Tag Archives: British film

Caravan (1946)

You’ll oblige me by keeping her ladyship out of that dirty mind of yours.”

Based on a novel by Eleanor Smith, Caravan, a costume drama from Gainsborough Pictures is set in the 19th century and features versatile Stewart Granger at his swashbuckling best. Granger plays Richard Darrell, a penniless author who hopes to make his fortune in order to marry his childhood sweetheart, Oriana Camperdene (Anne Crawford). Darrell, the son of an English country doctor and a Spanish mother has no fortune of his own, but he’s not without talent. His childhood was spent brawling with the gypsies, poaching on the land of the wealthy,  and picking up various survival skills. One of Darrell’s significant childhood relationships is with Oriana, but he has competition in the form of wealthy Francis Castleton. Francis is a sneaky underhand boy who grows up to be a cruel womanizer who will stop at nothing to possess Oriana. Flashback scenes from Darrell’s childhood establish his early rivalry with Francis over Oriana’s affections.

When the film begins, Darrell, eyeing a window full of succulent food, contemplates using his last coin to buy supper, but fate intervenes when Darrell comes to the aid of wealthy Spaniard, Don Carlos (Gerard Heinz) who is robbed. Darrell not only fights the two men who are attempting to rob Don Carlos, but he also returns him, wounded, to his home. Don Carlos, a dealer in precious jewels, is grateful to Darrell, and arranges to get his book A Way Through the Woods published. Then he employs Darrell to deliver a priceless necklace which once belonged to Queen Isabella back to Spain. Darrell takes the mission because it will help fund his writing career and enable his marriage to Oriana, but at the same time, he doesn’t want to leave her.

While Oriana and Darrell see their separation as the necessary precursor to their marriage, Francis (a dastardly Dennis Price), sees Darrell’s trip to Spain as an opportunity to rid himself of his rival. Darrell’s departure leaves Oriana unprotected as her father has recently died, and since he gambled away most of the estate, she is left with a 100 pounds a year on which she must live. Francis sees Oriana’s penury and isolation as the perfect setting to manipulate her into marriage, and with Darrell off to Spain, Francis plots the destruction of his rival using his evil sidekick, Wycroft (Robert Helpmann),  and he also leads Oriana into believing she is in his debt.

If this all sounds like great melodramatic romance and exotic adventure, well it is. We have the star-crossed lovers, Oriana and Darrell who become separated by circumstance–some planned and some caused by fate. The exotic sets are mostly just that–studio sets, so don’t expect much authenticity here. In fact, the film’s glaring weaknesses are apparent in the opening credits when we see the back of man with  a guitar who is supposedly serenading a woman up in a balcony. Apart from the fact that if he is singing, the song goes on for far too long, he never moves, so the opening creates a wooden artificiality while the opening was supposed to set the scene for romance. With Caravan, you have to accept the fake stuff to enjoy the fun of the story which is over-the-top at times. Caravan is basically a 1940s version of a bodice ripper, and there are plenty of allusions to what goes on behind bedroom doors including a libidinous husband who promises not to demand his rights and then immediately reneges on the deal. The marvellous Jean Kent plays Rosal, a hot-blooded gypsy girl who makes her living as a dancer, and this involves banging a huge tambourine and stamping the floor from time-to-time. The passionate, wild,  and jealous Rosal is in complete contrast to the very correct British Oriana. Both women love Darrell of course, and here he’s cast as an Errol Flynn type character with all of his physical abilities on bold display: boxing, horse riding and even whipping. The film’s best scenes include Francis and Oriana–although there’s another marvellous scene involving  a group of London prostitutes who meet Oriana.

Dennis Price is deliciously evil as the dastardly Sir Francis, and he has the best role and the most memorable lines in the film–some of which refer to Ariane’s sexual incompetence, suggesting at some points that she could learn a few things from prostitutes and that she needs to start delivering the goods. Due to its sometimes over-the-top moments, Caravan does have its camp factors, so just sit back and enjoy the show. The story is great fun–believable or not.

“You see my dear, I suffer from an exaggerated sense of property and having gone to the trouble of getting something, even though it may be rubbish, I have the awkward habit of hanging onto it.”

