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FATHER BROWN Aka THE DETECTIVE (Dir: Robert Hamer, 1954).
FATHER BROWN aka THE DETECTIVE (Dir: Robert Hamer, 1954).
The second big screen outing for G K Chesterton's fictional detective Father Brown, adapted from his 1910 short story The Blue Cross.
Roman Catholic priest and amateur detective Father Brown (Alec Guinness) pits his wits against elusive master criminal Flambeau (Peter Finch), intent on stealing a priceless cross from the clergyman.
Originally exhibited in the UK as Father Brown, the movie is now more widely available in prints bearing its US title The Detective. A glance at Father Brown’ s cast and crew and one would be forgiven for thinking this Columbia Pictures release was an Ealing Studios production. Director Hamer is reunited with his Kind Hearts and Coronets (1949) stars Alec Guinness and Joan Greenwood, whilst Ealing alumni Peter Finch, Bernard Lee, Sidney James and Cecil Parker all feature. However, any similarity between this lightly humorous detective story and an Ealing comedy ends here.
Languishing part way between comedy and mystery, the movie straddles both genres without a firm footing in either. Never reaching the witty heights of Kind Hearts and Coronets and not quite exciting enough to convince as a thriller. It ambles along nicely enough but lacks the narrative twists and turns that would have elevated the story above the mundane. Thelma Schnee and Hamer's screenplay never quite manages to over come the source material's inherent quaintness and at times threatens to become unbearably twee.
Alec Guinness is excellent as ever here, once again immersing himself chameleon like in the role of Brown. He is matched by the equally impressive Finch in a rare comedic performance for the actor, albeit not one especially played for big laughs. The rest of cast are, unfortunately, somewhat underused in what is largely a two-hander between Guinness and Finch.
Father Brown is good movie, but can't help but feel a little bit of a disappointment considering the talent involved. It is still worth a watch, if only for the excellent performances from its leading men. Not quite a classic, but a high quality time passer nonetheless.
Check out my blog JINGLE BONES MOVIE TIME for a longer review of Father Brown. Link below.
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More Posts from Jingle-bones
TOUCH AND GO (Dir: Michael Truman, 1955).
Jack Hawkins makes a rare foray into comedy in this lightweight, late period effort from the Ealing Studios.
Following a disagreement with his boss, furniture designer Jim Fletcher (Hawkins) makes the snap decision to emigrate to Australia. Less than enthusiastic are his wife Helen (Margaret Johnston) and teenage daughter Peggy (June Thorburn) with concerns for the family cat and Peggy's new sweetheart.
Aside from the excellent The League of Gentlemen (Basil Dearden, 1960), comedy was not really Jack Hawkins’ forte. Although an otherwise fine dramatic actor, he often seemed a little uncomfortable in domestic situations and was at his best as stoic men of action. Oddly, Hawkins was far more convincing as a naval officer or a pilot than he ever was as husband or father and his performance here is rather broad and lacking in subtlety. In fairness, he is given little to work with in a role which involves little more than expressing exasperation at his wife and daughter.
Scenarist William Rose was an accomplished comedy writer; responsible for Ealing classics such as The Maggie (Alexander Mackendrick, 1954) and The Ladykillers (Alexander Mackendrick, 1955) and later co-scripting Hollywood epic It’s a Mad, Mad, Mad, Mad World (Stanley Kramer,1955). So it is all the more surprising that Touch and Go doesn’t quite deliver the goods. Its attempts at humour are somewhat laboured and never raise the hoped for big laughs in a plot which offers no surprises; the denouncement can be guessed within the first 10 minutes. Which is not to suggest the movie is without merit. It ambles along nicely enough and certainly provides some mild chuckles. The muted colour palette is attractive and the atmosphere is cosily nostalgic.
Viewed today Touch and Go is a quaintly dated period piece. It does not rank among the greatest of Ealing Studios movies but neither is it a complete failure. Ultimately, it is just a little undistinguished and lacks the bite of other Ealing comedies. Still, it is a pleasant enough time waster that will certainly be of interest to Ealing completists.
