User reviews

Norman Wisdom plays a labourer who is also a big fan of singer Vernon Carew. He sees Carew perform live, and manages to annoy the singer from his place in the crowd more than once. The final straw comes when Norman stands up and is singing Carew's famous song, trying to get the crowd properly excited (Carew's stardom is definitely waning) - but what comes to pass is that some head honchos hear Norman's wonderful voice, singing Vernon's song, and get the idea for Norman to dub for Vernon on his up and coming record. The general idea is quite similar to that which was used in Singin' In The Rain, but Follow A Star is not quite that good a movie. Still, it is quite good, and the music isn't bad. 7 out of 10.

Being one of the infrequent Norman Wisdom vehicles covered in "Leonard Maltin's Movie & Video Guide" - which he rates a lowly *1/2 - I was wary of this title but, actually, it was quite pleasant if, in no way, a classic!

The very first scene is an inspired one: we see Norman's sweaty face in an atmosphere of overbearing heat (the film was shot by Jack Asher, a talented cameraman best known for his work for Hammer but who also happens to be the brother of the director!) meticulously going about his business thinking he works in a steamship or something, but eventually discovering that what he's doing is simply pressing a pair of pants (a sophisticated style of gag which has been utilized as early as Harold Lloyd's SAFETY LAST [1923]). The plot - a fading crooner 'borrowing' the voice of a naïve newcomer - is simple enough and has been partly lifted from SINGIN' IN THE RAIN (1952).

While the love interest is more sentimental than usual, since Norman's sweetheart is wheelchair-bound and he wants to make it as a singer mainly so as to have the money for her operation, the film provides plenty of amusing situations highlighting the ageing performer (Jerry Desmonde at his most despicable), ebullient elocutionist Hattie Jacques and long-suffering maitre d' John Le Mesurier; a party sequence halfway through the film also features a surprise early appearance by a dark-haired Charles Gray!

Standard formula for a Norman Wisdom movie here. Norman becomes a put upon clown whilst bubbling under the surface is the fact he's a very talented guy (singer here), whilst he's in love with a wheelchair bound beauty. It's often the saccharine elements of Wisdom's films that puts people off, but to his fans (and I'm one), they are integral to letting Wisdom hit his comedic heights.

Follow a Star is not a great Norman Wisdom film, but it is a very safe and enjoyable one. Story finds Norman used by ageing crooner Jerry Desmonde, who upon finding he is no longer fashionable, plots to use Norman's amazing singing voice as his own. Cue Norman moving in with Desmonde as the house slave and chaos ensues. Meanwhile those closest to Norman smell a rat and try to bring down Desmonde the fraud.

As usual there are plenty of laughs and high energy acrobatics, with stand out sequences involving hypnosis and the bravura mania of the finale - where the dastards do all they can to get Norman off of the stage. Some super British comedy actors fill out the support slots, most notably Hattie Jacques and Richard Wattis, while Philip Green's musical contributions are most pleasing.

One for Wisdom fans only? For sure. Otherwise leave well alone. 6.5/10

What a wonderful film this is,probably normans best,it has all the hallmarks of mr wisdom from the sad lonely fool to the mad fool!to the sentimental romantic fool that norman pulls off with such natural ease,the plot is good about an ageing pop star played by jerry desmonde trying to revive his flagging career,finds norman, hears his voice and decides to steal it.Hattie Jacques is brilliant as normans vocal teacher but Jerry Desmonde is outstanding in this film,especially when he sings the bath song contorting his body like elvis gone mad!it kept my interest from start to finish.The only slight thing that niggles sometimes, norman very occasionally acts a little too silly where it stops being funny and a little cringing,eg-when hes rolling about on the psychiatrist floor,but normally its kept to the right level.The song 'follow a star'is a enchanting song with a melody that grows on you,incidentally norman wrote this and other songs in this film which further enhances his considerable talents,if you like good comedy,good music and norman wisdom,then this the film to watch.

This is better than average, not his best though, Norman continues to highlight the picking on and mis-using the little guy, this time its about a bloke who can sing who is ripped off by a professional singer, played by the dependable Jerry Desmonde.

Its the usual state of affairs with accident prone and unlucky Norman, who is pushed about but with hilarious effects, and obviously Norman wins the day, it sounds so formulaic and simple, because it is, but its still funny and well made.

June Laverick is the lucky (or unlucky) girl to win Normans affections, she had a bit of bad luck in real life as well, Norman gets to sing a few of his songs as well.

So the usual fare from Norman but made and performed just a bit better than usual.

Lookout for then married Hattie Jacques and John Le Mesurier, although they did not share a scene together, Fenella Fielding, Ron Moody, Dick Emery and Dilys Laye. Normans films were a cradle for many quality actors.

It probably goes on for a section or two too long, but there's no disputing that this Norman Wisdom film is up there with his best and is an enormous lot of fun.

Great stuff.