Directed by Arthur Crabtree

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San Ferry Ann (1965)

San Ferry Ann, the title of a 1965 silent British comedy film, is a play on words and refers to the French phrase ça ne fait rien. If I’m translating it correctly–it means it doesn’t matter. The French phrase became bastardised by the British during WWI and ended up as San Fairy Ann–similar to murky buckets (merci beaucoup). San Ferry Ann is a further bastardisation and refers to the ferry that ships British holidaymakers over to France. My impression of French cinema that explores the behaviour of the French on holiday is that the films provide opportunities to the fictional characters to reshape their lives amidst philosophical discussion. At the same time I’ll admit this impression is drawn mainly from watching the films of Eric Rohmer. But when it comes to exploring the British on holiday, the emphasis seems to be on the worst sort of bad, boorish behaviour accompanied by an adverse reaction to foreign food–well a resistance to anything foreign. And of course the underlying question is why go abroad in the first place if you want everything to be the same?

The film follows the exploits, trials and tribulations of a handful of British holiday makers in France, and the plot taps into a number of British and French stereotypes, but it’s all great fun and the comic gem makes for a pleasant 55 minutes of nostalgia with a lot of familiar faces of British comedy.

The film begins with the British tourists in line to board the ferry to France. There’s a camper van with husband (David Lodge) and wife (Joan Sims). They bring along a set of parents, Grandad (Wilfred Brambell) and his Mrs. There’s an amorous honeymoon couple (Rodney Bewes and Catherine Feller) and a couple of hitchhikers (Barbara Windsor and Ronnie Stevens).

Since this is a silent film (apart from a few unintelligible phrases), the comedy is strictly visual. There’s boozing in the ferry’s duty-free pub, seasickness, driving on the wrong side of the street, and more than a few hassles with a French gendarme and a bicycle-riding Frenchman wearing the stereotypical onions around his neck. French toilets also come in for some ribbing. Grandad Wilfred Brambell is one of the best characters is the film–he strips off to sunbathe, finds every excuse to ditch his boring family, and strikes up a hilarious relationship with a former German soldier he meets in a war museum. 

Of course, since the subject is British tourists abroad, there’s more than one scene in a restaurant, and Joan Sims’s disgust at French cuisine had me in stitches. She’s only happy with a pint of beer and a plate full of chips. Keep an eye open for Warren Mitchell as the snotty maitre d’.

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The Admirable Crichton aka Paradise Lagoon (1957)

The Admirable Crichton aka Paradise Lagoon from director Lewis Gilbert is a wonderful film which skewers the British class system, and if you’re a fan of classic British film, The Admirable Crichton most definitely deserves a look.

The film is set at the beginning of the 20th century. Suffragettes are on the march in England, and Lord Loam (Cecil Parker), the aristocrat who owns a lavish country estate has definite ideas about equality. He does, however, draw the line at the idea of equal rights for women. Lord Loam is a bit of an eccentric, and when the film begins, we see a typical day in the Loam household. The house is basically run by the butler, Crichton (Kenneth More), but he runs the place so smoothly and tactfully that Lord Loam is left with the illusion that he’s the one really in charge.

Lord Loam decides to put his notions of  class equality to the test by inviting (in reality ordering) all the domestic servants to participate in tea with the family members. This is an occasion of embarrassment and awkwardness for the servants, and disgruntlement for Lord Loam’s two daughters, Lady Mary (Sally Ann Howes) and her younger sister Lady Catherine (Mercy Haystead). Lady Mary is particularly annoyed by the forced social engagement with the servants as she is about to become engaged to the horribly snobbish and strait-laced Lord Brocklehurst (Peter Graves)–a man whose horribly domineering mother, Lady Brocklehurst (Martita Hunt) does not approve of equality on any level whatsoever. She believes that the ‘lower’ classes should be kept in their place and that to contemplate otherwise is a very dangerous thing. 

 The youngest daughter, Lady Agatha (Miranda Connell) goes to London to watch a suffragette march with her fiancé Ernest Wolley (Gerald Harper). She’s supposed to be there observing only, but she gets mixed up in the protest and causes a family scandal. As a result of this event, Lord Loam, at Crichton’s suggestion, takes his daughters and a few indispensable servants on a cruise aboard his yacht. Things go horribly wrong, however, when the yacht is caught in a storm….

The Admirable Crichton explores exactly what happens when rigid class rules are transposed to a desert island. One of the most important characters in the film is Tweeny (Diane Cilento)–Tweeny (which basically means that she is a maid who works [between] several floors) discovers that her currency soars when beauty and culinary skills are valued more than bloodlines.

