The Ware Case

THE WARE CASE is one of those murky country house potboilers that were all the rage throughout the 1930s, and even a brief train interlude fails to liven things up very much. The story involves an aristocrat, played by Clive Brook, getting into hot walker that involves his irritating brother in law, but when the latter is found murdered he ends up accused. Part courtroom thriller, part sedate romantic drama, this only really springs to life in the last ten minutes and at that point it's far too little, too late. As usual the depiction of a forgotten way of life is the most interesting aspect of this one, similar to that parodied in Wodehouse novels.

Sir Hubert Ware is an unscrupulous businessman and philanderer, when his creditors reach the end of their patience with him, he provides the name of his wealthy brother in law, Eustace as Guarantor, not long after Ware is accused of his murder.

Definitely a pot boiler, I imagine it would have been something of a crowd pleaser back in 1938.

It doesn't break any new ground, and some of the dialogue is very drawn out, but I'd say there's enough here to keep you entertained.

Made way back in 1938, it looks pretty good, and for the time it doesn't have a heap of static scenes, there is some imagination on the production. The acting for the most part is rather good.

I wonder if Hubert would have been something of a shocking character at the time, a day where decency and morals were perhaps top of many agendas.

There is no denying that Clive Brook is entertaining as Sir Hubert, he plays the part with a degree of flamboyance, he really does have a bit of presence. Jane Baxter is very good in support.

Look out for a young John Laurie, pre Dad's Army days, definitely entertaining on the stand as Hanson.

It's watchable, 6/10.

By 1938, this film had already been remade twice.

Clive Brook stars with Jane Baxter and Barry K. Barnes in "The Ware Case" from 1938.

Clive Brook plays Ware, a man always in trouble due to money and women. He's been given an extra three months by his creditors to pay his debts, naming his unpleasant brother-in-law Eustace as his guarantor. Eustace doesn't know anything about it, but when he finds out, he hits the roof.

Ware doesn't seem concerned. In fact, he wants to take a trip to Cannes. His wife (Baxter) refuses to go along. She feels it's time to face some facts and get their economies in hand.

Some time later, Eustace is found dead on the grounds of the Ware estate, and Ware is arrested for murder. Defending him will be a family friend (Barnes) who also happens to be in love with Lady Ware. However, he doesn't believe Ware is a killer.

Based on a play, the ending has a twist. The high point is the actual court case.

The revelation for me in this film was Jane Baxter. I had never seen her in a film. She was a lovely actress and beautiful to boot - in fact, a favorite of Sir Winston Churchill's.

I intend to do a review of all the films on IMDb that I have seen that presently lack one, like many of these films this was shown at the Gothique film society in London, March-2012, review follows...

Ealing, the 2nd of the 95 M.Balcon produced Ealing films, this rather clunky tale of a death at a country house, possibly murder, is all too clearly based on a play, of interest to people trying to see all the 'Ealing' films, this is one of their weakest efforts.

Note version I saw ran 71m 28s, not stated 79m.

If anyone is wondering what was the 1st M.Balcon Ealing film, then it is the far superior THE GAUNT STRANGER (1938)

The directorial debut of Robert Stevenson soon to go to Hollywood where he eventually found his niche with Disney.

The third screen version of George Pleydell Bancroft's 1915 play was made in 1938 but despite a reference to Neville Chamberlain remains stubbornly set in the era of The Great War. Clive Brook's Jack the Lad is thoroughly patrician and Ealing Studios' plush production hadn't yet achieved the common touch of their classic postwar comedies.

Frank Cellier plays his usual cold-eyed capitalist, the lower orders are represented by Edward Rigby, John Laurie - whose mirthless smile when one of his masters turns up dead provides the film's most amusing moment - and Wally Patch as a cabbie.