Sailing Along

In her autobiography Jessie Matthews said how difficult it was to make this film.This is because it was directed by her then husband,Sonnie Hale,who wanted this to be a platform for them both.It eventually recked their marriage.However what they have left for us is a lasting tribute to their respective talents.The musical numbers are well staged,with some marvelous art deco sets.Whilst the songs themselves did not become standards nevertheless they are very catchy.There is some sterling stellar support from some fine actors of the period.Whilst Barry Mackay might not be a well remembered name,he turns in a performance which is certainly well worth remembering.Then of course there is Roland Young giving us another of his incomparable bumbling performances.It is so sad that the second world war seemed to stop dead in its tracks her film career.She only made a handful of films after 1939.

Sailing Along casts Jessie Matthews as a girl brought up on a Thames River barge by Frank Pettingell. His natural son Barry MacKay thinks of Jessie as a sister, but that's starting to change.

Her natural musical talent is discovered by millionaire Roland Young who gets her started on a musical career. He also helps MacKay indirectly get the schooner he's always wanted.

But as for getting Jessie, there's the matter of visiting American musical comedy star Jack Whiting who's putting the moves on Jessie, seeing her as a stage and maybe a life partner. But then again Whiting's gone through a few of each variety.

The film is a great showcase for the singing and dancing talents of Jessie Matthews. It was the dream of many on both sides of the pond to pair her with Fred Astaire. Unfortunately that deal never was made for a variety of reasons.

Jack Whiting made very few films, but he was a popular leading man on Broadway and this film is a rare chance to see his style and talent. He was also married to the former wife of Douglas Fairbanks and consequently the stepfather of Doug, Jr.

I probably would have liked this film a lot better had the ending not been so ridiculous. You'll have to see Sailing Along to find out what I mean.

Jessie Mathews is simply adorable in this delightful 1930s English B&W musical. Poor little Thames River barge girl dreams of fame and fortune on the London stage only to give it all up for true love... and a schooner. In addition to a lovely singing voice and exuberant tomboy personality, Jessie was an exceptionally gifted dancer. Paired perfectly with the American singer/dancer Jack Whiting, the couple do a number of eccentric syncopated numbers rather in the style of Fred and Ginger. There is a very British take on a wise-cracking and vulgar American press-agent, aptly named "Windy," wonderfully played by Noel Madison, the son of the great Yiddish actor Maurice Moscovitch. (Mr. Jaeckel, the barber's friend, in Chaplin's "The Great Dictator.") The film was written and directed by her husband and produced in lavish style at Pinewood Studios by England's David Selznick, Michael Balcon, who would go on to produce the famous Ealing Studios comedies.

Anyone who loves a 1930s comedy musical will love this chic, classy hour and a half of silliness.

You would never guess that this was made by the very bankrupt Gaumont-British (in the process of being subsumed into Rank). The production standards and sumptuous sets look amazing. The final number for example, filmed in one take, needed two sound stages and involved a whole mile of dancing. This impossible number was meant to be part of a what's being seen on a stage and Buddy Bradley's flight of fancy choreography is reminiscent of how Busby Berkeley made us believe an entire New York street was on the stage in 42ND STREET.

This was Sonnie Hale's last go at directing. He didn't stop because he wasn't any good at it - he actually delivers an energetic and engaging picture. The trouble was that he blamed his career on destroying his marriage. He was married to Jessie Matthews and apparently their professionalism was too much to allow either of them to leave their work back at the studio. .....well that and the fact that Jessie found out her husband was having numerous affairs. If you're familiar 1) with what Sonnie Hale looked like and 2) that he was married to the sexiest, most gorgeous English film star of the 1930s you'll think this is impossible - was he mad?

This is not quite one of Jessie Matthews' best films but it's still brilliantly entertaining and filled with a mix of silly and uniquely subtle humour that you only find in an English film. There's never a dull moment in this, the script is witty and Hale directs this as though he'd been doing it for years. Jessie Matthews is fabulous, she's both graceful and funny, authentic and endearing. She brings such a warmth presence to every minute she's on screen, she's somehow instantly loveable.

This film also benefits from a superb supporting cast especially Roland Young, who has never been funnier. I wasn't convinced however that Barry MacKay, with his cut-glass accent was believable as a grimy Thames barge man which is odd because Jessie Matthews with her own cut-glass accent is believable - maybe that just shows what a very talented actress she was.

Depending on whose chronology you read, this film was the last of the six 1930s musical films made which starred Jessie Matthews (but not the last film she made). A vast improvement over her prior film, "Head Over Heels", and better than another prior film, "Gangway", this film is worth a look to those interested in Matthews's dancing. This film briefly shows Matthews toe-dancing ballet, proving once again that she was an all-around, well-trained dancer.

Although the score has no memorable "standard" songs, the tunes were typical of the 1930s melodies and lyrics. Since Matthews was reportedly a popular and prolific recording artist in England, it's no surprise that she is given songs to perform in addition to, and along with her dancing performances.

Matthews is paired with American actor, Jack Whiting, a proficient dancer and singer in his own right. He is certainly capable of keeping up with Matthews in three tap dancing duets. Whiting is given one solo song and dance number as well.

Also appearing is American actor, Noel Madison, a familiar face in 1930s films, mostly in gangster roles. Another familiar face is character actor, Roland Young, another English émigré to America.

This film shows a good representation of Matthews's dancing skills, and it's no wonder she was nicknamed "The Dancing Divinity". It's worthwhile viewing for those who are interested in her. I've now seen all six of Matthews's musicals, and this film is the second best for showcasing Matthews's dancing, in my opinion. It can be purchased on VHS.