The Runaway Bus

Full of stodgy British laughs from almost fifty years ago, this movie was excellent to watch when there was nothing else to do. See an incredibly young Petula Clark (it took me a while to recognize her), Margaret Rutherford as the stereotypical English grandmother complete with fox fur and parasol, but especially the laughs are had by Frankie Howard, virtually unknown to American audiences. As the bus driver of a bus with about a half dozen passengers who are stranded in one of hte legendary London fogs, Howard gets the best laughs just trying to find the bus in the fog to begin with. The movie does valley out but it is interesting to watch to the end. Petula does not sing tho. This was a fun movie, if for nothing else then to see an aged, non-HOllywood film with non-Hollywood actors.

Certainly not one of the classic 50s comedies, but it allows Frankie to give full reign to his unique talent. There are rather too many unbelievable plot twists and many of the characters are two dimensional, but there are some good chuckles. Nice to see a young Petula, and also Belinda Lee, one of the many blonde bombshells of the 50s who were hyped as Britain's answer to Marilyn Monroe. Disappointingly, if you enjoy watching 50s films for their shots of towns and villages in the post war period, this one seems to have been shot almost exclusively in the studio and backlot Verdict : If you are a big fan of Frankie Howerd's style, go for it.

I taped this probably about 15 years or so ago, and I enjoyed it very much then. A young Frankie Howerd is hilarious, as is the interplay between Margaret Rutherford and Toke Townley. The young female airhead who keeps saying stupid things gets a bit annoying very quickly, but that's the only drawback. I must confess I have never recognized Petula Clark as the stewardess - she's a relatively good actress whatever else she is. And its so nostalgic that it all takes place in a fog...it's been so long that I've been in England that I miss it! It's an enjoyable film and I recommend it to anyone who likes mystery stories or British comedy.

Frankie Howerd who for some unexplained reason never got big stardom on the big screen made a very funny feature film debut where he plays a bus driver in The Runaway Bus. In fact part of the plot is that he's driving the bus for the wrong company.

It's supposed to be a regular bus, but a very pushy stewardess for British Overseas Airlines Corporation (BOAC) played by Petula Clark manages to dragoon Howerd into driving a shuttle bus that BOAC has for its passengers. Nothing is flying at Heathrow because of the fog, but the company will shuttle some passengers to another airport where they can make connections.

One of them wants to real bad because they've just stolen several gold bullion bars from the Bank of England and they're trying to affect a getaway. The problem is just who among the passengers is the thief? And the suspicions are not just confined to the passengers.

Complicating things is the fact that Howerd in the fog manages to drive the bus to an abandoned village that the British Army uses for war games. Believe it or not, it's all both pretty funny and suspenseful at the time.

Such various and sundry characters as Margaret Rutherford, George Coulouris, Terence Alexander, and Belinda Lee are all passengers on the bus. They all deliver performances well within their typecasting range.

Howerd never got big screen stardom on either side of the pond. His real fame was on the small screen in the United Kingdom. For me this was a nice introduction to his brand of comedy. I liked it and I think so will you.

One of the foundation stones of conventional movie wisdom is that only seven possible story scenarios are suitable for a mass audience. Recently, screenwriter Blake Snyder has expanded this concept to ten: Monster in the House, Dude with a Problem, Fool Triumphant, Superhero, Buddy Love, Out of a Bottle, Institution, Golden Fleece, Rights-of-Passage, and Whydunit.

You'd think that Mr Snyder had taken The Runaway Bus as his model, for Val Guest was inspired to use all but one of the above basics in constructing his heavily-laced plot: Monster in the House? Yes, we do have a major variation on a haunted house sequence. Dude with a Problem? Yes, a big problem. He's lost his way in the fog with a bus-load of eccentric passengers. Fool Triumphant? I'll say! Superhero? No, I'm glad to declare, but it's the only one we miss out on. Buddy Love? Yes, there's a girl on the bus. Two girls to be precise: perky, petite-as-a-picture Petula Clark and emptyheaded-but-wow-of-a-figure Belinda Lee! Out of a Bottle? Not quite the sort of addiction that Snyder implies, but cranky-as-a-hoot-owl Margaret Rutherford certainly gives that impression. Institution? Definitely! The characters find themselves in a "prison", and even the airport itself is virtually cut off and isolated. Golden Fleece? A major strand of the plot. Rights-of-Passage? That's also what it's all about. And Whydunit is actually a Whodunit here and this is the number one element of Guest's scenario. In fact, comedy really takes a second place to the mystery.

For what is to all intents and purposes his movie debut, Frankie Howard seems most fortunate to have gained a big assist from writer/producer/director Val Guest who has surrounded him with a fine cast and great production values. Oddly, although the movie won critical praise, it did only moderately well at the British box office. For once, the critics were right, and picturegoers wrong. Howard's comic gifts are considerable and he comes across as a comedian with a genuinely original and amusing style.

Producer Guest was taking no chances, however. In addition to Frankie, he has cast Margaret Rutherford at her eccentric best, Petula Clark (no, fans, she doesn't sing in The Runaway Bus, but you can't have everything), Belinda Lee (inclined to over-enthusiastically over-act in this, her first feature film, but who's complaining?), Toke Townley (a first-class character actor who spent most of his career playing bit parts), and perennial Hollywood heavy, George Coulouris. Although he doesn't share a single scene with his wife, Margaret Rutherford's real-life husband, Stringer Davis, has a small role as an airport official and one of the funniest lines. Explaining that the emergency bus can only be used in an emergency, he's told that at the reception desk an old lady is haranguing the staff with an umbrella. I love his laconic reply: "That's an emergency!"

Producer/writer/director Guest has also hedged his bets with the screenplay itself by making the mystery and thriller angles of the story as intriguing and suspenseful as other episodes are chucklesome and amusing. The identity of the mystery "Banker" is cleverly disguised, whilst superbly film noirish photography and grand-scale art direction (that must have strained Southall's comparatively small studio space to the limit) contribute splendidly to the spooky atmosphere.