Piccadilly Jim

Robert Montgomery is smooth and snappy as the artist—er, newspaper cartoonist—known as "Piccadilly Jim." He introduces us to his father, unemployed actor Frank Morgan: "He does Shakespeare or nothing. In other words, nothing." Montgomery and Morgan lead a great cast in this very funny comedy of misunderstood motives and assumed identities.

Madge Evans is witty and lovely as the girl Montgomery spots in a restaurant and then pursues from England to America. Their romance is, of course, full of bumps and misunderstandings; Evans and Montgomery make a great pair, both of them slightly less nutty than their families, and both completely beautiful and lovable.

Madge's two aunts are also splendid. Cora Witherspoon is loud, bossy and funny as the social climber trying to prevent her female relatives from falling in love with the wrong men; and Billie Burke, who carries on a rather secretive affair with old smooth talker Morgan, is just about perfect—funny, sweet, slightly ditzy yet quietly knowing in her own way. The scenes between Burke and Morgan are really delightful—two great character actors at their absolute best.

Eric Blore is hilarious as Montgomery's faithful and eminently correct valet; he completely refuses to be discouraged when his repeated attempts to tell an anecdote about Robert the Bruce are rebuffed.

Besides the great cast, the direction is crisp and the script is excellent—a plot that is silly but holds together, packed with characters who are full of foibles but never really wicked. Lots of fun.

When one reads Wodehouse novels and short stories one is in a world of gentlemen's clubs, social lion aunts and tyrannical mothers, henpecked husbands, merchants who are overly proud of their products (in one short story the rich uncle deals in jute and has a house decorated in models of birds made out of his product), would-be dictators of England who have family fortunes based on woman's lingerie, Earls who are more concerned about prize winning pigs than propriety, bartenders who have funds of stories to illustrate life with, butlers who are smarter than the aristocrats around them, idiot scions of noble houses who convince their potential in-laws of their good intentions by swallowing dog biscuits (which the in-laws manufacture), brilliant social tacticians whose schemes always come apart at the end, and golf lovers - always golf lovers. You rarely find a comment on the real world - the nobleman who made money from ladies underwear was an exception (a satire on Sir Oswald Mosley). But his variations on the artificial world of the rich and the powerful works a charm to this day. Unlike so many of his contemporary fellow novelists his works are still largely in print (mostly through the British publisher Penguin). And Wodehouse wrote over 100 books!

It is a great formula, but it can be spoiled. Arthur Treacher played Jeeves, the great butler, in two forgettable comedies in the 1930s (one with David Niven as Bertie Wooster) did not make a great impression due to poor productions. But a film like A DAMSEL IN DISTRESS or this version of PICADILLY JIM shows how it's done properly. The characters are not arch or overdone - but they all take themselves seriously. Montgomery is a night person, enjoying the nightclubs and such. But he does remember to have a caricature ready for his newspaper, folded in the pocket of his coat. Eric Blore is the perfect butler, trying to awaken his employer using bird calls (a talent he would also display with amusing results in IT'S LOVE I'M AFTER). But he is intelligent and loyal. When Cora Witherspoon's Mrs. Pett makes a sneering comment on Jim's formidable abilities as a caricaturist (as opposed to a real artist like Leonardo or Raphael), Blore's butler Bayliss boils over and rattles off a list of great artists who were gifted caricaturists, such as Daumier and Thomas Nast, and ending with Goya. Frank Morgan has not performed on stage in 20 years, but he is proud of his greatest role - as Osric in Hamlet (Peter Cushing in the Olivier film, and Robin Williams in Keneth Branagh's version). He uses it (successfully) to fool the Petts into accepting him into their family, while he secretly romances Mrs. Pett's younger sister (Billie Burke - the only one who realizes the truth in the masquerade).

