The Good Companions

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.

If you have seen the original 1933 version of the Good Companions then you will understand why I say that this is a vastly inferior remake.True it is in colour,but if anything it detracts rather than adds to the film.In any event by the time this film was$ made concert parties had virtually died out.The two leads are very poor.Jeanette Scott cannot sing or dance which makes her appearance rather pointless.John Fraser is an inadequate leading man.The film differs from the original in a number of ways,all to its own disadvantage.There is the tacked on show at the end which is truly dreadful and represents all that is worst in fifties British musicals.So not surprising that in the final credits it is the dancers who take the top credits.Definitely not one of Associated British Pictures better efforts

I considered "The Good Companions" simply made and entertaining, as was the novel. The actors were well cast and each played their part to perfection. It was unusual for a British studio to 'try' a musical at that period of time, and I think it came off pretty well. For me it is an unexpected, delightful offering such as "Curtain Up".

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.

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.