User Reviews

If you're under 55 then you probably won't know this film, as the last time it was shown on TV in the UK, from my memory, and that of another of the same age, was 1969. I can't compare it with any previous versions, as the Radio Times archive doesn't record either version being broadcast, and I'm not aware of a DVD release. After Ronald Shiner's most famous films, Reluctant Heroes, and Worm's Eye View, I would say this was his next best. The film is only based on Fred Duprez play, and the script was written by director Gilbert Gunn, and Talbot Rothwell, who became a regular writer for the Carry On films.

The scene near the end, where interfering mother-in law, played by Fabia Drake, is seen sitting on top of a piano while it hurtles downhill is hilarious.

Behind the scenes footage on the British Pathe website show the cast and crew enjoying themselves, and afterwards going to a party at Shiner's pub at Blackboys, near Uckfield. Other footage can be found at the ITN archive.

The lack of a DVD release may be due to the fact that the film was shot in Eastmancolor, which loses its colour over time, turning to magenta. The most we can hope for may be a B&W copy.

Not a case of third time lucky for Fred Duprez's dated stage play which was already old hat when the first screen version directed by Monty Banks hit theatres back in 1932. Gene Gerrard played Jack Gay, Muriel Angelus, his wife. In the 1941 remake, John Warwick and the super-lovely Patricia Roc played these roles under the direction of Walter C. Mycroft. The minor role of Doc Knott in both the play and the first movie version was updated to the star part and was enacted by Charlie Clapham. This "revision" was also followed by our 1956 re-make when Ronald Shiner was cast as the doc, and Ted Ray was Jack Gay. Alas, the players seem to spend all 76 minutes of the third version, shouting at the tops of their voices – but to precious little effect. It would be hard to point out even three or four mild chuckles in the entire script. Mind you, the players are not helped by the tawdry screenplay itself – the uninspired work of Talbot Rothwell and Gilbert Gunn – nor Gunn's equally pedestrian direction. This version was photographed in Eastman Colour (sic) – but to little avail. Robert Lennard and G.B. Walker were responsible for casting. Polly Young and Eric Aylott handled make-up. Music composed by Ray Martin was played by the Studio Novelty Group. Val Stewart served as the camera operator, while the R.C.A. sound recording camera was handled by Fred Goodes.