Jim di piccadilly

I am becoming a Robert Montgomery fan as I see more of his movies. As an actor who made most of his films in the 30's he is largely forgotten today compared with actors who kept making films into the fifties like Cary Grant and Jimmy Stewart. However he is a fine natural actor, a very good comedian and an altogether charming leading man. His specialty is the warm-hearted, well-mannered and slightly tipsy gentleman in evening clothes and he doesn't disappoint in this film. He pursues the girl with an admirable single-mindedness and belief in the inevitability of her eventual reciprocation.

The film has other pleasures, most notably the presence of Eric Blore as the gentleman's gentleman. This delightful actor is one of the great funny-men of this era. Also in fine form are Frank Morgan, as the ham actor who impersonates a Hungarian Count, Cora Witherspoon as an overbearing society woman, Billy Burke, Grant Mitchell and Robert Benchley as, what else, a lush. Truly a smorgasbord of character acting.

The plot is interesting enough to hold our attention and the little snippets of caricature and thirties-style newspaper comic strip are fun.

The only slight disappointment is Madge Evans as the ingénue, who plays it straight and is no match for the sublime Montgomery. All in all an enjoyable interlude.

In August, 1934, Metro-Goldwyn-Mayer offered $5,000 for the screen rights to the 1917 novel Piccadilly Jim, first filmed in 1919. The remake was initially to be produced by then M-G-M producer David O. Selznick in early 1935, with songs provided by Harold Adamson and Burton Lane. Rowland Lee was assigned by Selznick to complete work on the screenplay, which was initially written by Robert Benchley. J. Walter Ruben was set to direct, and Chester Hale had prepared dances.

After two years of scripting by at least nine writers, the new version of PICCADILLY JIM became overlong, finally clocking at 100 minutes. One-time screenwriter Benchley joined the cast. Rather than a musical, PICCADILLY JIM turned into a vehicle for Robert Montgomery. As the title character, he was aptly cast, one of the few Hollywood comedians who could simultaneously play an Englishman who combined intelligent and "silly ass" traits. Equally appropriate were Eric Blore as his valet, Frank Morgan as his father (the elder Jim Crocker, an unemployed ham actor), and many of the supporting players. However, leading lady Madge Evans brought no sense of comedy to her role.

As adapted for film, the story concerned how father and son both fall in love, not with the same woman, but with related women, although neither knows this, and Jim initially does not yet even know Ann's last name. When Jim's father is rejected as a suitor by the arrogant in-laws, the son conceives of a comic strip, "From Rags to Riches," centered around the dictatorial mother, the henpecked husband, and their obnoxious son Ogden. (Unlike the novel, in the movie Jim's nickname derives from his skill as a caricaturist, more than his reputation for late London nights.) When the strip becomes a hit, it makes further romantic progress impossible, but contractually Jim must continue drawing it. The family can't remain in England because they are so widely recognized, so the Crockers pursue their beloved to America, father in disguise, and son by concealing his true identity. Jim gradually changes the characterizations in the comic strip to make the family proud of the association, until only Ann, the niece, resists him.

Little of this is from the book; the main thread in common is the Pett family, with its meek father and rambunctious child, the title character's newspaper experience, and a few brief chapters which become the middle third of the movie, in which Jim follows Ann on board a transatlantic ship, using the name of his butler and pretending he is his father. Many of the movie's elements which had appeared in the novel and were standard Wodehouse devices, such as the eccentric butler, the henpecked husband, and the use of disguise and masquerade, compounded by mistaken identity, were also typical conventions of 1930s romantic comedy. Genuinely amusing passages scattered throughout the film are finally overwhelmed by too many dull stretches. Although PICCADILLY JIM had potential, under the direction of Robert Z. Leonard (who had previously directed the estimable THE CARDBOARD LOVER) it fails to achieve the standard of many other more memorable comedies of the period. Nonetheless, this version of Piccadilly Jim, when compared with the 2004 remake, retains the spirit of Wodehouse, his tone and characterizations. The 1936 film is amusing and ideally cast, with a cast and crew who know how to make the brand of charming romantic comedy seemingly unique to that era. And despite its shortcomings, it succeeds in that regard, displaying the skills of the studio era that are so obviously absent in the confused 2004 version.

When one reads Wodehouse novels and short stories one is in a world of gentlemen's clubs, social lion aunts and tyrannical mothers, henpecked husbands, merchants who are overly proud of their products (in one short story the rich uncle deals in jute and has a house decorated in models of birds made out of his product), would-be dictators of England who have family fortunes based on woman's lingerie, Earls who are more concerned about prize winning pigs than propriety, bartenders who have funds of stories to illustrate life with, butlers who are smarter than the aristocrats around them, idiot scions of noble houses who convince their potential in-laws of their good intentions by swallowing dog biscuits (which the in-laws manufacture), brilliant social tacticians whose schemes always come apart at the end, and golf lovers - always golf lovers. You rarely find a comment on the real world - the nobleman who made money from ladies underwear was an exception (a satire on Sir Oswald Mosley). But his variations on the artificial world of the rich and the powerful works a charm to this day. Unlike so many of his contemporary fellow novelists his works are still largely in print (mostly through the British publisher Penguin). And Wodehouse wrote over 100 books!

