Soldiers of the King

Cicely Courtneidge was a major musical comedy star in England for decades. She starred in 30s films (sometimes with husband Jack Hulbert) and ranked as a major star. She seems forgotten now.

Most of her films are minor musical comedy efforts, often based on stage shows, and the films suffer for that. SOLDIERS OF THE KING, also known as THE WOMAN IN COMMAND, has a mish-mash of a plot, but that doesn't really matter.

Courtneidge stars here in a dual role, as the retiring Jennie Marvello, the "queen" of an odd stage troupe that marks its ancestry back to Nell Gwyn. Her successor is Courtneidge as Maisy Marvello. Maisy is pursued by stage manager Edward Everett Horton but is devoted to "the act." She had a failed love affair years before but is threatened "the act." When Maisy ascends to "queen," they bring in Judy (Dorothy Hyson), but she is soon pursued by a handsome officer (Anthony Bushell). It's then up to Maisy to confront her old flame to save Judy and "the act." The highlight is the adagio act when Maisy has to replace Judy at the last minute (the show must go on). Courtneidge is a delight as she is tossed and thrown around the stage. She also gets to sing a couple songs.

Courtneidge is probably best remembered now for he co-starring role in THE L-SHAPED ROOM.

Totally forgettable movie here - the comedy is silly for the most part (a few good jokes, canceled out by the many bad ones), and while the music is at times quite lovely, it's unfortunately instantly forgettable. The plot could probably fill the back of a matchbox - don't watch unless you're rather bored ;)

Courtneidge in a role partly written for by her husband Jack Hulbert often spelt disaster.However whilst she isn't good lets say she is less bad than at other times.The problem with Courtneidge is that she just does not know how to act for the camera.It is as if she is playing to the furthest member of an audience in a theatre.Her supposed highlight,having to take over in the troupe may have been funny then but it certainly isn't now.The musical numbers really are the highlight of what otherwise would be a highly unmemorable film.This really is a film that only fans of hers can enjoy.Otherwise be warned,this is an entertainment free zone.

I remember as a kid listening to, and enjoying, Cicely Courtneidge on record, and of the affection with which she was spoken by my parents and grandparents. One viewing of this film could destroy all that forever, if this was the first Cicely Courtneidge film I had seen. Fortunately it wasn't, although some of the others aren't all that much better. But this story of the Marvello family and its two "queens" (both played by Cicely Courtneidge)has to be the worst of the lot. It is woefully unfunny throughout, the plot is boring and predictable, and the musical numbers are eminently forgettable. Made at a time when the British film industry sought to attract audiences with American names, the name in this case is Edward Everett Horton.I hope he didn't make the trip to Britain just to make this film, because his talents are wasted.

When Cicely Courtneidge's mother (also played by Miss Courtneidge, albeit in heavy makeup) retires, Cicely succeeds herself as Queen of the Marvellos, a family of music-hall performers. However, when young Dorothy Hyson begins an affair with a young soldier, Miss Courtneidge is trapped between her responsibilities and memories of her own affair years ago with another young soldier.

This vehicle for Miss Courtneidge is a fine exercise in British musical comedy, mostly because the director is the canny Maurice Elvey. While other film makers in this era would shoot a number in medium close-up with a stationary camera and quick cuts, Elvey understood what was cinematic: medium long shots, a moving camera and a much slower editing pace to permit the performance to come through. It's particularly memorable in a sequence in which Miss Courtneidge is simultaneously rehearsing a sentimental number for Miss Hyson while barking commands at her troupe, and the burlesque adagio dance she performs later on. It wouldn't be until two years later that the Astaire-Rogers films in the US caught onto this method and they would become standard.

Elvey also takes advantage of the presence of Edward Everett Horton in the cast. Horton usually played comic types in support, treasured for his wonderful triple takes. Here, his role is given some depth.

While the stage antecedents of this movie are very much in evidence, it remains clearly a cinematic effort, with a couple of good songs (including Miss Courtneidge's hit, "There's Something About a Soldier") and worthwhile viewing.