1930s_Time_Machine

If Leslie Howard had made nothing else, if Bette Davis had made nothing else or if Eric Blore hadn't been the butler in TOP HAT they'd still be considered 'the greats' because of this. This is a perfect romantic comedy.

Miss Davis, Miss de Havilland and Mr Howard have all perfected the ability of hamming up their performances just enough to make them funny whilst still credible and believable. Eric Blore however playing Howard's 'Jeeves' is hilarious - even better than he was in TOP HAT. Possibly BRINGING UP BABY might be the funniest film of 1938 but this comes pretty close. Davis and Howard had worked with Archie Mayo a year before making the fantastic PETRIFIED FOREST so the established team (along with super-professional Olivia de Havilland) knew how to make pictures!

There's a definite pre-code feel to this. Unlike a lot of the bland, formulaic "A. I. generated" comedies of the late thirties, the raw, playful fun associated with that era is plentiful here. The plot is a lot saucier than you'd expect for 1938, indeed someone like Laemmle might have even considered it too racy for him to make in the early thirties? And on the same theme: Olivia de Havilland's negligee - say no more!

It's not just the superb cast; the clever and genuinely funny story and dialogue alone are enough to elevate this to your classic shelf. Also, hearing Ashley Wilkes say to Melanie: 'Who's Clarke Gable?' is priceless.

If you like old wartime flicks with plucky Brits thwarting Nazis, here's your film! It's not one of the classics but all the familiar ingredients are there blended professionally together but maybe with not quite enough seasoning.

Asquith's directions reveals his theatrical background and inexperience with the fast moving thriller genre. This is as far removed from 'fast moving' as you can imagine. The problem is that it's directed as though it was a stage play. The intimacy you get from sitting in front of a live performance doesn't happen in a moving picture unless a different approach is taken. Nevertheless the clever story and interesting array of quirky characters keeps your attention. But it doesn't fully engage with you like the best thrillers do.

If only to see Alastair Sim as a baddie (or is he?), John Mills as the dashing hero (or is he?) and George Cole as a teenager (or is he?), this is worth a watch. Overall it's a good example of what entertained us and kept us positive during the dark days of the war.

In case you're wondering why they're talking about bomb sites, they're not. A bombsight is the device in a bomber which sets the trajectory of the bombs!

A perfect example of that type of film which makes itself your own personal dream. Both Montgomery and Lombard are relatable enough to allow you to step into their shoes - and who wouldn't want to.

There were so many similar romantic comedies made in the forties that they all tend to merge together. This falls into that category: it isn't outstanding or memorable but it's still one hundred percent enjoyable. Hitchcock proves that he can make the archetypal American movies as good as anyone. The story is as silly as most of those forties comedies were but it's directed so professionally and acted with such authenticity you can't help becoming instantly engrossed in it.

Fans of saucy pre-code movies, particularly sexy thirties ladies get a little treat here. This might well be the only time in the whole of 1940s cinema that we're treated to that staple of the pre-code era: the see-through neglige scene. Thank you Miss Lombard! It's not her funniest film but she's absolutely delightful - as is Robert Montgomery. They make an excellent and thoroughly likeable couple.

Gene Raymond surprisingly puts in a very sympathetic believable and performance. It might be because of Hitchcock but he's not a bad actor. I still find it weird that he was a heartthrob - with dark hair he looks even more unearthly than when he was blonde. Does he remind anyone else of Star Trek's Mr Data?