"Truscott" (Norman Wisdom) spends much of his days at work in a laundry dreaming of a stardom that might just come his way when he encounters legendary crooner "Vernon Carew" (Jerry Desmonde). This man's star is very much on the wain until he hears his new friend sing and hits on the idea of "borrowing" his voice - without telling or paying him, of course. His career rejuvenated, it's only his vocal coach "Dymphna" (Hattie Jacques) who recognises the true owner of the voice but what to do. "Truscott" can only sing if his beloved "Judy" (June Laverick) is there to encourage him and that's not possible right now. As "Carew" heads to the bright lights of the London Palladium, our plucky hero's friends have to think of a way of showing where the real talent lies. How, though? This is another decent showcase for Wisdom to show that he had quite a few strings to his bow. His semi-slapstick comedy timing is perfect but here he proves that he can also hold a tune, delivering a few of the numbers that fit entertainingly into the story. The story itself, though, is far too long. It could readily lose half and hour and not suffer. Indeed were it a tighter production with less meandering, it'd be quite a solid tale that could have better played to Wisdom's strengths, those of writer Jack Davis and the very Rutherford-esque efforts of an on-form Jacques. As it is, it struggles to stay engaging until perhaps the last ten minutes when life is breathed back into it and some laughs are to be had. It's still quite a fun vehicle for it's star and is a perfectly watchable example of his work.

One of the main plot points of the film is that Norman is afraid to sing in front of anyone, unless his girlfriend is present. And yet the first time we do see him singing it's at the theatre, amidst/in front of an audience, shamelessly upstaging the famous singer who gave him the free tickets in the first place... but his girlfriend couldn't even accompany him because she already had another engagement! Which makes his frequent later complaints that he can't sing because she's not there, ludicrous. The best thing about the film is the many guest appearances, especially Ron Moody as the doleful violinist. But as far as I'm concerned, Jerry Desmonde is the true star of the film - his television performance of his new hit song is hysterical. But why on earth did Vernon Carew think that Norman's singing voice would revive his career? I can only imagine what Vernon's faithful fans would think of his transition from mellow crooner to sounding - in that particular song - like a cross between Huckleberry Hound and Goofy! (To be brutally frank, I can't believe anyone in the real world would think that was a good singing voice.) I can't say I'm a huge fan of Norman Wisdom : he's okay in small doses, but quite often his scenes of gurning and capering go on so long they become intolerable. Having an idea of what he was like in real life (thanks to the many TV interviews he gave) it's clear that he had a pretty high opinion of himself and his many talents, and that comes across in his many of his films - especially the later ones where he has more involvement in the writing, staging, and so on.

This is a lovely film starring a lovely man, with some genuinely funny moments. In the part where he gets hypnotised, you really see his acting ability. In a way it's sad that Norman Wisdom is not part of this day and age. If he was he may have taken on serious film roles, as the likes of Jim Carrey have. This is definitely one of his best films, and one that my whole family loves. He also has a great voice, and at some point must have had to make a decision whether to pursue a singing or acting career. Incidentally, Norman has great support from the likes of Hattie Jacques and John Le Measurier who give assured performances. A film from a different age.

Possibly Norman Wisdom's most elaborate vehicle goes on for far too long and squanders a fascinating if largely uncredited cast of future stars (including Dick Emery and Charles Gray) as he breaks into show business and indulges in various noisy set-pieces which at regular intervals repeatedly brings the whole mess to a shuddering halt.

Because he's played by little Norman's perennial nemesis Jerry Desmonde we're expected to consider Vernon Carew the villain (although it's his complementary tickets that get the little fellow past the theatre doorman in the first place); and it feels like contrived striving for pathos that leading lady June Laverick spends the whole film in a wheelchair (although seen today that might be its redeeming feature in including a paraplegic romantic female lead).

No, rather "rest in peace, my sorrow" extravaganza! I am not a fan of Mr Norman Wisdom. But I enjoy good and easy comedies which, however insane, never get vulgar. This is a perfect example of such thing. I can watch the majority of Charlie Chaplin's, Buster Keaton's, and Norman Wisdom's movies anytime. They are timeless. Very often, when I watch a modern comedy ("Meet the Parents", for instance), I get real angry and ask myself: "WTF? Is this supposed to be good and funny?" Whenever I watch the good old Norman Wisdom movies, I don't have to ask myself such questions - I just rejoice. When I start watching such a movie, I know beforehand that there won't be anything rude, annoying, dirty, and vulgar - this alone supplies me with pleasant feelings.

Again I'm impressed by the talent of Mr Norman Wisdom. The songs he performs are beautiful. There is something "jazzy" about them and I like it.

By the way, in our country the film goes under the title "Mister Pitkin na Estrade" ("Mr Pitkin on the Stage") though the main character is not Pitkin but Norman Truscott. It happens because for Russian audience Mr Norman Wisdom will always be Pitkin on the screen. But that is a sign of quality. Like "Apple" among computers.

"RoboCop", "Batoru Rowaiaru", "Long xiao ye", "Jeeves and Wooster", "Lyudi i manekeny", "Mad Max", and ... "Follow a Star" are all great. Does it look strange? It shouldn't. In my humble opinion, there is a high-quality movie behind each title.

Such comedies like this one are fading away in today's hectic cybernetic world but to me they are the best of the best, because they remain childish and amusing in a very pleasant way.

