Elstree llama

As you would expect, how much you enjoy the film will depend on your tastes. The film is little more than a filmed variety show from that era. It features a diverse set of performers and comedians putting on a show for the audience. The MC is actually fairly funny, employing the style of humour where the talking starts out serious but then falters into something ridiculous. Some of the "connecting" skits (i.e. antics in between the main numbers) are quite good too. The main numbers ranged from excellent to awful. On the awful side, I didn't enjoy the bits of ethnic humour (e.g. Scottish people being cheap, which is the topic of an overly long "comedy" song). Weirdly, there's an act in this movie (featured twice) called "The Three Eddies", which was actually quite a spectacular piece of footplay (I chose to re-watch those dance numbers a few times - also, see Youtube). The "weird" (and sad) part is that "The Three Eddies" were three black men wearing black face! The black face made me feel uncomfortable even though they were actually black men underneath. The movie also has a very rotund xylophonist who made great music but also told an ethnic joke during one of his episodes (that joke ruined an otherwise pleasant scene). Another item of interest is the early colour in some of the other dance numbers. Although primitive, the colour adds a kind of pastel prettiness that makes the number look like a painting rather than real life. There's also, by the way, a few connecting sequences directed by a young Alfred Hitchcock (only one of these sequences has an identifiable Hitchcockian style). Overall, I wouldn't recommend this film to the casual viewer... but it's well worth a look if you enjoy exploring the early history of talking cinema and can overlook some humour that is offensive by today's standards.

I've probably seen this one over a dozen times now and I still love it, but mainly from the standpoint of the music. You have to forget you are a film buff (you are, aren't you?) and think of it as a collection of pop videos from 1930. And the pop ranges from the sublime to the ridiculous: My Heart Is Saying, in colour (?) nicely sung by Helen Burnell but danced atrociously, to Only A Working Man in b&w by the incomparable Lily Morris. Praise the Lord this film was made if only for her two turns, also the Will Fyffe bits and the Cicely Courtneidge end song, I'm Falling In Love. How that one passed the censor at the time I'll never know ... I suppose no one told him!

Helen Burnell must have been the dancing inspiration for Jessie Matthews, or did all Show People dance like hippos pretending to be trees in the 20's? I've always loved the work of Jack Hulbert, mainly for his innocent British enthusiasm (and songs), but I'm afraid that he looked like a manic bus conductor in his one dance scene. Rotund Teddy Brown was marvellous to listen to - until he started telling jokes; The 3 Eddies - ah! Can you just imagine them walking on stage and launching into their high powered act nowadays? Horrified silence would follow, but how times and tastes have changed. The song Ladies Maids Always In The Know sung and danced to by the Charlot Girls would likewise be incomprehensible to nearly everyone too.

The glue that 'holds' all this and more together is supplied by Gordon Harker trying to get a picture of it all on his TV and Tommy Handley as TV linkman, with some surprisingly flat gags for a change. A running gag is supplied by Donald Calthrop attempting to perform Shakespeare; Anna May Wong puts him in his place - have you ever seen 'Taming of the shrew' with a massive custard pie fight or with a circling riderless motorcycle being whipped?

If you're going to watch this for the Hitchcock bits and are unmusical you won't like it, but if you can open your ears and hearts to these fine personalities from a bygone age then like me you may get something like innocent merriment from Elstree Calling.

It involves a variety of directors, including Andre Charlot, Jack Hulbert, Paul Murray, and Alfred Hitchcock. The film is comprised of short segments, usually stagebound, with singers, dancers, comedians, and assorted musicians, hosted by MC Tommy Handley, and also using a wraparound segment involving some people trying to watch the program on a primitive television, the development of which was in the news in the UK at the time. The performers include Donald Calthrop, Teddy Brown, The Three Eddies, Helen Burnell, Bobby Comber, Will Fyfe, and Anna May Wong, among many others.

This works best as a snapshot of the vaudeville-style entertainment of the time, often corny and grating, and occasionally inspired. Some segments are in Pathecolor, a technique wherein the frames were hand-colored. I enjoyed Calthrop's recurring gag as a would-be Shakespearean actor struggling to perform some of the Bard's works but always being interrupted. Hitchcock, whose participation has kept this from disappearing into obscurity, reportedly directed the interstitial bits with the people trying to watch TV. Not among the highlights of his career, to be sure.

Recommended for film historians interested in British film. All others YMMV.

I've always wanted to see proper vaudeville live. The ever-changing tones, acts, talents, & forms seem like a lively style of theater. Onscreen, however, it's just a mess. I think we're taught to expect a through-line in film, & there simply isn't one. Not to mention several of the segments are hindered by mawkish emotion, unoriginal musical numbers, or straight racism. Still, there are good pieces (fat musician, "wrong apartment", recurring Shakespeare joke).

This is interesting as a period piece. It is also of interest to Hitchcock fans.

Rather like the better-known American film King of Jazz, it is a collection of sketches albeit from the British music halls. Alas, this film is not nearly so good.

Sadly the music hall acts do not work so well on film. Will Fyffe, composer of "I Belong to Glasgow" in particular dies the death of a dog in a ditch.

There is a little Russian folk instruments orchestra who are uncredited. They probably only cost the studio ten pounds for the lot, and they may have been the same musicians who accompanied the great bass singer Fyodor Shalyapin on some of his best known records. To me they are the one act who come across well in this film. (Unlike Will Fyffe, balalaikas and domras will hold their own anywhere.) Sadly we may never know their names.

I doubt if the film makers were aware that what they were producing was a time capsule.