In Wodehouse the road to love is never easy. Robert Montgomery makes a successful comic strip out of the Pett family (Witherspoon, Grant Mitchell, and Tommy Bupp) in revenge for their snootiness (actually it is the snootiness of Witherspoon - she thinks Morgan is a fortune hunter, and Mitchell is her henpecked husband who goes along with her; the boy Ogden Pett is one of those obnoxious kids in Wodehouse who enliven his books - actually Ogden is thoughtless and rude, but he actually thinks it's cool that he's in a comic strip). Montgomery learns that Madge Blake, the woman he loves, is angry at the comic strip and it's artist. He has to try to undue the damage his successful strip has done to try to win Madge back.

The film is a sparkling little drink of champagne, which the best of Wodehouse usually is. It's nice to see that for a change, Hollywood got the literary property's spirit right.

Jim (Robert Montgomery) is an artist and his father (Frank Morgan) a real lady's man. When the father falls for a rich society woman, her family turns out to be very snooty and condescending. Jim is infuriated and responds by creating a series of cartoons lampooning these jerks--and the series becomes VERY popular. However, when Jim meets Ann, he's smitten by her and is then shocked to learn she's from this same snooty family. So, Jim decides to stop doing these wildly popular cartoons and intends to keep his profession from Ann. To do so, he makes up a wild pack of lies...and has his butler (Eric Blore) pose as his father since they already dislike Jim's real father since the father is JUST an actor! Will Jim be able to keep this secret from Ann forever? And, if she learns, what will happen to their relationship? And why does Father show up...in disguise and with a thick German accent?!

In many ways, this film must have inspired the wonderful Errol Flynn film "Footsteps in the Dark". In this other film, Flynn lampoons society with his stories and all of these rich swells hate him...not realizing he's one of them himself! Both films are quite clever and worth seeing. Goofy, fun and the sort of movie they unfortunately don't make any more.

Supporting players Cora Witherspoon and Eric Blore steal the show in this funny 1936 film.

A guy, (Robert Montgomery)who is a cartoonist and his father, a Shakespearian actor, who hasn't played Shakespeare in 20 years, (a very funny Frank Morgan) vie for the attention of two women.

Morgan is after Billie Burke, from a wealthy family, who is a plain ordinary lady. The trouble is her sister, Nesta, played with an aristocratic humor by Witherspoon. She sees Morgan as a fortune hunter and tries to end the liaison. Montgomery starts a cartoon series based on the family which is soon a hit throughout England. Little does her know that the girl he is after is the niece of Witherspoon.

There's a ship-board romance to America. Morgan dresses up as a European aristocrat to impress Witherspoon and her family. Further complications leads him to have the butler, Blore, play his father.

The ending is predictable but it's funny to see how things entangle in this screwball comedy of 1936.

When the leading lady (Madge Evans) must explain why she likes her suitor (Ralph Forbes)and must contrast that attitude with her feelings for Robert Montgomery, you know the film is in trouble. Montgomery can say there's "electricity" between himself and Evans, but that spark is not transmitted to celluloid. And that is too bad, because the film is wittier -- per Wodehouse -- and better-acted than many films of the era. But Evans' loves and likings must be verbalized. The energy is simply not on the screen, only in the script. She is beautiful, though. She needed a different character -- more remote, more mysterious, more fearful of love. And then, maybe... Blore is wonderful, and lights up every scene he is in, as the butler who knows his Shakespere better than the ham, Frank Morgan. But this is one of Morgan's best roles. His only triumph, apparently, was as Osric, in Cedar Rapids. Now Osric is the foppish courtier at the end of 'Hamlet' -- hardly the role of a lifetime. But Morgan disguises himself as "Count Osric of Denmark" in order to infiltrate the family of his beloved (Billy Burke) and turns his failure as actor into personal success. It is a neat touch. Burke's flighty flutiness is hardly used in the film, but she does have a funny line about remembering how painful youth was. The Morgan-Burke romance is intended as a foil for the Montgomery-Evans courtship and that would have worked well had the main plot had more chemistry.