O Palhaço Faz o Artista

George Formby signed for Columbia British for more money and more say in production but somehow it did not work out.This film is overlong at 88 minutes and is a rehash of jokes used to better effect in better films.The miming to opera routine had already been flogged to death.the Crazy Gang used it to much better effect in "Alfs Button Afloat".Much of the gags in the opera seem to have come from the classic "A Night At The Opera".Alas Formby,even with curly hair is no Harpo Marx.His songs are tuneful but totally unmemorable.He doesn't get to kiss his love interest at the fade out,clearly Beryl was on the set that day!.This all segued into the fade out of his film career 5 years later.

This typical farce plot -- easygoing George gets his hair marcelled and looks exactly like a South American opera singer, also played by George -- does not sound like Mr. Formby's usual métier, but he shows himself capable of carrying out the minor exigencies of the role, while singing a few nice songs, a typical "The Barmaid at the Rose & Crown" and a less typical swing song.

Under the direction of farce director Marcel Varnel, George does a lot more shtick than in his usual vehicles, but it is well within his abilities.

His leading lady is Linden Travers, best remembered for her supporting role in THE LADY VANISHES. She performs nicely, but except for George and Felix Aylmer in a small supporting role, it's an unremarkable series of performances. This is not to be sneered at: it is a star vehicle for George, and his usual charm is on full display.

This was George's first film for Columbia GB after 5 years with ATBP but even with the move from Ealing to Elstree the formula the plot and the cast were reassuringly familiar. Some would say the songs too!

In here though he gets his one and only chance to play 2 roles: Gilli Vannetti the renowned South American tenor and George Butters the unrenowned Northern chap looking for a job. Vannetti departs for Los Palmas in breach of his contract while Linden Travers finds that when George's hair curls he looks just like Vannetti, so a substitution takes place and thus begin their attempts to prevent impresario Ricardo from sacking him. This means also pretending Vannetti has laryngitis so George's Lankey accent won't give the game away. Jacques Brown has some of the funniest lines playing the apoplectic impresario – I certainly wouldn't argue with him that he was entitled to think Vannetti a Stinkeroo! Ronald Shiner and Alf Goddard delightfully play Swifty and Slappy, a pair of laconic cartoony hoodlums who consider themselves honour bound to liquidate Vannetti for Ricardo any way they can. And does George get the girl, even though she has more brains and breeding than usual – "You're the biggest little man I've ever met" is a clue. Songs were Barmaid At The Rose & Crown (to her anger), a rousing Swing Mama (at the very lively Actors' Benovolent Home), I'd Do It With A Smile (crooned to Carol in Vannetti's flat) and My Spanish Guitar (on stage, after the jig was up). Favourite bits: Shiner's and Brown's witticisms; wanting a P when putting up the theatre sign.

It's slightly longer than usual but as well filled out as Rosie at the Rose & Crown and the usual treat for Formby fans.

An unsuccessful singer and actor (George Formby) is persuaded to pose as a flamboyant latino opera singer (also Formby, but with curly greased hair and a pencil tash) whom he strongly resembles and is having trouble with his management.

Not among the best of Formby's vehicles, having lost some of their comic edge once he moved over to Columbia Pictures, a decision he did come to regret. This was the first of seven pictures he made for Columbia. The real highlight is the song he sings in a pub: 'The Barmaid at the Rose and Crown'.