The Good Companions

How this wretched outdated film was made is a total mystery. I have not read the Priestley book and have no desire to, but somehow it caught a great deal of attention. The film mystifies me that Celia Johnson, Eric Portman and Janette Scott wanted to be in this overblown, Cinemascope disaster. I cannot write more as I watched this film hoping to feel better after an illness, but it just made me want to throw something at the screen. That said a lot of talent was used to make it, and the beginning ( for about half an hour holds the attention but it completely falls apart after that. ) The more inflated the talentless group of travelling music hall became the more improbable the whole concept of the film became. !957 was a year of rapid change in culture and to have made this work someone of sense should have set it as a period piece. And even then I doubt if it could have worked. Really not worth watching if you come across it.

Well, the star of this film from start to finish was 18 year old Janette Scott of "The Day of the Triffids" fame. It was also a pleasant surprise to see Celia Johnson some 12 years later from the classic film "Brief Encounter", and looking very good indeed. She brings the same understated charm to this part as she did to that one. You genuinely feel the admiration between her and the character Jess Oakroyd. Janette Scott brings her all to this part; dancing a few simply numbers very nicely and lip syncing with aplomb. She does lack the gravity of a superstar, but this part is perfect for her as the up-and-comer. The movie does quite a good job of covering what in novel form is some 640 pages. Of course the movie can't compete with the book in its detail, but it does nicely cover the story line and give each character a chance to shine, and it does manage to capture that "good companion" atmosphere by casting good character actors who are obviously having a good time making the film. All in all much fun and many musical stage numbers. The ones at the end of the film were even good enough to remind me of similar numbers in the movie "Funny Face". Don't miss this one if you have a chance.

I'm not familiar with J B Priestley's book of The Good Companions so I can only comment on this 1957 British musical film as a stand alone feature. I have no idea how this fared at the box office but as it was made at a time after Rock 'n' Roll had already made it's mark, I do wonder why it was considered a good idea. We never really made many good musicals compared to the might of America and this creaky effort is just another disappointment, in spite of me hoping for more. I had been tempted to watch it, seeing the name of that fine actor Eric Portman heading the cast, and indeed he is probably the best actor on board with some sharp lines and his strong personality. Sadly, the support isn't as good. This is basically a music hall scenario, made at a time long after music hall had faded away, replaced as I say by rock 'n' roll and TV, the year of release was 1957 so they should have known better. Choice of director is odd in retrospect, being J. Lee Thompson, known for his thrillers and adventure films and he did make some very good ones, including Ice Cold in Alex, Tiger Bay and The Guns of Navarone and who ended his career helming nine pictures with old Stone Face Charles Bronson, so a musical was an oddity in his career. The songs such as they are seem rather weak and Janette Scott (Thora Hird's daughter) who was just coming to maturity is sweet enough as a lead in a Debbie Reynolds sort of way, but unfortunately lacks the zest and talent of Debbie Reynolds. Lots of small character parts do add interest, not least from Joyce Grenfell, Anthony Newley, Shirley Ann Field, Melvyn Hayes and Janette Scott's mum, Thora Hird. Hugh Griffith, a fine Oscar winning actor (Ben Hur) is wasted in a weak part. Celia Johnson of Brief Encounter fame doesn't fare much better as the lady who saves the touring troupe, the Dinky Doos and changes the name to The Good Companions. Could have been better. Another film I saw recently, Harry Secombe's 'Davy', covering exactly the same material about failed touring troupes in music hall I found more satisfying.

This remake of the thirties Jessie Matthews/John Gielgud musical has a lot of charm due to its lovely colour, excellent songs, and a strong cast (good roles for Celia Johnson, Eric Portman, Joyce Grenfell, Hugh Griffith, Bobby Howes, Rachel Roberts, John Fraser and of course Jeanette Scott and her mother Thora Hird; smaller showy roles for Anthony Newley and John Le Mesurier). The last few musical numbers towards the end of the film match many of Hollywood musical efforts around the same time, but the fact that the film is British gives it a heart and a sense of fun sometimes lacking in American polish.

The 1957 color film is a disappointment (no real surprise), an attempt to produce a big Hollywood musical when the story didn't call for one. The re-do keeps the basic story but loses all the heart and soul of the original film.

Janette Scott (daughter of Thora Hird and a one-time wife of Mel Torme!) is a pallid replacement for the ethereal Jessie Matthews. John Fraser has the John Gielgud role. Celia Johnson has the Mary Glynne role, and Eric Portman the Edmund Gwenn. Others in the cast include Mona Washbourne, Bobby Howes, Rachel Roberts, Thora Hird, Anthony Newley, Hugh Griffith, Joyce Grenfell, Marjorie Rhodes, Fabia Drake, Shirley Anne Field, Beatrice Varley, Alec McCowan, John Le Mesurier and dancers Beryl Kaye, Paddy Stone, and Irving Davies.

Most notable changes in plot include Miss Trant (Celia Johnson) not having a reunion with her one-time flame. The flame here is Joyce Grenfell pursuing the dancer Jerry (Paddy Stone), thus depriving the Trant character of any kind of development. The big night for Susie Dean (Janette Scott) is turned into a comic free-for-all, thus depriving the Dean character of the astonishing sequence enjoyed by Jessie Matthews of singing amid the debris (the show must go on). The finale instead is an interminable sequence of musical numbers that show Scott as a combination Debbie Reynolds/Connie Stevens without the singing or dancing talent (she's dubbed, and her dancing is pretty much limited to being hauled around by Stone and Davies).

Eric Portman serves as a would-be love interest for Johnson, but of course he's married, so that's a dead end. John Fraser seems totally lost in the John Gielgud role of Inigo Jollifant (funny no one ever asks him to repeat his odd name). Most of the remainder have little to do.

Then there's the usually dour Rachel Roberts who explodes in a solo number "The Gentleman Is a Heel." Who knew she could sing? The ever lovable Joyce Grenfell has a great scene with a cake. Her final line there is something like "Take this away, it's of no use now." When this came out in 1957, the original film had likely been unseen since 1933 so comparisons were unlikely. Taking that into consideration this was probably seen as a serviceable musical for the times, and definitely a star vehicle for 19-year-old Scott.

Grenfell had hit stage show a few years earlier in London and New York. Cast members included the film's dancers: Irving Davies, Paddy Stone, and Beryl Kaye.