La rivale di mia moglie

A chirpy British comedy following the fortunes of two overly-competitive friends who enter vintage cars in the famous London to Brighton rally. John Gregson stars as the dour lawyer Alan who, baited by his larger than life friend (Kenneth More), accepts a bet on who will return to London first.

Dinah Sheridan and Fay Kendal provide glamorous and dependable support, with Kendal sparkling as an upper class fashion model with an unexpected capacity for trumpet playing and heavy drinking. Much of the film is typical race and chase stuff, but avoids the usual potholes of over-engineered stunts and tricks. The characters are far more interesting than that!

A brilliant harmonica soundtrack by Larry Adler keeps the tempo and spirits high and the full colour production provides a ready backdrop of 1950's town and country scenes. Escapist entertainment from a period when British cinema boomed.

Most people in the United Kingdom would probably know second leads Kenneth More and Kay Kendall today than they would John Gregson and Dinah Sheridan. But all four pitch in and make Genevieve as delightful and refreshing a comedy today as it was in 1953 when it came out.

The married Gregson and free spirit More are best of friends with a shared interest in antique cars. But every year that friendship goes under an extreme strain when there's an antique car rally and people with those old vehicles. Sheridan who is married to Gregson surrenders a bit unwillingly every year to the obsession that overtakes her husband.

If this film had been made in America, Jack Carson would have been perfect casting for More's role. He's an amiable blowhard with a different woman every few months and this month's flavor is Kay Kendall.

The rally is not a race it's just a bunch of folks who own these cars and drive them en masse from London to Brighton and back. But Gregson and More make it a race between themselves and there's a bet on as well. In America we would say racing for pink slips and in Gregson's case what's at stake is his beloved vehicle Genevieve.

The trip with both of them and what happens to these antique cars has loads of laughs in it. That's ratcheted up exponentially during the climax as both cars are just returning to London and shall we say showing their age.

Kay Kendall's best moment is at a nightclub where she's totally blotto and wants to play the trumpet. I'm sure it was dubbed, but sure enough a swinging version of the old ballad Genevieve is blown by Kendall. She's her usual marvelous self.

It's over 60 years since Genevieve came out. I wonder if that rally is still held and what is considered an antique now. This film certainly isn't.

"Genevieve" is a very unique film, with a rare quality that I have found in only a few films and books - there's something about it that is very appealing, and yet impossible to define. It is similar to the Ealing comedies, which isn't surprising, as Henry Cornelius directed "Passport to Pimlico" at the Ealing studios before leaving to become an independent filmmaker. I like it better than the Ealing films, though. It's so gentle and enjoyable - the ideal film to watch when home in bed with a cold!

I can't imagine anyone not liking this one. I smile whenever I think of it. It's a gem.

Enjoy!

What surprises me is the amount of adult humor in this British film that would never have been allowed in American features of the time. Consider the unmarrieds, Ambrose and Rosalind, going away for weekends, or Wendy's rather pressing engagement with a nature call, or the not-so-veiled allusions to sexual activity. None of these were allowed in Production Code America as policed by the Legion of Decency who could turn out boycotts on a dime, while Hollywood's studios quaked in fear. Congrats to the Brits for treating adults like adults, even if it was 60-years ago.

It is, of course, a delightful movie, with just enough grit to keep things from getting sappy. I loved seeing those picturesque country lanes I hope are still there. Happily, filming in color turned out to be a real plus. However, it occurred to me about halfway through that neither of the two guys, Ambrose or Alan, was particularly likable, rather unusual I would think for a commercial film. Alan, of course, does win wife Wendy's and our respect with his noble gesture toward the old man. But otherwise, the two guys appear defined by their rather small-minded obsession with outracing the other.

Nonetheless, the race is a lot of fun, as the two girls look on in bewilderment at the boys' madcap antics. Likely, the real stars, however, are the two wonderful vintage crates that belch fumes and leak fluid, but somehow sputter along. At the same time, that solo harmonica is perfect eccentric accompaniment. Hard to believe the filmmakers could take such a slender premise, small cast, and do it so well. But they do, so don't miss it.

Genevieve may be a little too short, but for me it is one of the best British films of the 50s. It is just a charming, delightful and re-watchable little film. The film looks beautiful, the photography is lovely and the scenery and colours are just as pleasing to the eye. The script has its fair share of funny, poignant and charming spots, the direction is spot on and the story is always engaging with the misfortunes and calamities never less than entertaining. The soundtrack by the harmonica maestro Larry Sadler is unforgettable, and the film is blessed with wonderful performances. I loved John Gregson, Kenneth More and Dinah Sheridan, but it was Kay Kendall who was the real joy. All in all, just a delight from start to finish. 9/10 Bethany Cox