stars Cary Grant as Richard Nugent, an artist with a penchant for getting into trouble. The first time we encounter him, he's up in front of Judge Margaret Turner (Myrna Loy) after being involved in a fight. She lets him off but later, after giving a lecture at a school, he finds himself the unwitting victim of Margaret's younger sister, Susan (Shirley Temple). To combat the affection Susan has for Richard, it's decided that he will pretend to date her to make her realise how unsuitable he is. Unfortunately, Margaret also finds herself falling for him, thanks in part to the interference of her Uncle Matt (Ray Collins). The cast is rounded out by Harry Davenport as Thaddeus, Rudy Vallee as Tommy and Johnny Sands as Jerry.

I enjoyed this much more than I expected. The delight of having Myrna Loy in a position of authority and being a responsible sister is juggled neatly with her gradually falling for Richard in a more believable way than is usual in these films. Plus, the chemistry between the leads is brilliant. Richard and Margaret's verbal sparring matches just sizzle and the sisterly relationship between Margaret and Susan is well executed. As a lovesick teenager who thinks she's wise beyond her years, Temple is brilliant and this performance really makes me wish her film career had continued for longer. This film does laugh at teenagers and their devout attachments but not in a way that comes across as condescending. It's an odd line but The Bachelor and the Bobby-Soxer manages it very well.

The script is witty and the film put together with the right mix of hilarious dialogue and action scenes. Of the latter, the best is probably the extended race scenes where Richard competes with Susan's 'other' beau Jerry to win but gets very messy in the process. Cary Grant is at his best in this film, suave and yet bringing in a touch of the David Huxley, especially when he finds himself in prison through no fault of his own. Myrna Loy is brilliant from start to finish and Ray Collins, one of the best character actors around, frequently steals scenes with an expression.

Overall, The Bachelor and the Bobby-Soxer is an enjoyable comedy that showcases the talents of all its cast without exception. Light-hearted, yes, but sometimes there's nothing wrong with light-hearted.

Classic Film Review: The Philadelphia Story (1940)

The Philadelphia Story stars Katharine Hepburn as socialite Tracy Lord. She's about to be married to the rather boring George Kittredge (John Howard) but ex-husband C.K. Dexter Haven (Cary Grant) is determined to cause mayhem before the ceremony. He's instrumental in getting journalist Mike Connor (James Stewart) and photographer Liz Imbrie (Ruth Hussey) into the wedding but he may not have banked on the attraction that springs up between his ex-wife and Mike.

Picking between the three leads of this film is nearly impossible. Hepburn shines in the role she was born for while Grant is perfect as Dexter. However, if I really had to pick, then it's Jimmy Stewart who steals the show. His drunk scenes with Cary Grant are downright hilarious, I'm smiling just thinking about them. But the chemistry between the cast as a whole is excellent. Ruth Hussey impressed me again (I saw her last month in Tender Comrade, 1943, reviewed here) and her scenes with Stewart are brilliant. There's also one gorgeous scene between Hussey and Grant which lingers in my memory. In addition, I loved the little relationship between the Lord sisters, Tracy and Dinah (Virginia Weidler) and the dynamics of the rest of the family.

The dialogue in this film is fast, witty and sometimes difficult to follow. It's both intelligent and funny, something sadly lacking in many so-called romantic comedies. Hepburn does aloof so well and her crash back down to earth is satisfying and fun to watch. If I had to pick a favourite scene (apart from Stewart's drunk ones), it would probably be the one in the pool house when Dexter interrupts Tracy and Mike and an argument ensues. That scene probably sums up the themes of the film, as well as being brilliant acted by all parties.

I can see why people call this Hepburn's best film. However, my soft spot for Bringing Up Baby (reviewed here) and The African Queen (reviewed here) and, for me, The Philadelphia Story doesn't quite knock them off the top spot. Still an excellent film though.

Classic Film Review: The Secret Life of Walter Mitty (1947)

The Secret Life of Walter Mitty stars Danny Kaye as the titular character, a daydreamer who has always been pushed around but suddenly finds himself involved a real-life conspiracy where he is unfortunately himself and not one of the suave, muscular men he imagines himself to be in his daydreams. He crosses paths with Rosalind van Hoorn (Virginia Mayo) who is trying to keep a highly important book about hidden treasure from nefarious men trying to get their hands on it, including the exceedingly creepy Boris Karloff as Dr Hollingshead. Rounding out the cast is Fay Bainter as Mrs Mitty, Ann Rutherford as Walter's fiancée Gertrude Griswold and Florence Bates as Mrs Griswold.

