Back-Room Boy

Arthur Askey plays Arthur Pilbeam, who after recently being jilted by his fiancé swears off women and seeks employment away from them. He lands a post at a remote lighthouse on one of the Scotish Isles, here he thinks he's finally cracked it and can enjoy solitude whilst providing the meteorological bulletins. However, his peace is soon shattered when young Jane walks into his life, she stowed-away on his boat for she's searching for her uncle on a neighbouring island. Then Bobbie shows up after her boat was torpedoed, then another boat load of survivors, predominantly women, arrive. Arthur is beside himself, but worse is to come for all of a sudden they all start to disappear one by one. Could this be another Mary Celeste? Only in lighthouse form?

Produced out of Gainsborough Pictures, this Askey vehicle is directed by Herbert Mason and co-written by Marriott Edgar, Val Guest & J.O.C. Orton. Starring alongside Askey are Googie Withers, Moore Marriott, Graham Moffatt and Vera Francis. Very much along the lines of another Guest/Edgar scripted piece, the classic Oh Mr Porter! this fun and breezy picture sees Askey restrained and the film be all the better for it. In truth it takes its time to get going, practically 40 minutes pass by before the additional characters start being introduced. Which means we are at the mercy of Askey and the delightful Vera Francis for much of the movie. But it works.

Francis isn't an annoying child star, she has nice delivery and her role is so well scripted it keeps the film breezy. Her natural like presence appears to have a good effect on Askey, who is more relaxed and thus the comedy is more humanistic and real. Enter the support players, who somewhat understandably given the plot, aren't given much to do. Which is a shame because more of Withers, Marriott & Moffatt would obviously have been a bonus. But it is what it is and as the mystery element kicks in, and some sinister undertones sidle up next to the comedy, the lack of meat for the support characters' bones is easily forgiven. There's no real surprises come the finale, but one thinks nobody would be expecting that given the time of the film's release. So sit back and enjoy this fun mystery for it's one of the better Askey pictures. 7/10

Unlike the excellent review by GARY170459, I am not that familiar with Arthur Askey's films--they just aren't shown here in the states. I've seen a couple but am far from knowledgeable about him and his films. I did also recognize Moore Marriott as I'd seen him in a few films, including "Gasbags"--one of several Crazy Gang films. Both were particularly good, though Askey was clearly the star and Marriott was just there for support.

The film is a WWII propaganda piece made in the UK for local consumption. It's a very amiable comedy that both entertains and helped get the public behind the war effort.

It begins with Askey breaking up with his girlfriend and he is sick of women. He arranges to be transferred to a job manning a lighthouse in the middle of no where off the Scottish coast, but far from being isolated, people keep dropping in--even though he's 40 miles off the coast! It's pretty funny to see him getting frustrated with this and the film then gets tangled up in a German plot--though you'll just need to see the film yourself to find out what's in store.

The film is very entertaining and it's nice to see a tale set in a lighthouse that is worth seeing, as the last film I saw with a similar setting was "Sh! The Octopus (1937)"--a terrible little film with little to recommend it.

"Back-Room Boy" is a light British comedy of World War II. It also is a mild satire and propaganda film that pokes some fun at the BBC, Germany's navy and some others. The star of the film is Arthur Askey, a long-time comedian and stand-up entertainer whose venues included radio, TV and films. His career wound down by the 1970s. Most Brits, old film buffs, and enthusiasts of British comedy would know of Askey. But most English-speakers on the West side of the pond since the last half of the 20th century wouldn't know of him.

In his films that I've seen and enjoyed, Askey reminds me of Harold Lloyd. Besides looking a little like Lloyd, Askey's lively manner closely resembled Lloyd's. But Askey didn't get into the cliffhanger or perilous positions that Lloyd was known for. In this film, Askey does make a risky rope bridge crossing from one ocean rock to another.

Askey's character, Arthur Philbeam, longs for solitude away from women and a demanding job. So, he takes his wartime BBC job to a remote lighthouse on a rock off the North coast of Scotland. From there, he's to transmit weather reports to the BBC.

Things go all wrong, and the fun happens when he first is joined by a young girl who stows away on the boat that takes him to the island. Then they are joined by several women and two old tars who survived a shipwreck. After some strange disappearances, they discover that German agents are hidden on the rock and have planned some skullduggery.

This is the only film I know of that shows or has any mention of a backroom boy, as such. And, surely the only film that calls attention to the renowned BBC radio broadcast of the exact Greenwich Time. This was done using a "backroom boy" (man or woman) who would push the button or key the pip that made the sound. For those of us on the West side of the pond, those were the pip signals that the BBC broadcasts for exact Greenwich time.

The pips originated in 1924, and since 1990 the BBC has broadcast them to mark the exact hour. People would use the radio signals to set and adjust clocks and watches. Americans had something similar in the early days of television, when an announcer would say something to mark the exact hour at different times. For instance, "At the sound of the tone, the exact time will be 10 p.m. Central Standard Time."

Unfortunately, since digital broadcasting has time lags, the reliance on the pips for calibrating clocks and watches has waned. But that shouldn't dim one's enjoyment of this light comedy.

This was Arthur Askey's fifth film (and sans Stinker), and in my opinion his last really good one - three flag wavers and many nothing's followed. It's also one of my favourite British WW2 comedy efforts, a jolly time-passing Hun-beater.

At the BBC Arthur is responsible for transmitting on the hour every hour The Wireless Pips - wonder how many people believed it - but not surprisingly it wreaks havoc with his social life. Big, now a confirmed misogynist is posted to a lonely Scottish lighthouse where there are no women ... when he arrives. Never mind the photo of the topless woman, there's soon Googie and a gaggle of leggy and laughing lovelies for him to try and ignore too. With a plethora of spooky disappearances he's up against Jerry (and "Quislings") but doesn't know it until near the end - the audience would've guessed from the beginning they'd make a show. A refreshing extra dimension was added with Vera Francis, the "13 year old from Lambeff" - her world-weary and cynical comments still sound fresh and amusing even at this distance. Arthur and Vera made a good team, this one's worth watching just to see them spark.

A pleasant outing for all concerned, sad to think it was all downhill afterwards.

This is quite a fun outing for Arthur Askey. He is transferred from the BBC in London to a lonely lighthouse to set up a weather station. Needless to say, it's wet, windy and downright dreich in his new home. Then in the best traditions of "Whisky Galore" there is shipwreck. This time, though, it's not booze - but buxom beauties that find themselves stranded and he finds himself completely bamboozled. He is soon awakened from his delirium of delight though, when the girls start to disappear. What could be happening to them? He starts to investigate and soon finds himself embroiled in a devious Nazi plot that could alter the course of the whole war. It's maybe a bit too long - it certainly takes a while to get going, but once it's up and running it shows off the comic skills and timing of this consummate professional as he owns the screen with his smile and his antics. The story is a gentle reminder of what made us laugh at the height of the war and though entirely predictable is still quite a watchable effort with a couple of nice contributions from Googie Withers and Moore Marriott too.