Elstree Calling

A distinctly off-form Tommy Handley introduces this rather curious piece of cinematic entertainment that features a variety of stars from the British stage at the end of the 1920s. The mixture of musical, comedy and magical turns illustrates well just quite how a real pot-pourri of acts took to the stage in theatres up and down the UK - but there is no audience. Without the engagement, even applause, from those watching the whole thing comes across as a rather sterile collection of concert performances, as if filmed in an empty television studio. It has a couple of rather tenuous continuing threads that try to hold it together - one features a fellow with an elementary television trying, unsuccessfully usually, to catch some of the performance on his set. The other, has a more contrived Shakesperian theme to it that coupled with a lot of Handley's equally over-cooked links make this all rather a disjointed, and frankly rather staccato film to watch. As a curiosity, it is certainly worth a watch - but mainly just as a bit of nostalgia.

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.

Is it worth it to buy this movie? To a Hitchcock fanatic like myself (Vic Evans)I would say "Yes!" but to any person other than a movie historian I would say "Forget it!"

It is a collection of skits and songs with a bit of comedy in the form of a London stage musical and comedy "Vaudeville" revue. Revues like this one have been done on the London stage from time to time since Vaudeville days. I remember seeing one in London in 1974 called "Carry On London" with Sid James and many other members of the "Carry On" movie comedy crew.

"Elstree Calling" (1930) is presented in the form of a very early live TV broadcast hosted by Tommy Handley. You also see a family attempting to tune into this program. Every so often between skits, you see how they are making out. They experience great difficulty throughout the show. The picture comes and goes as they attempt to adjust the set. The TV set even blows up and is later repaired. By the end of the presentation, the reception finally is restored and the program ends. The problems with this new medium (television) is one of the running jokes.

To the audiences of today it is of little interest. The singing, dancing and comedy is standard for this type of English variety show of the day but terrible by today's standards. For dancing, think of "The Pleasure Garden" as a comparison. Those familiar with Hitchcock's work may remember "Mr. Memory" from "The Thirty-Nine Steps". The music hall in that film is a similar setting. Alfred Hitchcock said to Francois Truffaut about this film - `Not good.'

There is little evidence of Hitchcock except perhaps for a short scene about a murder of the "wrong man". You should recognise the Hitchcock touch in it.

While I don't think anyone knows for sure, I have read that Alfred Hitchcock may have been responsible for the TV broadcast/TV viewing family framework that links the skits together and a running gag with Donald Calthrop attempting to recite Shakespeare periodically throughout the broadcast.

Best wishes,

Vic Evans (marmalade_man [NOSPAM] at yahoo.com

Elstree Calling (1930), like most of the revues of the era, has some high points and misfires. Hitchcock's linking material here can be quite funny, and the colour sequences aren't bad (even if "The Thought Never Entered My Head" is a bit ungainly). A pleasant goof, for most