This is a very vibrant film, making full use of colour and light, particularly in the dream sequences. However, what frustrated me about the dream sequences is that, while they were fun and useful towards the beginning demonstrating Walter's inner life in comparison to his real one, once the actual action had got going and he was in the middle of a real-life adventure, they were no longer necessary. After that they just seemed an excuse for fancy costumes and a few songs.

Danny Kaye was wonderful as Walter though. The put-upon, 'yes, Mother', forgetful character really flourished throughout and there are few actors who match Kaye for facial expressions and the ability to deliver hilarious one-liners. He's also a very good physical comic, as evidenced by the windowsill scenes amongst others. I can't think of another actor who could've done this role as much justice as Kaye did.

The rest of the cast was superb too. Virginia Mayo played the mysterious blonde to perfection, though I did want to know more about the character, and Ann Rutherford and Florence Bates created quite a little double act as their growing apprehension about Walter's impending marriage to Gertrude made itself known. There's a brilliant scene where Walter is trying to keep Rosalind's presence in the house unknown so it appears he's acting completely insane and Gertrude and Mrs Griswold's reactions to this are hilarious. Fay Bainter also works well as Walter's mother but, then, she is an excellent actress generally.

If the dream sequences had been pared back, I would have completely enjoyed this film. As it was, I was shaken from the action at unnecessary moments which irked a little. However, overall, this was a brilliant, colourful film that relied on the charisma and hilarity of its leading man to produce a vivid impression. Well worth a watch.

Classic Film Review: Charade (1963)

Charade stars Audrey Hepburn as Regina Lampert, a woman who returns to Paris from holiday to find that her husband sold all their possessions and was then murdered on a train. The police want to know what he did with the money, so does government official Hamilton Bartholemew (Walter Matthau) and three strangers who turn up at his funeral. Regina is supported at this difficult time by Peter Joshua (Cary Grant), someone she barely knows who seems to be hiding a few secrets of his own. As it transpires that her husband's murderer is out to get her, believing she has the money, it becomes a race against time to save her life. And where is the money?

I adored this film. Hepburn and Grant work brilliantly together, large age-gap or not. Sometimes with films you get the impression that the cast were having as fun a time putting it together as the audience subsequently gets in watching it and this is one of those films. The witty dialogue between Regina and Peter Joshua during their first meeting sets the tone for the rest of the film and it's downright fantastic. They bounce off each other so well and there's a warmth between them that's unmistakable.

As for the story, it kept me hooked. I was a few steps ahead of the narrative but, really, I just enjoyed the ride. It was very well-written with numerous twists and turns and some clever digs at the thriller genre. We've got a rooftop fight, a dead man in a bath, concealed identities and a tense stand-off in a deserted theatre. It cranks up the atmosphere whilst still remaining amusing. Almost inevitably, my favourite scenes are Grant/Hepburn ones: the early scene already mentioned, the scene in the club where they're roped in as volunteers and the brilliant shower scene that had me in fits of laughter. My favourite moment is probably when Regina asks Peter how he shaves inside that famous Cary Grant dimple.

Charade rocketed onto the list of my favourite films, joining the likes of Bringing Up Baby, The African Queen and Rebecca. That company should indicate quite how wonderful this film is. Completely recommended.

Classic Film Review: The Happiest Days of Your Life (1950)

The Happiest Days of Your Life stars Alastair Sim as Wetherby Pond, the headmaster of a boys boarding school which is unexpectedly told on the first day of term that another school is going to be billeted with them. He is annoyed enough before the school arrives, led by Margaret Rutherford as Muriel Whitchurch and full of girls. Chaos ensues but the pair will have to work together when Pond's potential new employers come to look around at the same time as some anxious parents want to see the school where their girls are staying. Can they make the school simultaneously appear like an all-boys school and an all-girls school?

I found this film hilarious. It takes a little while to set the scene but once it gets going it's brilliant. The supporting cast includes John Bentley as Richard Tassell, Gladys Henson as Mrs Hampstead and Joyce Grenfell as Miss Gossage, along with several other good comic performers. With all the teachers, it's difficult to get a complete sense of characterisation but that doesn't matter entirely - all the characterisation you need is employed with the two giants and this titanic battle is beautiful to watch.

It's a very British film. Of course, I don't use that as an insult, more as a warning to those who don't appreciate that type of humour. It's full of little looks and little sayings that appeal to my sense of humour, especially anything spoken by Rutherford. The scene close to the beginning where she is analysing Pond's office to see what kind of headmistress resides there is brilliant, as is Sim trying to give a lesson in the entrance hall that keeps getting interrupted. I think the thing about The Happiest Days of Your Life is that it's difficult to pinpoint particular scenes or moments - the whole film just combines to be hilarious.

