“AN ALASTAIR SIM QUARTET”

By Raymond Benson

Alastair George Bell Sim, popularly known as Alastair Sim, was one of those great British actors famous for his remarkable facial features, physical presence, and vocal delivery. Primarily a renowned stage performer from the 1930s to the 1970s, Sim also made several films—mostly comedies, because he could do “irony” as well as, say, Alec Guinness. Sim is perhaps best-known for his definitive Scrooge in A Christmas Carol (1951, titled Scrooge in the U.K.), but his work portraying acerbic and sarcastic characters in other pictures in the late 40s and through the 50s, is outstanding.

The impressive Film Movement label has released this 4-disk package that highlights a quartet of notable Alastair Sim appearances in what are deemed to be among the best post-war “very British” comedies. This was a time when Ealing Studios, for example, was making its mark in the genre. These four movies capture a Britain still recovering from rationing and regaining a foothold in the international scene. Here lie the catalysts for later, more abstract 1960s British humor such as The Goon Show and Monty Python’s Flying Circus. The four titles also come with over two hours of supplements.

The Belles of St. Trinian’s (1954) is the first—and best—of the hugely popular St. Trinian’s series based on Ronald Searle’s drawings and cartoons about a boarding school for girls in which the students are unruly delinquents and the teachers are just as bad. Directed by Frank Launder and written by the formidable team of Launder and Sidney Gilliat (The Lady Vanishes, Night Train to Munich), Belles features Sim in dual roles—as Millicent Fritton, the headmistress of St. Trinian’s (yes, Sim is in drag, and he’s hilarious), and as her twin brother, Clarence, a gambler and bookmaker whose daughter, Arabella (Vivienne Martin) is in the sixth form of the school. The plot involves Fatima, a new student who is the daughter of the “Sultan of Makyad” (Eric Pohlmann). Everyone around Fatima is attempting to get information on the sultan’s horse that will be competing in the Cheltenham Gold Cup. British stalwart comic actor George Cole plays Flash Harry (a role he would repeat in subsequent entries in the series), a shifty sort who sells gin to the science department. There can be no doubt that Michael Palin channeled Cole in some of the television Python sketches fifteen years later. Wildly funny comedienne Joyce Grenfell is police sergeant Ruby Gates—she also returns for further adventures at St. Trinian’s. The picture is slightly ribald (probably an eye-raiser in 1954!), full of eccentric and amusing personages and situations, and is a joy to watch. Supplements attached to this title are a making-of featurette, separate interviews with film historian Geoff Brown, film lecturer Dr. Melanie Williams, Sim’s daughter Meredith McKendrick, and Steve Chibnall, professor of British Cinema at De Montfort University.

School for Scoundrels (1960) is a pure delight that sees Sim in a supporting role as “Mr. Potter,” a nudge-nudge-wink-wink nod to Stephen Potter, the author whose Gamesmanship books were the bases of the film. These were satirical books that instructed men how to “one-up” their rivals, be successful, and always get the girl. Ian Carmichael is Henry Palfrey, a total failure, even though he owns his own business (but his employees walk all over him). After a chance encounter on a bus, Henry falls in love with April (Janette Scott, a sparkling beauty whose second husband was Mel Tormé). Unfortunately, cad and annoying “man about town,” Raymond Delauney (Terry-Thomas, in a role that defines every character Terry-Thomas ever played!) attempts to seduce her away from Henry and simultaneously humiliate the young man. Henry eventually enrolls in Potter’s School of Lifemanship to learn how to “one-up” his adversaries and finally win over April. This somewhat sexist (it’s 1960, after all), but hilarious, romp was the final film directed by Robert Hamer (Kind Hearts and Coronets). It was also remade—badly—in 2006 with Billy Bob Thornton. Supplements included are interviews with Guardian film critic Peter Bradshaw, Terry-Thomas biographer Graham McCann, Stephen Potter’s grandson Chris Potter, and a restored trailer.

Laughter in Paradise (1951) finds Sim as one of four distant relatives of the recently deceased Henry Russell (Hugh Griffith), a notorious but wealthy prankster. In order to inherit £50,000 of the old man’s money, each of the four cousins (Sim, Fay Compton, Guy Middleton, and George Cole) must perform a public act designed to turn their lives upside down. For example, Sim is a retired officer who now writes “penny dreadful” crime stories. His task is to commit a crime and spend 28 days in jail. Compton, a stuffy spinster who treats her servants horribly, must gain employment as a servant in a household for a month. Cole, a meek and introverted bank manager, must pull an armed robbery prank on his beast of a boss. Middleton, a womanizer, must propose to the next female he sees—and he must get her to agree to marry him. Director Mario Zampi pulls off some mighty funny stuff here. The scene in which Sim attempts to shoplift in a jewelry store is comic gold. Alas, there are no supplements accompanying this title.

Hue and Cry (1947) is important in the pantheon of British cinema in that it is considered the first of the comedies produced by Ealing Studios, although it is more of a Boys’ Own adventure tale. The protagonist is teenage actor Harry Fowler as Joe Kirby, who is part of a gang called the Blood and Thunder Boys (that also includes a girl or two) who rummage around the bombed-out ruins of post-war London and environs (shades of John Boorman’s Hope and Glory!) and always narrowly escape getting into trouble. One day, after reading a pulp comic (ironically called “Trump”!) and its detective story contained within, Joe begins to suspect the same crime being committed out of a furrier shop in Covent Garden. Thus begins a “ripping yarn” in which Joe and his young cohorts attempt to solve the puzzle. Sim has a small role as the author of the mystery stories appearing in Trump. Directed by none other than Charles Crichton (The Lavender Hill Mob, A Fish Called Wanda), the picture is great fun and also provides an extraordinary street-scene depiction of war-torn Britain at the time. Supplements include an interview with Professor Chibnall again, and a locations featurette comparing the movie’s settings with what they are today.

Film Movement’s high definition digital restorations (from StudioCanal) are spectacularly good. If this is an example of the company’s quality control, then Film Movement will be a major competitor to other classic film Blu-ray/DVD labels.

All four titles in this wonderful package are gems. Towering over them is the charismatic presence of the amazing Alastair Sim, who commands the screen and will make you laugh. Highly recommended.

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