Again I give a very subjective mark - a 10 out of 10 - but I'm 100% sure that such comedies are of the highest artistic quality. Thank you for attention.

Norman Wisdom was an English comedian much loved during much of the Fifties, and while his success persisted well into the Swinging Sixties, it did so in a spirit redolent of the previous far more innocent decade. His image was that of a perilously naive and inept, yet wholly adorable little man whose sweetness of nature could be said to somehow put the pretensions of souls less humble and self-sacrificing than he to shame. The "Norman" character being a pure-hearted soul for a time when the West's traditional moral values, rooted in its Judeo-Christian foundation, yet possessed considerable influence. And while "Follow a Star", directed by Robert Asher in 1959, with Wisdom appearing as worker and aspiring singer Norman Truscott, is perhaps among his less well-known movies, few are quite so successful in showcasing his incredible talents. While among its many delights are the melodic and moving title song, written by the great man himself, and sung by him in a surprisingly mature baritone crooning voice. Also starring are superb Wisdom regular Jerry Desmonde as irasible fading singer Vernon Carew; Hattie Jacques as Norman's well-meaning but somewhat over-enthusiastic singing teacher Miss Dobson; and the lovely June Laverick, as his sweetheart Judy, who provides Wisdom with the opportunity to present his more serious and romantic side. And who can blame him. While several stalwarts of a classic age of British comedy also appear, including Richard Wattis, as the pompous psychiatrist Dr Chatterway; John Le Mesurier, as the redoubtable waiter Birkett; Fenella Fielding as the elegant Lady Finchington; and Pat Coombs uncredited as a young woman in a theatre. But the movie as a whole is a joy from a simpler time, when Rock and Roll had been more or less shorn of its initial threat, and Beatlemania almost half a decade away.

For me, this is undeniably Sir Norman's 'finest hour', with the hypnosis sequence literally reducing me to tears of laughter, as well as the end scene. A spelling supporting cast including the fabulous Hattie Jacques as his music and elocution teacher and the outstanding Jerry Desmonde as the despicable Vernon Carew. Just wonderful and nothing can touch it in terms of not only comedy but poignancy. Sir Norman really was a legend in his own lunchtime. Young children and adults alike will love this. Teenagers? Well they're in a breed of their own...!

Norman is working in a laundrettes when he meets the well known, but aging singing star Vernon Carew who invites him to see his show. When Norman goes to the show he finds a patchy audience that throws abuse at the performer, standing up for him, Norman captures the audience and Carew sees his chance to use his voice to help recapture his fame. Tricking Norman into singing into a tape recorder, he rebuilds his career while Norman still struggles with his inability to sing without accompaniment from his sweetheart Judy.

This film starts badly with an unfunny singing lesson full of mugging and the establishment of a sickly sentimental subplot involving Norman's hopes to help his crippled sweetheart to walk again! However it gets better as it goes despite having to occasionally sink into sentimentality that only serves to take away from the comedy. The routines are quite funny when they come, although Wisdom has done better. One element of the comedy that I felt was ill fitting was the rather crude innuendo and sex-related gags; compared to nowadays it is still very gentle but it just doesn't sit well with the usual gentle humour of Wisdom.

That said it still has some funny scenes where Wisdom shows his ability - if only he didn't feel the need to always add an overly sentimental heart to his films. He does well here but some of that stuff doesn't sit well as it feels even heavier than usual here. The support cast has more famous faces than usual and most of the mare good. The Wisdom regular Desmonde is very good in his role and cameos from John Le Mesurier and Richard Wattis are good if fleeting, however Hattie Jacques is pretty much wasted and her biggest scene isn't very funny at all.

Overall I still enjoyed this film as I am a Wisdom fan, and it did actually get better as it went on. The illogical nature of a plot that sees Wisdom's good but nasal voice saving the career of Carew's much better crooner can be overlooked and in the end there are enough good moments to justify watching the film - just hang in there past a poor start.

Always had a soft spot for his films , and this is a fine example . Great support from Jerry Desmond one of the best straight men in the fifties and sixties , and some great comic set pieces . One with Hattie Jaques as a music teacher and one in a matinee variety show with fading music hall turn of Desmond's . Top British comedy

Wisdom plays the tailor's assistant who unknowingly provides a singing voice for celebrity Jerry Desmonde to mime to, but he receives no reward for his services. The snag is, though, that he can only sing in the presence of his girlfriend June Laverick, who's in a wheelchair. The great Hattie Jacques plays a singing teacher.

Absolutely charming comedy with Norman Wisdom up to his own tricks, mixing slapstick and sentimental as a guy with a golden voice which ageing singer "antique Romeo' Jerry Desmonde steals to save his flagging career. It has to be said here that Desmonde is simply great as the snobby singer, who looks down at Norman until he needs him to revive his career. Though, to be fair, he did give Norman free tickets, but that was probably to help him fill his seats as there's hardly anyone in the theatre!! The part where he sings on TV with his stolen voice is hilarious.

The humour is wonderfully unrestraint; it can be schmaltzy at times, but that is expected in a Norman Wisdom film. It's one of my favourite of his films: funny and warm all the way through.