19. Another Shore (1948)
This could be an interesting watch for those interested in seeing Dublin in the late 1940s, but other than that, there is not much else that stands out in this odd and slightly whimsical comedy about a man who dreams of traveling to the South Seas and attempts to do so by aiding wealthy individuals who have suffered an accident. It appears to have been influenced by the post-World War II desire to be anywhere but here, but overall, it lacks charm and is out of touch with the cultural and social subtleties of a group of affluent Brits moving about the city of Dublin. This is not director Charles Crichton’s best work.
18. Meet Mr Lucifer (1953)
An unsubtle criticism of television, portrayed similarly to La Ronde, where a TV set travels between households and creates unforeseen conflicts. Although Stanley Holloway, the second top performer at Ealing at the time after Alec Guinness, plays a flashy devil character, the overall piece fails to rise above its theatrical roots and promotion of theater. It is based on a play by Arnold Ridley (later known for his iconic role as Private Godfrey in Dad’s Army).
17. His Excellency (1952)
A different theatrical adaptation that does not entirely depart from its origins on stage, but it provides a unique perspective on the decline of the British empire. The leading role is portrayed by Eric Portman who embodies the typical Yorkshireman professionally. He is dispatched by the governing Labour party to oversee a tumultuous colony in the Mediterranean (a blend of Cyprus and Gibraltar) and attempts to win over the locals by supporting a strike among dockworkers. Unfortunately, its conclusion that aligns with conservative values, where the Labour supporter agrees to collaborate with the cunning Colonial Office official who is already established, fails to address the main reason behind the British withdrawal from their overseas territories.
16. Hue & Cry (1947)
The initial triumph of comedy in Ealing bears a resemblance to the Children’s Film Foundation. The story follows a group of teenagers who enjoy reading comic books and ultimately solve the mystery behind a group of criminals. Their plan involves gaining the help of an eerie writer named Alastair Sim, and their go-to comic is “The Trump.” Today, the film is most notable for showcasing the destruction caused by the Blitz in London, as the scenes show the city’s recent battle scars.
The film “A Run for Your Money” was released in 1949.
The Ealing production company enjoyed having their crew explore different locations, and in this instance, they briefly visit the fictional Welsh village of Hafoduwchbenceubwllymarchogcoch for a lighthearted comedy about two brothers journeying to London to claim a £200 prize and tickets for a major rugby game, encountering various mishaps during their trip. While the film relies heavily on ethnic stereotypes, it is done with a fondness and overall makes for an enjoyable watch. The addition of Guinness as a bumbling nature reporter tasked with guiding the brothers around the city adds to the charm of the film.
14. The Magnet (1950)
In this child-centered comedy set in the seaside town of New Brighton, an 11-year-old tricks a younger child into giving him a giant magnet. However, he later feels guilty and decides to get rid of it, ultimately learning valuable life lessons. Despite his distinct accent, child actor James Fox’s natural talent and charisma shine through, setting him apart from the group of local kids who help him hide from the police. Even in his shorts and cap, he exudes a stage-school sophistication that hints at his potential for future success.
13. Barnacle Bill (1957)
A clever take on the concept presented in Passport to Pimlico- finding a way around strict rules and regulations by declaring independence- in the final days of comedic films produced by Ealing Studios in the 1950s. Alec Guinness portrays a retired naval officer with an unremarkable career who purchases a pier and declares it a ship in order to bypass the council’s restrictions. Though he plays multiple roles, it is evident that Guinness lacks enthusiasm for the project (as he was doing it as a favor for director Charles Frend). Nevertheless, he still delivers a smooth performance, comparable to cruising in a Rolls-Royce stuck in third gear.
12. Who Done It? (1956)
Attention everyone, there was a point in time where Benny Hill was considered to be a pioneer in comedy. In his first movie, he bears a striking resemblance to a young Bob Hope, but this is where the similarities end. Adorned with sideways caps and honks from the soundtrack, Hill’s character is a clumsy ice-rink cleaner who becomes a private detective after losing his job. While it may not be entirely unentertaining, Hill’s presence is mostly dull as he follows the typical plotline of capers and chases. It’s especially unbelievable that he would capture the infatuation of the mesmerized Belinda Lee, a strongwoman in the film.
11. Touch and Go (1955)
This comedy depicts a family’s discontent and their attempt to move to Australia due to the frustration of the father, played by Jack Hawkins. Along the way, their plans are continuously hindered, including the daughter’s unexpected attraction to John Fraser. However, the film loses points for its portrayal of male entitlement, with an intense and difficult to watch final scene in which Hawkins asserts his dominance over his wife, only to later change his mind.
10. Davy (1958)
The last attempt at comedy in Ealing before the modern period was a strange but well-made film featuring Harry Secombe. Similar to Meet Mr. Lucifer, it serves as a tribute to traditional entertainment. Secombe plays the lead in a family act for music hall performances. However, he is enticed by the idea of a more profitable solo career. While he excels on stage and is popular because of his role in the Goons, he struggles to convincingly portray a real person. This is why he never became successful in a serious acting career.
9. The Love Lottery (1954)
This particular Ealing comedy stands out because it features notable Hollywood actors. David Niven portrays a charming leading man who makes his love life a fan contest, which makes for an entertaining beginning. However, the story becomes convoluted when a gambling group, led by Herbert Lom, gets involved. The initial dream scene, where Niven is attacked by numerous Peggy Cumminses, is particularly striking. It’s still unclear why Cummins didn’t achieve greater fame in her career.
