The bad reviews put me off from watching this for ages but I'm glad I relented - it's miles better than I expected. The quality of the prints available are pretty awful but it's definitely worth the effort of squinting for a bit!
It's actually funny - I'm serious, yes I know it's from 1931 but it really is funny. Yes I know it's made by BIP but it's skilfully crafted, wittily written, clever and funny. I'm surprised it wasn't a hit back in '31 but I think it might have been a bit too modern for those audiences. Although it's framed as a typical English farce with the usual mistaken identities, the humour is quite daring and radical at times. The cigarette-moustache joke with the old lady is pure Marx Brothers! The English masses in 1931 were a little conservative back then. As Marty McFly said after playing Johnny B Goode: Guess you guys aren't ready for that yet - but your kids are going to love it.... or should that now be great grandkids?
There's a definite Laurel and Hardy vibe here. It even steals the famous scene almost word for word from their 1930 short BELOW ZERO - when a woman shouts down to Stan and Ollie, the annoying street musicians: How much do you boys earn per street?..... 25 cents.... Here's a dollar, move down a couple of blocks.
Another reason it possibly didn't do well is because this came out at the height of 'the Jessie Matthews husband stealer' and the transparent dress scandals. She was labelled 'The Diva of Debauchery' and the narrow-minded ultra-respectable types decided to boycott this film featuring such a Jezebel. It was for this reason that BIP didn't renew her contract - so off she went to Gaumont-British to become a superstar.
Although the prints available are pretty poor you can still appreciate the quality of the production. BIP doesn't have the greatest reputation for filmmaking but the production of this is outstanding. In terms of filmmaking, this stands alongside a lot of what the top Hollywood studios were making in 1931. The photography is imaginative and innovative with some great long tracking shots - at times the camera seems to be a character itself.
What's so impressive is this was the directorial debut of theatre comedian Gene Gerrard. He'd only acted in one picture himself before so you can imagine he had dozens of ideas bubbling away inside him bursting to see if they'd work on celluloid. For the most part, he succeeds - it's fast paced, naturally acted....and nothing at all like a stilted, filmed stage play. Had he not returned to the stage, he could have been a major player in the industry because this shows his talent as a director and also as a very funny light comedy actor.
Although this film's main attraction is Jessie Matthews, it's not a Jessie Matthews film. It's a proper ensemble effort with Gene Gerrard taking the lead - which he does brilliantly. Even in a supporting role though, Jessie Matthews is utterly hypnotic in this. Even when she has no lines, your eyes are still on her because she always seems to be doing or gesturing something which keeps your attention. She skilfully yet subtly makes the camera (and yourself) fall in love with her.
Overall - a surprisingly professional, funny and clever comedy. It's certainly better than WALTZES FROM VIENNA.