This film is essentially a comedy about hypocrisy, and we see that Lord Loam may have ‘enlightened’ views about equality with his fellow man, but these are just intellectual ideas that he really has no intention of actually altering his his lifestyle for. The first notion of hypocrisy comes in the film when Lord Loam mouths his beliefs about equality with the servants but then refuses to countenance the notion that women are equal to men. While Lord Loam may experiment with a tentative tea which he controls in his own household, he is ill prepared for a full-scale upheaval. On the desert island, there are no innate privileges, and instead survival skills become the most valuable skills of all. Just what happens when members of the upper class are forced to cohabit with their servants makes for great entertainment.

One of the notions here is that the class system may be enforced legally and socially, but it is also absorbed by all those involved. Thus we see Crichton as the ultimate snob with the other servants and a pragmatist when it comes to realising his humble position.

The Admirable Crichton is based on a play by J.M. Barrie , and here Barrie creates a very different alternate world from the fantasy world he created with Peter Pan, but it’s a viable alternate world, nonetheless.

There are two other film versions of this play: We’re Not Dressing (1934) and Male and Female (1919).

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The Man in Grey (1943)

“Has anyone ever told you what a slut you are?”

I read somewhere that the 1943 film, The Man in Grey is a bodice ripper. This unfortunate description does not accurately describe this excellent period piece film set in Regency England. The Man in Grey isn’t pure breast-heaving romance–although it does contain elements of romance. It’s also a tale of innocence and skullduggery that explores the treacherous relationship between two very different women. The film is based on one of the novels written by Eleanor Smith (also known as Lady Eleanor Smith).  Eleanor Smith is now almost completely faded into the shadows, and that’s a shame as she was a great storyteller. Think along the lines of Jamaica Inn and that’s the sort of high drama/romance/adventure that you typically find in the novels of Eleanor Smith. She also had a great passion for gypsy lore, so it should come as no surprise that a gypsy appears in a signficant role twice in this film. A number of films were made from her novels: Caravan (1946), The Man in Grey (1943), The Men in Her Life (1941), Gypsy (1937), and Red Wagon (1933).

The film is a frame story, beginning and ending in WWII Britain with an auction at the Grosvenor’s Square home of the Marquis of Rohan. The last marquis in the line has been killed in action at Dunkirk, and so the contents of the house (and possibly the house itself) are up for sale. A brash pilot, (Stewart Granger) introduces himself to a young woman in uniform (Phyllis Calvert). He tells her that he’s connected with the Rohan family in a vague way, and as it turns out she’s Clarissa Rohan, the last of the Rohans. The pilot is at the auction to bid on an item, and the first few moments focus on a Regency era portrait of Lady Rohan (also played by Phyllis Calvert) and the contents of her trinket box.

Then the film segues to Regency times–specifically to Miss Patchett’s School in Bath. The pupils are young ladies from the higher echelons of society who are expected to marry well, but there’s a new arrival Hesther (Margaret Lockwood). Hesther is well-aware of the humiliations of being the object of charity, and when the kindest pupil, Clarissa tries to befriend her, Hesther initially rebuffs her attempts. Eventually the girls part ways and Clarissa is introduced to the Marquis of Rohan (James Mason). Rohan, a notorious rake and duellist is required to produce an heir, but as one of his acquaintances notes: “I wouldn’t give him a dog I cared for.” This doesn’t bode well for Clarissa, but she agrees to marry him to please her guardian. Rohan doesn’t love his wife, but since he has to produce an heir, he does so with as little fuss, and affection, as possible.

Years pass with the Rohans leading separate lives in their Grosvenor Square home. Clarissa doesn’t love her husband, and she has no illusions that he loves her. But at the same time, she seems to be aware that her life is empty. She’s never experienced love or romance and that lack, of course, makes her vulnerable. Fate brings Hesther back into Clarissa’s life once more. At this point, Hesther is scraping a living as an actress with a troupe of traveling actors. She claims to be a widow, and Clarissa, struck with pity and terribly lonely, urges Hesther to return with her to London.

To quote the Marquis de Sade: No good deed goes unpunished.

The Man in Grey is full of marvellous performances from its stellar cast. Character and fate play substantial parts in the story that develops, and we see that human nature is immutable; the good characters cast into lives where they brush up against wickedness do not change due to the experience, and neither do the wicked improve from their proximity to decency. Included in the cast is Stewart Granger as the dashing actor Peter Rokeby and Nora Swinburne in a small role as the Prince Regent’s mistress, Mrs. Fitzherbert.