100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME. Link below.
THE SHAGGY DOG (Dir: Charles Barton, 1959).
Walt Disney's first live-action comedy movie, suggested by 'Bambi' author Felix Salten's novel 'The Hound of Florence'.
Wilby Daniels (Tommy Kirk) discovers an ancient Borgian ring which magically transforms him into a shaggy Bratislavian sheepdog. Unfortunately for Wilby he has no control over when or where he will change. Also unfortunate is Wilby's father (Fred MacMurray) is a dog hating postman! As if this wasn't problem enough, Wilby is soon mixed up with Russian spies in what is undoubtedly one of the oddest concepts for a movie of all time!
Two years before the release of The Shaggy Dog, the Disney Studios scored a massive hit with Old Yeller (Robert Stevenson, 1957). This set the standard for a series of boy and dog movies such as Big Red (Norman Tokar, 1962) and The Biscuit Eater (Vincent McEveety, 1972). On the surface The Shaggy Dog might appear to be another boy and dog movie but the twist here is that the boy IS the dog. This weird set up was a welcome riposte to horror movie I Was a Teenage Werewolf (Gene Fowler Jr, 1957) and set the template for the seemingly endless steam of kooky comedies released by Disney for the next two decades.
Fresh from Old Yeller, Tommy Kirk was one of Disney's most appealing juvenile stars and here shows a knack for quirky comedy. MacMurray too, though a highly capable dramatic actor, had a flair for light comedy.
The plot is ludicrous, certainly, but it is very funny. Much of the humour comes from sight gags such as the dog putting on pyjamas and cleaning his teeth. Honestly, there is little I find funnier that a sheepdog driving a hot rod! The pre CGI effects that allow Wilby to turn canine are neat, low tech but effective.
The Shaggy Dog would eventually make over $12 million at the US box office, a massive return on an investment of around $1 million and 60 years after its original release has lost little of its peculiar charm. Disney comedies were notorious for their reliance on formula. Here the formula still feels fresh. It may not be high art but it is highly entertaining.
On a side note, the movie was computer colorized in 1986. While I highly recommend this enjoyable shaggy dog story I would implore you to watch it in its original beautiful black and white.
Check out my blog JINGLE BONES MOVIE TIME for more reviews of vintage Disney classics! Link below.
THE SIGN OF ZORRO (Dir: Norman Foster & Lewis R Foster, 1958)
Guy Williams stars as the vigilante hero who "makes the sign of a Z" in Walt Disney's feature film version of the hit Zorro TV series, broadcast on the ABC network from 1957-59.
Following a lengthy absence, Don Diego (Guy Williams) returns home to the Spanish Californian pueblo of Los Angeles. Finding his hometown under the rule of cruel Captain Monastario (Britt Lomand), he dons a black cape, assumes the new identity of Zorro and determines to overthrow Monastario and restore order to the pueblo. Cue lots of sword fights!
As with Disney's earlier feature Davy Crockett, King of the Wild Frontier (Norman Foster, 1955), The Sign of Zorro was edited together from episodes of a TV series. Screened in black and white but filmed in colour, Davy Crockett was a high quality production that transferred to the cinema with ease. Zorro was a more modestly budgeted production shot in black and white. Its static camera work and proliferation of close-ups did not hold up as well on the big screen. The cobbling together of various episodes results in a somewhat disjointed narrative with multiple climaxes and plot threads which are never properly resolved.
That said, the movie does have it compensations. Guy Williams makes for an appealing, athletic hero and is well supported by Gene Sheldon as mute man servant Bernardo and Henry Calvin as local law enforcer Sergeant Garcia; their deft comic performances nicely complementing the lighthearted heroics.
While the movie did not manage to repeat the success of the superior Davy Crockett, it did well enough to warrant a sequel. However, Zorro the Avenger (Charles Barton, 1959) was marketed solely to international audiences and was not released in the US.
Despite its shortcomings, this is an entertaining movie, thanks to its appealing cast and general good-natured ambience. If, like me, you enjoy a bit of swashbuckling you will find The Sign of Zorro has an easy going charm that is hard to resist. Slightly shabby but a lot of fun!