8. The Titfield Thunderbolt (1953)
Ealing at its cosiest, protecting branch-line village life from the vandalisation of modernised central planning a decade before the first Beeching report massacred the railways. John Gregson is the local squire leading attempts to keep a little steam engine running after the village’s train service is cut, with the wartime spirit of initiative, spit-and-polish, and a bit of improvisation with the rules. In classic Ealing style, the unions and big business, supposedly natural enemies, are equally obstructive, but no one foresaw the commercial golden egg that restored railways would become.
7. The Maggie (1954)
A different song praising the merits of the traditional “puffer” vessel, this time featuring a Clyde cargo boat instead of a steam engine. Directed by Alexander Mackendrick, leader of Ealing’s Scottish division, the film showcases Alex Mackenzie (in his first acting role at age 60) as a sly captain who cunningly secures a high-paying delivery job for loud American businessman Paul Douglas, despite his boat – the “Maggie” – being deemed unseaworthy. True to many other Ealing comedies, this one captures the genuine local atmosphere and allows the actors to use their natural accents. With its depiction of smart Scots and clueless outsiders, The Maggie heavily influenced the film Local Hero.
6. Passport to Pimlico (1949)
Many Ealing films reflect a desire to move past the hardships of war while maintaining the sense of unity and patriotism at home. This particular film captures this sentiment perfectly. An unexploded bomb from the war leads to the discovery of an underground treasure chamber, and the establishment of a miniature country in London modeled after Burgundy. Initially, this new Burgundy is a utopia free from rationing, but it is soon infiltrated by the black market and eventually blockaded by the British government. The film ultimately sends a message of caution, reminding viewers to be careful what they wish for.
5. Whisky Galore! (1949)
Mackendrick’s first experience as a director was another response to the annoyances of rationing, possibly more reminiscent of a tin of shortbread biscuits than The Maggie, but it has undeniably remained popular in the public’s imagination. Adapted from a novel by Compton Mackenzie, which was inspired by a real-life event, this film follows a whiskey-filled boat that sinks near the fictional island of Todday in the Western Isles, and a group of islanders who claim some of its bottles. A box office success in the United States, this film solidified the idea of cunning Scots outsmarting domineering English, a theme that remains popular to this day.
4. The Man in the White Suit (1951)
Arguably one of the most forward-thinking comedies by Ealing, this film highlights Guinness’ charming and straightforward performance. He portrays Sidney Stratton, an idealistic research chemist who invents a super strong synthetic fiber, much to the displeasure of his bosses and coworkers who realize that a always-perfect cloth would make them obsolete. Despite ending up in his underwear and losing his job, the film does not end with a complete return to normalcy. Stratton’s innovation and determination remain unshaken and as the credits roll, we are reminded of the backroom scientists who played a crucial role in winning the war just a few years earlier.
3. The Lavender Hill Mob (1951)
During the early 1950s, the heist genre was just starting out, but this incredibly humorous and nearly flawless film emerged as an example, showcasing its potential. Alec Guinness delivers another brilliant performance as a stiff and proper inspector who is responsible for transporting bullion to the bank, but is secretly planning to steal it. He is perfectly balanced by Stanley Holloway’s performance, reminiscent of Zero Mostel, as the artist whose foundry plays a crucial role in the heist. The attention to detail is impeccable, and the ensemble cast, including Sid James, Alfie Bass, and a young and radiant Audrey Hepburn in one of her first screen roles, adds to its greatness.
2. The Ladykillers (1955)
It is almost impossible to distinguish this film from The Lavender Hill Mob; The Ladykillers is chosen for its absurd premise, combining the stereotypical elderly landlady (Katie Johnson) with a clever heist comedy. Guinness delivers yet another phenomenal performance as the leader of the criminals, channeling Alistair Sim. The rest of the gang, including Peter Sellers and Lom, also shine. The finale, where each member of the gang meets their demise and Mrs. Wilberforce acquires a large sum of money, is nothing short of fantastic. Director Mackendrick would later achieve more success with Sweet Smell of Success and A High Wind in Jamaica, but this film is nearly flawless. Its unique brilliance was only highlighted by the Coen brothers’ lackluster remake.
The movie “Kind Hearts and Coronets” was released in 1949.
Display the image in full screen mode.
This movie is the best of the Ealing comedies and is considered one of the greatest British films of all time. It was released in the same year as Passport to Pimlico and Whisky Galore!, leading a new wave of comedy. It showcased Guinness’s talent as he played all eight members of the noble D’Ascoyne family who meet their demise throughout the film. However, the true star of the film is Dennis Price, who plays a draper’s assistant on a mission to secure his inheritance by eliminating the D’Ascoynes. What sets this film apart is its brutally cynical tone, a departure from traditional British cinema and previous Ealing comedies. It challenges the audience to root for a cold-hearted, ambitious serial killer who maintains relationships with both his trophy wife (Valerie Hobson) and teenage crush (Joan Greenwood). In addition, it serves as a harsh critique of the glorification of the British upper class, depicting them as tired, distracted, and ineffective. This message resonated with many in the postwar era.
Source: theguardian.com