The film doesn’t overdo it with its portrayal of the wicked Marquis of Rohan. We know he’s a cad due to a scene that takes place between the Marquis and his mother, and we see glimpses of cruelty when he arranges a dog fight. Clarissa doesn’t see this side of her husband, and for a great part of her life, her innocence serves as a protection. The Marquis is attracted to Clarissa’s friend, Hesther, and under other circumstances, they’d be made for one another and would very likely bring each other only misery. When the Marquis tells Hesther, “I could cherish a wicked woman,” she takes that comment entirely too seriously.

The costumes and the settings are marvellous, and it’s intriguing to see Clarissa and Hesther together. Clarissa looks innocent, kind and good, and Hesther manages to look like a Regency tramp. There are some great scenes from Lockwood as she flips into her personas of the caring, supportive friend and the slutty mistress. In one great scene, Hesther says she “doesn’t like sugary things,” and that comment, of course, is directed towards sweet Clarissa. The film’s best scene, however, takes place when Hesther visibly wrestles with her conscience.

On the down side, the film includes a white child actor (who plays Clarissa’s page) blackened with make-up so that he appears to be black. It’s appalling, and no less so as one of the scenes depicts Othello with Rokeby in the lead role. There are also a few references to Rokeby’s “lost” estate in Jamaica, taken by “half-crazed savages.”

The Man in Grey is considered the first of Gainsborough Studios costume melodramas release, and if you enjoy it, then I recommend a companion film The Wicked Lady with the same stars (Lockwood and Mason), and the same director, Leslie Arliss.

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Ladies Who Do (1963)

“The bourgeois and the proletariat blood will mingle in the Charing Cross Road before they get rid of us.”

Ladies Who Do is a wonderful British black and white classic comedy which features some of the era’s best-loved stars. This is a good-natured tale of the underdogs who fight back against corporate growth and gentrification.  

The film’s heroine is the formidable Peggy Mount who plays practical-minded char woman/office cleaner, Mrs. Cragg. Mrs. Cragg works in the offices of developer, James Ryder (Steptoe and Son‘s Harry H. Corbett), a slippery, insincere character whose accents shifts according to his company. Ryder’s flashy lifestyle, which covers his upbringing in the slums, has almost bankrupted him, but he still maintains a posh office, a large staff, and a flash car. Ryder and his business partner are desperate to seal a new deal that involves the purchase of the homes on Pitt Street. Ryder plans to demolish the homes and then construct new office buildings in their place.

The trouble begins when Mrs. Cragg inadvertently transports a stock market tip  from Ryder’s office to her other employer, Colonel Whitforth (Robert Morley). Using Mrs. Cragg’s information, Whitforth subsequently makes a large sum of money, but Mrs. Cragg’s working class sensibilities cannot accept the idea that the stock market is an honest mechanism. She intends to give Ryder her share of the profit, but this plan, however, is abandoned when she discovers Ryder’s plans for Pitt Street. Mrs. Cragg lives on Pitt Street and has no intention of moving.

At this point, Mrs Cragg mobilizes her fellow char-women to unite against Ryder and his plans. He sees the residents’ refusal to sell as “a couple of old bags being difficult.” The consequences are hilarious and culminate on Pitt Street with various monkey-wrenching activities. Ryder, his workers and even the British police are no match for the cleaners–working class women who know just how to deal with the men who want to seize Pitt Street for their own ends.

Harry H. Corbett is perfectly cast as the slightly slimy, conniving (but not devious enough) Ryder. He meets his match in the charwomen, and of course the underlying message is that these women are invisible to their employers and so they can get away with a great deal more than the average person. The charwomen are hilarious and include Miriam Karlin as Mrs Higgins–a woman who’s tired of waiting for the Revolution, gormless Mrs. Merryweather (played by Dandy Nichols from Till Death Do Us Part), and nervous Emily Parish (Avril Elgar) who lives with her elderly mother. Elderly Mrs. Parish becomes a useful tool in the Battle for Pitt Street. Fans of British classic comedy, don’t miss this one. From director C.M. Pennington-Richards

Quotes:

“Would you close in a bit brothers. We have a spy on the outskirts of our little community.” (Workmen)

Take more than a bulldozer to put that old battleax under the ground.” (Ryder talking about Mrs. Parish)

“What do they want a teabreak for? They haven’t done anything yet.” (Ryder about workmen)

“Oh she loved the Blitz. She was very happy when the bombs were falling. She’d look out the window and shake her fist.” (Emily Parish discussing her mother to Ryder)

“You couldn’t have a derogatory effect on her heart if you ran her over with a bulldozer.” (Ryder talking about Mrs. Parish.

