I Lived with You

I've never seen Ivor Novello like this before. Everything I've seen him in always seemed hammy, melodramatic, and over the top but here he is in a comic role and throwing out lines like Paul O'Grady - he even looks a bit like him. Quite a revelation. Mr Novello was gay at a time when you couldn't be out in the open about it apart from in theatrical circles and, even though this isn't a gay character he's playing, his performance is quite camp. I don't know how well this film did at the box office but I know this was quite a successful play on stage in London's West End. It's a shame he didn't do more films like this.

I approached I LIVED WITH YOU with trepidation. While Novello had appeared in 16 silent films, where his beauty and ability to act with good direction stood him in good stead, from his RAT trilogy to his two films with the budding Alfred Hitchcock. Talkies, however, were a different ball game. He made only six. His second, THE PHANTOM FIEND, was a remake of his silent Hitchcock film, THE LODGER, and he was just awful, as was the film, over-acting and emoting all over the studio sets. His next, a turgid melodrama with Ruth Chatterton, ONCE A LADY, gave him only a brief supporting role in twelve scenes.

I LIVED WITH YOU is an adaptation of his own play, in which he starred on stage, and it is a revelation. Very funny, very well crafted, with great lines and astute observations of character and mood. Ursula Jeans is perfect as the good daughter, Gladys. Ida Lupino in her fifth film is unrecognizable, she is so fresh, minor her later mannerisms in voice and posture.

The whole cast is full of great character acting and in the middle is Novello, totally charming and totally believable as a romantic Russian prince whose involvement in the lives of a poor but happy British family, upsets their lives in many ways. Later films to use this idea of a stranger entering family lives and changing them for ever were mainly comic (MY MAN GODFREY, MERRILY WE LIVE), but often moving and thought-provoking (BOUDU SAVED FROM DROWNING).

Novello has lost all of his theatrical mannerisms and theatrical emoting. He is fresh, funny and ultimately very moving. Facial and vocal expressions are fit and apt to the sound film. I've never seen a better performance of his and the film is absolutely wonderful.

Seek it out!

Despite the reservations one has to have when a Russian prince has a Welsh accent barely disguised and a character disappears after a couple of scenes (young Albert the son takes 10 shillings to place a deposit on a wireless and is never seen again), this film is really sweet and extremely funny. To those of us who are familiar with Novello as a composer of luscious melodies of the likes of We'll Gather Lilacs it shows a new side to his genius. Great fun, especially the ladies' tea party and the early scenes in Hampton Court Maze.

Ivor Novello was a composer, musician, playwright, screenwriter, theatre actor/producer ....and... as this shows, a genuinely funny comedy actor too. He wrote this as well confirming what a talented, witty and insightful writer he was.

First of all, as a few others have said - what a surprise to find how funny he is. This is not what you'd expect from Ivor Novello. His very Welsh Russian accent is hilarious. His style is campy fabulosa - like a 1930s Kenneth Williams. Were he around today he'd have a weekly prime time tv slot. Like the best writers, he shares out to all of his cast equal funny lines and equal opportunities to shine. It's very democratic inasmuch that all the main cast have about the same amount of screen time and all have properly developed characters.

Another surprise is what a well made film this is. It's produced, directed and acted much better than a lot of films from 1933. The reason for its high quality is due to a guy called Julius Hagen, an incredibly ambitious German emigre who for a short time ran his own British film studio, Twickenham Studios. Two things now happened at the same time. 1. The Depression in America resulted in the American studios cutting production so they needed to outsource films to fill their cinemas. 2. Noticing that Korda at London Films made a fortune with his big budget HENRY VIII, Hagen thought he'd do the same. So in 1933 when UA needed product for the cinemas he abandoned churning out cheap 'quota quickies' and invested heavily into making a few high quality films like this. There weren't too many English films in 1933 made this well so this is something quite special which is what makes it still so entertaining today.

It's instantly engaging, intelligent and great fun. It's not the typical silly slapstick nonsense that was popular at the time but neither is it a high-brow, pretentious bore. In fact , it's got as many one-liners and subtle innuendos as you'd find in any Carry On film thirty years later. And one last observation - Ida Lupino sure was pretty!

I for Novello was principally a stage actor and he only made a handful of film appearances in the sound era.In fact it has to be said watching this film that he looks every bit the stage star.Every time he appears on screen the focus is really on him.He plays a Russian Prince who has found his way to London with a cache of priceless jewels.He is discovered at the maze at Hampton Court by Ursula Jeans who decides to take him home to her parents home where he is invited to stay.This disrupts everyone including young her boyfriend,an impossibly young Jack Hawkinns and her younger sister,Ida Lupino.He is used by the film as a sort of device to solve all of the characters problems,not the least being that of Elliott Markeham who has becomec romanticallybinvolved with his secretary,who is determined to take him for all that he has.