Classic Film Review: Kind Hearts and Coronets (1949)

Kind Hearts and Coronets stars Dennis Price as Louis, the distant heir to a dukedom who plots to murder the eight family members standing in his way. The film opens with Louis in prison writing his memoirs and we find out how the law caught up with him We also see his relationship with Sibella (Joan Greenwood) develop, his first love who disparages his pretensions and marries Lionel (John Penrose) instead, only to start an affair with Louis later, and the widow of one of his victims, Edith (Valerie Hobson), who he takes a real shine to and is more equal to him in station. What will be the cause of Louis's downfall?

This is a brilliant film. It's a softly satirical piece of comedy, no laugh out loud moments but utterly hilarious in its way. Dennis Price does a good job as the suave, disgruntled killer but the real star of this is Alec Guinness who plays eight members of the D'Ascoyne family including Lady Agatha. The most interesting of these is probably the vicar is probably the best, dithering and pondering as he shows Louis, dressed as a continental bishop, around the church. Each death is excellent, completely different to the one before and Louis pulls them off with aplomb.

Joan Greenwood as Sibilla certainly grows in prominence and personality throughout the film. From an ambitious young woman, she becomes a coy adulteress and, finally, a manipulator worthy of Louis himself. She is a nice foil to Edith who is desperately nice and far too good for the murderer. He and Sibilla certainly deserve each other.

The twist towards the end was very welcome and fitting. The final scene when Louis realises what he has forgotten is golden and it allows you to fill in your own conclusion. Ultimately, Kind Hearts and Coronets is a dark comedy about jealousy and revenge but it also serves as a reminder that sometimes it's the things you don't count on that bring you down - and that nothing is as dangerous as a woman scorned.

Classic Film Review: Lady on a Train (1945)

Lady on a Train tells the story of Nikki Collins (Deanna Durbin), a woman travelling to New York to spend Christmas with her aunt who witnesses a murder in a property just before the train gets into Grand Central. When she goes to the police they think she's wasting their time so she tries to enlist the help of her favourite mystery writer, Wayne Morgan (David Bruce). However, he's perturbed by the attention so she has to set about investigating the matter herself. By accident, she ends up masquerading as the dead man's nightclub-singer lover which brings her into contact with the household and, in particular, his nephews Jonathan (Ralph Bellamy) and Arnold (Dan Duryea). Has she put herself in danger? Rounding out the cast is the excellent Edward Everett Horton as Nikki's chaperone in New York.

This is an absolutely brilliant film. I saw it described in another review as 'screwball noir' and that certainly fits. It doesn't take itself too seriously, there's always something going wrong for Nikki's investigation but there are some real moments of tension and suspense. I'm not sure how it manages to mix the two up so superbly but it does.

Deanna Durbin evidently relished the part. She brings warmth and energy to the role and bounces off everyone in sight. Her interactions with David Bruce as Wayne when she follows him into a movie theatre to try and get his help are nothing short of hilarious. There are plenty of little moments throughout where she makes her mark and, of course, there are the requisite songs, including a beautiful version of 'Silent Night'. However, the scene that had me in stitches was the 'shush, I'm a chair' scene. Pure gold. The rest of the cast is great too, though special mention goes out to Edward Everett Horton for being the loser in every scene he's in.

The identity of the murderer was neatly obscured by the conspiracy around it. I didn't try too hard to work it out though - I was enjoying the ride too much. Definitely recommended and Deanna Durbin has been added to my list of favourites, rather belatedly, I know.

Classic Film Review: Double Dynamite (1951)

Double Dynamite stars Frank Sinatra as bank teller Johnny Dalton who desperately wants to marry Mildred 'Mibs' Goodhue (Jane Russell). Unfortunately, he believes they can't afford it and Mibs storms off. On his way back to work Johnny stops a bookie being beat up by his rivals. The bookie rewards him by putting some money on a horse for him and soon Johnny finds himself with more money than he could possibly dream of. However, when he gets back to the bank he learns they've discovered a shortfall in the accounts and he'll be prime suspect, unable to prove he got the money from the bookie. He turns to his friend Emile J. Keck (Groucho Marx) for help but it all gets very messy.

Frank Sinatra's at his wholesome stage here, playing the same kind of role he played in Anchors Aweigh (1945) and On the Town (1949) (incidentally, this one was filmed in 1948 but held back from release). He plays the uncertain and anxious Johnny well enough, particularly when he's bouncing off Marx as Emile. Marx himself is excellent, stealing every scene.