“I’ll have them out of there before you can say bulldozer.” (Ryder)

“You know the British workman. Loses every battle except the last.”

“What’s legal can’t be dishonest.”

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The Big Job (1965)

“How many times do I have to tell you we’re not going to dynamite the wall. It’s a police station. They get funny about that sort of thing.”

Of course I’m not going straight.”

“I joined the police force for a bit of action.”

“What are you all of a sudden? Britain’s best dressed jailbird?”

“When a man has to stay in bed, that’s the time he really needs a woman, I think.”

“Won’t you get into trouble taking the sergeant’s trousers off?”

“”What nit would want to climb into a police station?”

“Anybody’d think you haven’t seen a harpoon gun before.”

“Go on, buzz off to bed.”

“We’ve far more serious things to worry about than suspicious incidents.”

“Don’t run away from her, you nit. Give in.”

 Crime certainly doesn’t pay, but at least it provides a few laughs in the British Comedy, The Big Job. Although the film’s box cover brags that “The CARRY ON gang star in a cracking comedy caper film,” the film isn’t as funny as the best of the Carry On films. Directed by Gerald Thomas (who directed the Carry On films) it does feature a few of the Carry On stars–most notably Sid James and Joan Sims. The Big Job (aka What a Carry On: The Big Job) is an amusing film, and it certainly takes the viewer on a pleasant nostalgic trip to the 60s days of film.

big jobThe film begins in 1950 with gang leader, George aka The Great Brain (Sid James) planning a bank robbery with his criminal pals. The gang consists of Frederick “Booky” Binns (Dick Emery), Timothy “Dipper” Day (Lance Percival), and Myrtle Robbins (Sylvia Syms), who’s also George’s moll. The plan is to knock off a small bank, but the heist is bungled from start to finish. Prior to his capture, George hides the loot inside of a tree located in the countryside. George, Frederick and Timothy are all captured and sentenced to 15 years.

15 years later, Myrtle is at the prison gates for a reunion, but the first order of business is to go get that money. While George does manage to relocate the tree, it’s now standing in the middle of a police station. Undeterred George decides to book everyone in to a boarding house that stands opposite the police station. Here, he reasons, since he will be able to see the tree, he can work out a way to break into the police station and get the loot.

Lonely widow Mildred Gamely (Joan Sims) owns the boarding house, and the gang members check into her home as Professor Hook, Dr. Line, Mr. Sinker. There are a couple of problems; lanky policeman, Harold (Jim Dale) also lives in the house, and Mildred sets her beady eyes on one of the male gang members.

Some of the comedy comes from the gang’s complete ineptness, but Sid James isn’t at his best here. We only get the signature chuckle a couple of times, and Sid as an inept crook isn’t as funny as most of his other, better roles which usually involve some sort of craftiness (Carry On Camping, Carry On Girls). Sylvia Syms doesn’t quite fit in the role of gang moll Myrtle. Although she dons a working class accent for the role, she doesn’t quite carry off the part, and it’s in the moments that she’s silent that she seems most out-of-place. During breakfasts around the landlady’s table for example, the rest of the gang pass themselves off as birdwatchers, and of course, given the gang members’ behaviour and mannerisms, that’s a ludicrous notion. But when Sylvia Syms sits at the table eating and minding her own business as the conversation rages around her, she makes a believable professor’s wife. It’s just that all three professors are obviously not who they say they are. I kept imagining Carry On’s Barbara Windsor in the role of Myrtle–a bit tarty, cheeky and cockney–and it was a good fit.

Ultimately, Joan Sims steals the film as Myrtle Gamely. There’s one scene in her bedroom with “Prof Link” that displays this talented actress’s wide range. Watching the scene, it feels like being in the room as she coyly parries questions, hides her pleasure, and tries to act as though she isn’t being propositioned. The comedy here comes from the fact she really isn’t being propositioned but she thinks she is.

Another funny subplot involves the policemen’s choir led by the local Sgt (Deryck Guyler). He’s so engrossed in the choir, crime rages rampant outside of his very front door, and to him it’s just a big bother and a distraction from his main interest. He has the bureaucratic demeanor down pat.

For fans of British comedies from the 60s, this is a satisfying film–not wonderful, but it’s certainly a great pleasure to watch some many familiar faces again.

