Bulldog Jack

I'm constantly amazed at the inventiveness of 1930s detective stories. The genre was still being formed and all sorts of crazy narrative techniques were being tried. Most failed of course or even if they hit, they weren't rich enough to be developed and therefore died as well.

The Bulldog Drummond franchise was one of the most successful of the era, and also one that had the most experimentation, compared for example with Chan or Holmes. In this edition, the crooks hide behind false identities and motives. The criminal plan is to create a deceptive object. So there are already two "false identities" involved. This film adds a third: the series detective has a surrogate who operates in his name.

It doesn't work for me. Probably didn't at the time, except to provide a way to introduce "British" humor. But its a clever idea, huh?

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

Have seen this film several times now and generally chuckle/grin/smile most all of the way through. Always enjoy seeing the Underground and the British Museum settings again. Excellent "escapist" antidote to today's generally depressive "gloom and doom" national atmosphere. These days, I feel we need more of this type of film and less of the kind that's too light on dialogue and too heavy on violence and special effects.

This is very much a comedy, and the comic skills of the main leads are quite good.

It also works pretty well as a standard adventure film in the mold of the main series, albeit with none of the usual actors.

The main problem with this is that although the leads are funny, and Fay Wray is very pretty, they just don't have the charisma and charm of the actors in the main series.

The same year that BULLDOG DRUMMOND STRIKES BACK (1934) emerged from Hollywood, Britain supplied its own adventure for the character (incarnated by Ralph Richardson) created by H.C. "Sapper" McNeile, namely THE RETURN OF BULLDOG DRUMMOND – in which he was pitted, as in the 1929 BULLDOG DRUMMOND, against his frequent antagonist Carl Peterson. A year later, a spoof (note my review of STRIKES BACK, which was itself something of a lampoon!) was produced – also in Britain – and, interestingly, Richardson here changed sides and essayed the chief villain role!

Anyway, the narrative – on which the author was himself involved! – begins with the real Drummond, played by one Atholl Fleming, being put out of action after he has promised leading lady Fay Wray (in a brief U.K. stint) his help; partly to blame for this indisposition, star Jack Hulbert – pining for the thrills that are Drummond's bread-and-butter – requests to offer his services but, when he comes face to face with Wray, decides to take the case (since he had been asked by the sleuth himself to temporarily impersonate him!). Also on hand is Drummond's sidekick Algy (played by Hulbert's younger brother Claude!), who is against their getting involved further…but, when the heroine is kidnapped, he joins "Bulldog Jack" (incidentally, the film was bafflingly retitled ALIAS BULLDOG DRUMMOND for the U.S.!) in pursuit.

As it turns out, this is guilty of the same criticism with respect to plot that I leveled at the Ronald Colman vehicles which preceded its viewing: Wray is in the care of a grandfather, whose forgery skills are sought by Richardson in order to replace the jewels adorning the statue of an Indian goddess inside the British Museum. While Jack Hulbert does not make for the most sympathetic lead (he had earlier starred in another highly-regarded, but unfortunately only partially available, comedy-thriller by the same director: the 1931 version of THE GHOST TRAIN, whose remake – also by Forde! – made 10 years later I own and have reviewed), the film maintains a good balance between delivering laughs and creating suspense. Also notable here are the settings – as mentioned, the climax occurs in the British Museum (to where the criminals gain access through the lid of an ancient tomb!), while Richardson's hide-out is in a disused branch of the London Underground (he even escapes by assuming control of a train, but is naturally routed by the intrepid hero) – and the editing (including judicious use of overlapping dialogue and cross-cutting).

To get back to THE RETURN OF BULLDOG DRUMMOND for a minute, I chose not to watch it at this juncture because I have a few more of the character's adventures (from his Hollywood run of B-movies) to go through – and, in any case, the three I did check out had earned a spot on the "Wonders In The Dark" poll of the all-time top 3000 films (even if I do not agree with its ranking this the highest)

One of Jack Hulbert's best films, a spoof of the Bulldog Drummond series. There is little point watching Bulldog Jack if you are a fan of neither Bulldog nor Jack, but the USP of this film is that it doesn't play fast and loose with the thriller elements. It works pretty well as a Drummond film, and the first reel could easily have been transplanted from any of the others, as the crooks try to sabotage Drummond's car. Jack Hulbert steps in with his immense amateur enthusiasm and endless self-belief, immune to any doubts about his detective ability despite setback after setback; this confidence was Hulbert's trademark, and in any of his films you knew it would get him the girl, eventually. Smart dialogue peppers most scenes, particularly the early scene in Drummond's flat where Hulbert tries to make sense of the mysterious goings-on: "who is this man Santini, and why doesn't he know what he's done?" Claude Hulbert steps in as Algy, perennial 'silly ass' of the Drummond films, a clever piece of casting which allows brother Jack a confidante who will not outshine him, however dim he is being; Claude's finest moment is in the climactic scenes on the underground. Ralph Richardson is a somewhat eccentric master villain (with bizarre hair and a "filthy hat"), and Fay Wray as the love interest plays it entirely straight, which was probably wise.

For the aficionado of either Bulldog or Jack, this is a great picture. It is one of Hulbert's best (he was always a stage star), and it's better than most straight Drummonds. This is at least partly because the thriller elements are taken seriously. The most obvious sign of this is that there are no songs in the film, still less dancing. Even in Jack's the Boy, in contrast, Hulbert gives himself a couple of charming numbers. The self-restraint pays off in spades here.