Where There's a Will

This was definitely one of the great Will Hay's lesser efforts – the whole film seemed at best subdued at worst laboured. Although overall I still like it as an ordinary British pre-War comedy film somehow with a mild Aldwych atmosphere, it's just not one of his classics.

He plays Benjamin Stubbins a penniless seedy solicitor cum jack of all trades who happens to have rich relations in the country, and a cluttered office in the City directly above a bank. Unfortunately he makes the acquaintance of a gang of acquisitive gun-toting thieves who think he's a useful contact to have in the furtherance of their aims. The main subplot has him pretending to be a Somebody to his daughter which seems to totter pointlessly in and out of the story. Favourite bits: Some of the sparse interplay between Hay and his young office boy Graham Moffat – though Hartley Power as the American gangster had better patter; the quaint fancy dress Christmas Party at the country house and climax.

Hay was excellent in his role even if the film itself could have done with a bit of (beautiful thought!) Tom Walls' lunacy to spark some life into the proceedings. But it's still a pleasant 76 minutes with plenty to savour and worth it to the fan.

Director William Beaudine has over 300 credits,including Will Hays first film Dandy Dick.The problem with this script was the including of American gangsters,partly Hays fault as a co writer There are some funny scenes such as those with Graham Moffatt.

"Where There's a Will" mightn't go down as one of Will Hay's best films but he maintained my interest throughout. The material is rather inconsistent and the direction sluggish. Marcel Varnel would have been far better a choice. The scene with Hay and the butler getting drunk is very well done and the film does build to a good climax. Graham Moffatt has nothing to do, no point in him being included. Luckily, this would all change for the better before long. I'm not sure why there were American actors cast for the film, the people of the United States wouldn't understand Will Hay's humor as it's distinctly British.

Penniless solicitor Benjamin Stubbins takes on a job from a group of Americans who say that they want to track down their ancestors from Scotland. In reality they want to rob the bank below his office but soon Stubbins realises his mistake and tries to thwart their getaway.

A vehicle for Will Hay in which, typically, he plays a bungling character. The humour is patchy, and the best scenes are those early on in the interplay with his office boy, played by Graham Moffat, but there's enough laughs to make it worthwhile. Hay fans will enjoy.

Benjamin Stubbins {Will Hay} is an incompetent solicitor, who unbeknown to himself, is involved in a bank robbery.

Between 1934 and 1943, Will Hay made 18 feature length films. Starting out working for British International Pictures {3 films}, then Gainsborough Pictures {9} and finally doing his last five films for that bastion of old time British cinema, Ealing Studios. For those counting, the odd one out is Where's That Fire? Which was made by Twentieth Century-Fox. All of them are of varying quality, but each one, including the lesser lights such as this William Beaudine directed piece, showcase what a comic talent Will Hay was. Hay was a master of acting with his face as much as his voice and bodily movement. Given a good script, and a good supporting cast from which to feed off, Hay managed to give British cinema some of its finest comedy entries. Oh Mr Porter! Ask A Policeman and My Learned Friend are fit to grace any list of Great British cinema.

So where does that leave Where There's A Will? Well as a Hay performance it's really rather good. Suitably playing the buffoon with maximum cheek and incredulity, it's Hay who keeps the film from being a so so piece. That it isn't anything more than time filling entertainment outside of Hay himself, is down to the thinly plotted writing {surprising with the talented Sidney Gilliat co-writing} and the lack of decent comic villains. While Graham Moffatt, who along with Moore Marriott helped Hay realise his comedic ability in his career high points, is badly wasted. But still it's charming enough in spite of its lazy screenplay, none more so than with its breezy Christmas finale at the Wimpleton family estate, and it does find Hay on particularly entertaining form. 6.5/10