It is a great formula, but it can be spoiled. Arthur Treacher played Jeeves, the great butler, in two forgettable comedies in the 1930s (one with David Niven as Bertie Wooster) did not make a great impression due to poor productions. But a film like A DAMSEL IN DISTRESS or this version of PICADILLY JIM shows how it's done properly. The characters are not arch or overdone - but they all take themselves seriously. Montgomery is a night person, enjoying the nightclubs and such. But he does remember to have a caricature ready for his newspaper, folded in the pocket of his coat. Eric Blore is the perfect butler, trying to awaken his employer using bird calls (a talent he would also display with amusing results in IT'S LOVE I'M AFTER). But he is intelligent and loyal. When Cora Witherspoon's Mrs. Pett makes a sneering comment on Jim's formidable abilities as a caricaturist (as opposed to a real artist like Leonardo or Raphael), Blore's butler Bayliss boils over and rattles off a list of great artists who were gifted caricaturists, such as Daumier and Thomas Nast, and ending with Goya. Frank Morgan has not performed on stage in 20 years, but he is proud of his greatest role - as Osric in Hamlet (Peter Cushing in the Olivier film, and Robin Williams in Keneth Branagh's version). He uses it (successfully) to fool the Petts into accepting him into their family, while he secretly romances Mrs. Pett's younger sister (Billie Burke - the only one who realizes the truth in the masquerade).

In Wodehouse the road to love is never easy. Robert Montgomery makes a successful comic strip out of the Pett family (Witherspoon, Grant Mitchell, and Tommy Bupp) in revenge for their snootiness (actually it is the snootiness of Witherspoon - she thinks Morgan is a fortune hunter, and Mitchell is her henpecked husband who goes along with her; the boy Ogden Pett is one of those obnoxious kids in Wodehouse who enliven his books - actually Ogden is thoughtless and rude, but he actually thinks it's cool that he's in a comic strip). Montgomery learns that Madge Blake, the woman he loves, is angry at the comic strip and it's artist. He has to try to undue the damage his successful strip has done to try to win Madge back.

The film is a sparkling little drink of champagne, which the best of Wodehouse usually is. It's nice to see that for a change, Hollywood got the literary property's spirit right.

When the leading lady (Madge Evans) must explain why she likes her suitor (Ralph Forbes)and must contrast that attitude with her feelings for Robert Montgomery, you know the film is in trouble. Montgomery can say there's "electricity" between himself and Evans, but that spark is not transmitted to celluloid. And that is too bad, because the film is wittier -- per Wodehouse -- and better-acted than many films of the era. But Evans' loves and likings must be verbalized. The energy is simply not on the screen, only in the script. She is beautiful, though. She needed a different character -- more remote, more mysterious, more fearful of love. And then, maybe... Blore is wonderful, and lights up every scene he is in, as the butler who knows his Shakespere better than the ham, Frank Morgan. But this is one of Morgan's best roles. His only triumph, apparently, was as Osric, in Cedar Rapids. Now Osric is the foppish courtier at the end of 'Hamlet' -- hardly the role of a lifetime. But Morgan disguises himself as "Count Osric of Denmark" in order to infiltrate the family of his beloved (Billy Burke) and turns his failure as actor into personal success. It is a neat touch. Burke's flighty flutiness is hardly used in the film, but she does have a funny line about remembering how painful youth was. The Morgan-Burke romance is intended as a foil for the Montgomery-Evans courtship and that would have worked well had the main plot had more chemistry.

Jim (Robert Montgomery) is an artist and his father (Frank Morgan) a real lady's man. When the father falls for a rich society woman, her family turns out to be very snooty and condescending. Jim is infuriated and responds by creating a series of cartoons lampooning these jerks--and the series becomes VERY popular. However, when Jim meets Ann, he's smitten by her and is then shocked to learn she's from this same snooty family. So, Jim decides to stop doing these wildly popular cartoons and intends to keep his profession from Ann. To do so, he makes up a wild pack of lies...and has his butler (Eric Blore) pose as his father since they already dislike Jim's real father since the father is JUST an actor! Will Jim be able to keep this secret from Ann forever? And, if she learns, what will happen to their relationship? And why does Father show up...in disguise and with a thick German accent?!

In many ways, this film must have inspired the wonderful Errol Flynn film "Footsteps in the Dark". In this other film, Flynn lampoons society with his stories and all of these rich swells hate him...not realizing he's one of them himself! Both films are quite clever and worth seeing. Goofy, fun and the sort of movie they unfortunately don't make any more.