My problem, surprisingly, was with Jane Russell. She was completely miscast. The character was weak and soppy for the most part without the attitude and humour I associate with Russell roles. She might've been billed first but it's easy to see this was a Sinatra vehicle and Russell didn't have much to get her teeth into until the last fifteen minutes or so.

The plot itself is flimsy and it only contains two songs but 'Kisses and Tears', the duet between Sinatra and Russell (see below) is quite good. Without the presence of Groucho Marx, though, I suspect this film would be much less enjoyable than it is.

Classic Film Review: Hobson's Choice (1954)

Hobson's Choice stars Charles Laughton as Henry Hobson, a drunkard bootmaker in nineteenth-century Salford with three daughters. The eldest, Maggie (Brenda de Banzie), is the shrewdest, an effective salesperson who can make a customer buy boots when he didn't come in for them. Her sisters, Alice (Daphne Anderson) and Vicky (Prunella Scales), are less useful and want to be married but Henry doesn't want to lose his free workers. He offends Maggie by saying that she couldn't find a husband anyway at her age so she sets her sights on his best bootmaker, Willie Mossop (John Mills), and aims to teach her father a lesson.

This is an hilarious film, thanks in part to the brilliant source material but also the central three performances which are downright fantastic. My first Charles Laughton experience in They Knew What They Wanted (1940, review here) wasn't a pleasant one but this role was seemingly him at his best. The domineering drunkard who regales his pub companions with stories of his dictatorship at home is perfectly suited to Laughton's talents and he's nothing short of hilarious when he's 'following the moon' from puddle to puddle whilst in a drunken haze. Also brilliant is John Mills as Willie Mossop, the character who undergoes the biggest change throughout the film. The scenes between Willie and Maggie when she tells him they're engaged and coaxes him into marriage without him having a say in it are brilliant. However, unquestionably, the star of Hobson's Choice is Brenda de Banzie. Though little known, she outshines both Laughton and Mills, stealing almost every scene she's in.

There are too many funny moments in this to mention but there are also moments of tenderness. Personally, my favourite scene was the day after their marriage when Willie and Maggie are preparing for the day in their new shop. Willie's eyes have been opened by the wedding night and he shows his first true affection towards Maggie in a surprisingly sweet moment. Then it's back to work.

Ultimately, Hobson's Choice is about backbone - both when to grow one and when to let it crumble. The story might have been familiar to me (I saw a stage adaptation of it last year) but the excellent performances made it worth watching. I laughed out loud many times and I'm sure a rewatch would have the same effect - this is one film that I doubt will get old.

Classic Film Review: Enchanted April (1935)

Enchanted April tells the story of two women who meet in a women's club and decide to rent a castle in Italy to get away from their respective husbands. Lotty (Ann Harding) persuaded her husband Mellersh (Frank Morgan) to write a book under a pseudonym but then he moved to a studio and she barely sees him any more. Unbeknown to her, he has been getting close to Lady Caroline Dester (Jane Baxter), coincidentally one of the women who comes to join Lotty in the castle after she puts an advert in the paper. When Mellersh finds out where Lady Caroline has gone, he resolves to follow her, not knowing he's also going to see his wife. The woman Lotty initially sets off to Italy with is Rose (Katharine Alexander), married to the opinionated Henry (Reginald Owen). Henry also sets off to join Rose while the fourth woman of the bunch is Mrs Fisher (Jessie Ralph).

That preamble may make it seem like a packed film but, really, very little happens. It's only just over an hour long but it felt twice that. It's full of little scenes which might have worked well in the book or in the stage play this was adapted from but on film they just feel disjointed. There's very little real conflict during the main body of the film, aside from Mrs Fisher's skirmishes with Lotty and Rose but even those are resolved far too weakly. Despite that, I have to say that Mrs Fisher was probably my favourite character. When Mellersh arrives, I rather feel that the writers missed the opportunity to make the awkwardness more effective. There was no real climax, no proper fallout. I came away wondering why I'd spent any time with these characters.

Most important, perhaps, is that some of the actors are incredibly ill-fitted in their roles. Ann Harding's performance is disastrous: while she attempts to Lotty as a dreamy, ditzy woman, it's completely over-played and she just comes across as silly. I didn't particularly care about the shock coming her way. As for Reginald Owen as Henry... Well, I just wanted to slap him. There's a fine line between an amusing character and the most irritating thing on screen but he leapt over it, sadly enough because I know he's a very good actor under other circumstances. The bath scene was amusing but it would've been better had it been slightly under-played. Every time he came on screen I wanted to switch off.

Enchanted April had an excellent premise but didn't deliver in terms of script or acting. There were some funny moments but it was practically devoid of tension. Better performances may have saved it but maybe not.