User reviews

Dear old Jack, he was so ebullient, resilient and confident, exuding a goofy charm no-one else could quite match. (By todays standards) his talents as a singer, dancer and actor were pretty thin, I've often wondered if he could come back what he'd think of the dancing skills displayed on the London stages today. Would he agree that way back when he sang like a foghorn and danced like a demonised flagpole in a suit? But he sure entertained the show and picture goers of the 10's to the 40's, many times alongside his wife, Cicely Courtneidge. Apart from liking his films I also like the man himself, his simple unwavering message of Keep Smiling being one I subscribe to myself - or try to!

In this he's on the dole, hungry and ready to do any job but quickly light-heartedly scams his way into society and a highly regarded position at a bank next to the beleaguered Robertson Hare. Here he invents a fraudulent business plan (Merrivale - you remember it surely?), the manager and chairman and another finance company are suck(er)ed in and it all snowballs from there. With of course a love interest as a dynamo.

Although the last 10 minutes seem to drag a little (did Hitchcock get the inspiration for the ending of North by Northwest from this?!), it's a jolly little film, with 3 breezy musical numbers, the most popular one being "Where there's you there's me", adding up to totally inconsequential fun.

It's surprising to see Robert Stevenson credited as co-director of the Jack Hulbert vehicle. I think of him at his peak in the mid-40s, directing JANE EYRE... but of course, he would later work for Disney, directing some of the studio's more financially successful gimmick comedies, like THE LOVE BUG and THE SHAGGY D.A.

Jack is anxious to do well to make his little old mother proud, so he walks into a bank one day and convinces everyone he has been transferred back from Paris. He talks up "The Merrivale Plan" and in short order, the bank comes up with the plan, which is shoe manufacturing. He also courts through dance and blather, Gina Malo.

Although the movie is clearly a bit of stage musical-comedy fluff, Hulbert is at his most Astaire-like in this one, dancing a couple of numbers in white tie and tails. Unlike Astaire, however, Jack dances for the camera, instead of the way that Astaire stages his numbers, letting the camera follow him. The wonderful nonsense of the story, however, is clearly Hulbert's strong point in a delightful musical.