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Sign of Zorro. Link below.
THE SHAGGY D.A. (Dir: Robert Stevenson, 1976).
This kooky canine comedy from Walt Disney Productions was the belated sequel to hit The Shaggy Dog (Charles Barton, 1959).
Following on from the events of the original movie, now adult Wilby Daniels is now a successful lawyer, his dog morphing days behind him. However, the ancient cursed ring which turned him into a Bratislavian Sheepdog has been stolen from a local museum by some crooks in the pay of unscrupulous politician 'Honest' John Slade. With incredibly unfortunate timing, this occurs just as Daniels is about to run against Slade in a local election for the position of District Attorney. Daniels must run his campaign and try to get the ring back from Slade, whilst proving him corrupt. All the time running the risk of inadvertently turning into a sheepdog!
Replacing Tommy Kirk in role of Wilby Daniels from the original movie is Disney regular Dean Jones. Jones is appealing as ever, displaying his considerable talent for quirky comedy. Reunited with Jones in their 3rd film together is the equally appealing Suzanne Pleshette. With less to do than Jones, she still makes a good impression as the understanding Mrs Daniels.
Don Tait's screenplay, suggested by the Felix Salten novel The Hound of Florence, is his 5th screenplay for the studio and adheres rigidly to the cookie cutter approach adopted by Disney in this era. True to form, we have some broad slapstick humour, the inevitable car chase and the expected police car pile up. All achieved by some unconvincing back projection. Director Robert Stevenson had a 20 year association with the studio and this was to be his last feature before retiring. Responsible for classics such as Old Yeller (1957) and Mary Poppins (1964), The Shaggy D.A. must be regarded as one of his lesser works.
Still, I enjoyed this film as a child and get a nostalgic kick out of it as an adult. It doesn't quite live up to the weird and wonderful original but is certainly worth a watch if you like this sort of thing. Not quite Best in Show then, but a likeable mutt of a movie nonetheless.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Shaggy D.A. Link below.
THE INFORMERS aka UNDERWORLD INFORMERS (Dir: Ken Annakin, 1963).
Based upon Douglas Warner's novel Death of a Snout. The Informers, released in the US as Underworld Informers is a police procedural drama shot in a quasi-realist style.
Chief Inspector 'Johnno' (Nigel Patrick) investigates the murder of an underworld informer or 'snout' (John Cowley) linked to a series of bank robberies masterminded by gangsters Bertie Hoyle (Derren Nesbitt) and Leon Sale (Frank Finlay). Hot on the their trail, the hoods set 'Johnno' up so as to appear to have accepted a bribe. On suspension, he takes the law into his own hands and with the help of Ruskin's brother sets to bring the gang to justice.
Ken Annakin was a talented filmmaker, prolific in his time but vastly underrated today. With The Informers he delivers a crime drama which, 56 years after release, still feels uncompromisingly gritty.
Standouts among the cast are the distinctively voiced Nigel Patrick as the wronged 'Johnno' and Harry Andrews as his tough superintendent. Derren Nesbitt makes for a thoroughly unpleasant bad guy, while impressing further down the cast is Colin Blakely as the brother of the murdered snout.
The movie can be seen as something of a ‘missing link’ between the depiction of the friendly copper of TVs Dixon of Dock Green (1955 -76) and the more complex characterisation of the police force in The Sweeney (1974-78). Indeed, it seems ahead of its time in its depiction of the police and their relationship with the criminal underworld. It benefits from use of London locations from the banks of the Thames to backstreet Soho dives, shot in crisp black and white by cinematographer Reginald Wyer.
Some of the characters in Alun Falconer and Paul Durst's screenplay do border on stereotypes, while the climatic big punch up between good(ish) guys and the bad guys verges on the comic, but overall this is still fairly hard-hitting stuff.
With some stylish direction from Annakin and a quality cast The Informers is a solidly entertaining, if occasionally nasty, gangland thriller.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Informers. Link below.