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The Pure Hell of St Trinian’s (1960)

“This is the final outrage. A soliloquy to striptease. What would the Bard have said?”

The Pure Hell of St Trinian’s is the third St Trinian’s film in the series of four, and out of the four films, this one and the first film, The Belles of St Trinian’s are my two favourites.pure hell

For those of you who don’t know, St Trinian’s is a notorious British boarding school for girls, and its pupils are out-of-control deliquents and hellraisers who run amok–much to the alarm of local residents, the police department and the Ministry of Education. The cartoonist Ronald Searle was the original creator of the idea, and four films were made based on his cartoons. Admittedly, there have been a couple of newer films to cash in on the St Trinian’s claim to shame, but since I’m not interested in them, they are not included here.

 St Trinian’s has an evil reputation, and both the Ministry of Education and the local police department long for the closure of the school, and in the beginning of the film, it does indeed look as though St Trinian’s days are finally numbered.

In The Pure Hell of St Trinian’s the girls are accused of setting fire to the school, and in an attempt to close St Trinian’s forever, the prosecuting counsel puts the entire school on trial–over 200 girls spill over the docks at the Old Bailey. With witnesses such as Lolita Chatterley Peyton Place Brighton and the rat who proposes to reveal the identities of the guilty girls for “knicker and a safe passage to Ostend,” the trial rapidly degenerates into a lot of rotten tomato throwing and several passes made at the judge.

Just as the judge is about to announce the sentence, a rather rum figure who calls himself ‘Professor Canford’ (Cecil Parker) proposes an “unorthodox approach” to punishment, and soon Canford and his potty headmistress–Miss Harker-Parker (played by the adorably cuddly Irene Handl) are given custody of the girls. Harker-Parker, by the way is the only one “who can produce a certificate to prove” her sanity. Canford plans to take the sixth form girls out of the country on a cruise to Greece, and to impress the Ministry he hosts a St Trinian’s Culture festival–and this includes such events as a paint battle, a fashion show that consists of tattily dressed urchins parading around, and then the “final outrage,” a version of Hamlet–complete with a striptease.

Canford leaves for Greece with the sixth form, and Policewoman Ruby Gates (Joyce Grenfell) succumbs to pressure from her fiance of 14 years–Sgt Sammy– to stow away on the ship packrat fashion–along with her recorder–and report back on the actions of the somewhat fishy Canford.

Soon “Operation Gymslip” is launched after the entire sixth form disappears. The British government decides the kidnapped sixth form must be saved as “after all, they are British,” but to avoid an international incident, the operation is secret. A mobile bath unit of the British Army (awaiting supplies of gin) is activated, and 2 school inspectors are dispatched with edible instructions. Serious help is on the way as the rest of the vicious St Trinians mob dash to the rescue.

This is yet another wonderful addition to the St Trinian’s series. Old favourites are here–the liftman from the Ministry of Education, George Cole as Flash Harry (and we see his tattoo in this film) has a much bigger role, and the 2 school inspectors, Culpepper-Brown and Butters return, and of course, the forever engaged “local copper’s moll” Ruby Gates (Joyce Grenfell) is back in a much-expanded role as the lovelorn, long-suffering policewoman, Ruby Gates.. Newcomers in this film include Cecil Parker and Irene Handl, but also Dennis Price as the marvelously snobby MP, Gore Blackwood, and Sid James–a truly great comedian–has a small role as Alphonse O’Reilly. One of the funniest sub-plots in the film shows the vicious hierarchy within the Ministry of Education, but even this hierarchy crumbles before The Pure Hell of St Trinian’s. From director Frank Launder and written by Sidney Gilliat and Frank Launder.

Some quotes:

“You’ve got hold of the dirty end of the stick there, gov.”

“Morals is not going out with boys after dark.”

“I will give you the grift for 200 knicker and a safe passage to Ostend.”

“The outbursts of hooliganism are really intolerable.”

“Stands to reason they couldn’t be anything other than round the bend.”

“Interpol will take care of you.”

“Bitterness does not become you, my dear.”

Where was your self-control?”

“There’s only one thing for it…mutiny.”

“Play for me, gyspy.”

“I understand you’re partly responsible for providing me with these hellcats.”

“Well instead of calling me Flash Harry, they’re going to call me Flesh Harry. What will my mum think?”

“Girls! Girls! It’s the fourth form!”

“After all the things you said in the back of the police car.”

“It’s getting rough out there.”

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