Much Too Shy

Just watched this film, and at 72 years old it's the first time I have seen this.

My wife and myself enjoyed trying to name the actors before we saw the cast list, picking out Kathleen Harrison, Jimmy Clitheroe and Valentine Dyall. Must admit to not recognising any other participants. An enjoyable light hearted piece of entertainment.

It doesn't bode too well when the opening scene of Formby's 1942 film involves a set that is so rickety and artificial looking that the slightest breeze will blow it over, and dear Kathleen Harrison (by then fifty years of age, and destined to live to 103)is the closest to a young female lead. Indeed, it is odd to relate that this is the first Formby film not to have a young female co - star to 'mother' the helpless Formby. Perhaps, after having cast a beady eye over the likes of Polly Ward, Phyllis Calvert and Dorothy Hyson, Formby's delectable co - stars in former hit films, George's over protective wife and manager, Beryl, blocked her husband's usual young female interest, supplanting such gorgeous beauties with diminutive, twenty year old Jimmy Clitheroe. Poor Jimmy - he was destined to have a glittering variety career, and a seminal radio series, 'The Clitheroe Kid', which ran for fifteen years, and a successful TV series, 'Just Jimmy', with Molly Sugden; but here, in an early film entry, he struggles in his relationship with George : is he George's son, or brother? Why is he there, living in a run down caravan, and not at school? Or perhaps he's an evacuee with a Lancashire accent.

Clitheroe's character is not the only weak piece of characterisation: other character actors, normally so reliable, struggle as well. Hilda Bayley, magnificent as Marie Lohr's dotty sister in 'Went the Day Well'?, made in the same year, and a wonderfully acerbic gossip in 'My Brother Jonathan', is almost in a daydream here; Joss Ambler huffs and puffs to no good effect, Gibb LcLaughlin, a far cry from his superb funeral director in Ealing's definitive 'Oliver Twist', is the stereotypical vicar, whose aristocratic family has probably sent the fool of the family into the church, (compare with Christopher Steele's beautifully drawn incumbent in the much better 'Tawny Pipit', two years later) and Peter Gawthorne adds another unsympathetic authority figure to his portfolio. (But with no sign of Will Hay). Frederick Burtwell, as the post master, is as wooden as those curious shutters that are removed from the front of the shop every morning, impervious to the attentions of a besotted Kathleen Harrison, even when the flimsy plot unfolds, in which he has seen a risqué portrait of her, allegedly drawn by George Andy (Formby).

Formby's successful films and smash hit songs had relied on innuendo, amazingly suggestive for the 1940s, but they were always subtle and funny. Here, the scenario of Formby's character painting semi nude portraits of local women is clumsy, silly and, quite frankly, not very funny. There was another problem - this was Formby's 16th film in eight years, and he had used up all his greatest songs. The result is new material, and I am afraid that 'Andy the handy man', 'Talking to the moon about you' and 'Delivering the morning milk' do not sit well beside the legendary songs of former films, 'Fanlight Fanny', 'My grandad's flannelet shirt' and 'Our sergeant major', to name but three.

Director Marcel Varnel does his best to raise the level of interest, in a scene where angry locals surround Formby's caravan and push it down a hill.. if only the film had ended there! Instead, it limps on, lamely, as our star gets on with the exciting task of delivering the morning milk. And that's another problem - the lack of action, as dictated by the setting. In former films, action and excitement are an integral part of the film, such as in 'TT Races', 'Spare a Copper', the RAF setting of 'It's in the Air', and the exciting spy at sea setting of 'Let George do it', which had a superb band backing Formby's songs.

Perhaps the whole conception of 'Much too shy' (what is the significance of the title, anyway?) lies in an escape to the country, far away from the bombs and deprivation of London and the major cities in war time, a theme that is handled expertly in the aforementioned 'Went the Day Well?' (1942) and the underrated 'Tawny Pipit' (1944). However, in 'Much too Shy' the caricatures are simplistic, not helped by an unimaginative and plodding script. Formby soon returned to the 'war' scenario in 'Get Cracking' (1943), but the writing was on the wall, if not on the portraits themselves.. Formby's film career was almost over, after a glittering twelve year period, and he was soon to be overtaken by another great star who would hold our screens for a similar twelve year period - Norman Wisdom (1953 - 65). Unless you are a Formby connoisseur, or you suffer from insomnia, don't bother with this film. After sitting stoically through this offering, I reached for Formby's 'Trouble Brewing' (1939), and my faith was restored. For the first time, George could never say 'turned out nice again' about one of his films.

"Much Too Shy" is a bit of a breakaway from the normal Formby style but despite this, or maybe because of this, it still comes up trumps. The plot is simple with Formby getting into hot water because of some portraits he has painted, which have naked bodies added to them by a scornful art class which goes on to become an omnipresent advert. Chaos and a court case follows. The only fault I found with this film was that the village was obviously built on a set; how great it would have been to have been shot on location! However set-bound films were par for the course during wartime and are easily forgiven. Set in a small rural village, the film benefits from a decent array of cameos from the likes of Kathleen Harrison, Charlie Hawtrey and, delightfully, Jimmy Citheroe. While it a gentle comedy, there is still a good number of belly laughs to be had and Formby is on his usual top form and his songs are top-notch. You may need to be a Formby fan to enjoy, but the same can be said for all his films. Formby was a genius at what he did and that comes across fully here.

Released on October 12th 1942 this Formby film probably has the best cast line up of any Formby film. George plays a milkman and part time artist who has a problem drawing bodies.On his milk round he is helped by his younger brother played by Jimmy Clitheroe (The Clitheroe Kid). Also in the cast is that ever reliable character actress Kathleen Harrison and Charles Hawtrey. The plot involves George drawing the heads of prominent ladies in his local village, The fun begins when some students led by Hawtrey draw voluptuous bodies on them. It was a rarity even in those days to have two big music hall stars acting in the one film. As usual George gets to sing and play his ukulele to the fallowing songs - Andy the handy man, They all laughed when I started to play,Talking to the moon about you, Delivering the morning milk. A little longer than the usual Formby films but great fun nonetheless.

George (Formby) is a shy and awkward handyman who lives in a small village and likes the local farm girl (Kathleen Harrison). He lives in a caravan and dreams of becoming an artist. When one of his portraits of some of the locals is turned into a nude piece by students at an art college he finds himself in hot water.

Not one of Formby's best vehicles and the first for his studio at Columbia. This was an indicator that his new studio had nowhere near the quality of comedy that he had been churning out for Basil Dean and Ealing. It is a little unusual in its mostly rural setting and there is a small part for Charles Hawtrey as one of the art students. He does get to sing a handful of songs, none of which are classics.