The Picture Show Annual (1942)

• . - Below : John Clements, John Laurie and Charles Farrell in “ Convoy. Nazimova, Robert Taylor, Felix Bressart anfL Norma Shearer in “ Escape.” Below : Arthur Lucan, M ar tit a Hunt, H. F.Maltby and Bruce Seton in Old Mother Riley Joins Up." country comedian, and the canny, dry wit of the Scotsman. It is a bright note in these years of war to know that British producers at last realised the big assets they had in British comedians. George Formby (son of the famous music- hall comedian of the same name) has come to the front of popularity, not only in England, but in America and the British Dominions. George is an individualist in his humour. He copies nobody, but all the same he has the characteristics which were the outstanding qualities of many great mirth-makers of the movies who were stars before George appeared. He has the shyness of Charles Ray, and also the simplicity of nature that was such an asset to that star. Yet George, with all his daftness, always succeeds in outwitting the smart city villains as Ray did. He also possesses the great human touch that made Charlie Chaplin. He is one of the undcr-dogs of the world and he stands up for his class. Audiences all the world over are always sympathetic to such a character. In his whirlwind stunts and hair-breadth escapes George Formby has the thrill appeal which was the big feature in all Harold Lloyd’s pictures. He keeps an audience scared but laughing, and right through it all there is always a touch of the Mack Sennett style of slapstick comedy. Georee Formby differs from Charlie Chaplin in regard to the girl. George gets his girl while Charlie, with one exception, never did. George’s love- making is anything but sophisticated. As a lover, in fact, he is more gawky and tongue- tied than when he is trying to get a rise in salary. But there is no mistaking the fact that his love is genuine, “ iannock ” all through, just as George is. Then he has another big asset in his ukulele, for he plays it extremely well and it is just the right accom- paniment for his style of song.. His film stories have invariably been well chosen to bring out his accomplishments as well as his style of humour. He makes a lot of use of a motor- cycle in many of his films, and there is good reason for this, for George is an expert on that machine and has ridden in famous trials. Plenty of wartime slapstick humour was found in “ Sailors Three ’’ and “ Old Mother Riley Joins Up.” " Love Thy Neighbour.” “ Honeymoon for Three ” and “ Mr. and Mrs. Smith ” were real laughter-raisers from America. In “ Comrade X ” Clark Gable as an American newspaper man in Red Russia, Hedy Lamarr, a red- ■ hot Communist, writh Felix Bressart as her father, made the most delightful satire since “ Ninotchka.” Since the moving pictures were first invented a great number of outstanding films have been made, which not only were landmarks in the history of the screen but were of such excellence that they have been revived time and time again. “ The Thief of Bagdad,” with the true spirit of fantasy in it. was released at a time when German raiders were bombing London and other cities and towns in England nightly, and it carried a message of hope in the utterances of the Thief—splendidly played by Sabu, the Indian boy—who wanted neither power nor riches but only Freedom, which is what we took up the challenges of the Dictators for, and for which we have always fought. Yes, the screen has played a most important part in the war Edward Wood. A scene Jrom ” Britain Can Take It ”—showing the statue of King Richard the Lion-hearted undam- aged except for a bent sword.