Where There's a Will

Adapted by R.F.Delderfield from his own stage farce and directed without much enthusiasm by Vernon Sewell. Despite quite a few shots of a wintry-looking Devon it still manages to feel studio-bound.

Full of vaguely naughty references to things like illegitimacy, chamber pots and the 'News of the World'. Interest is provided amidst a cast of veterans by two newcomers in their twenties: Edward Woodward (leaner and with a a higher hairline than he had twenty years later) repeating his stage role, and a caustic young Thelma Ruby, now at 95 the final surviving member of the cast.

I suppose most of us, if told we had inherited something, would find our eyes light up. Not so much this family of East London Cockneys who have inherited a run-down old farm in Devon after it's owner had a rather terminal encounter with a land mine. It is about as far away from London as they can go without a passport (assuming any of them actually had one). Upon arrival, they discover it's pretty much a dump and they are keen to just be rid of the place - and, fortunately, there are no shortage of folks wanting to obtain the land. Snag is, one of the family - "Alfie" (Leslie Dwyer) decides that he is tired of working in a bathhouse, and his niece "June" (Ann Hanslip) who is equally fed up with the relentless drudge of 1950s London life decides to help him make a go of the enterprise. What now ensues are a series of enjoyable escapades as they are, quite literally, fleeced by the locals, the ever pervasive Ministry and are soon ruing the day they ever saw the place. It is one of these gently internecine dramas, with everyone trying to pull a flanker before an ending that is as inevitable as it is enjoyable. It's maybe its a bit too basic, this - charming, yes - but the script and characterisations are little better than adaptations that might have worked (or, maybe did) better on the wireless. Still, it is quite a fun tale that raises a smile and makes you rethink that expression about gift horses.

Storyline: Cockney extended family decamp to the countryside, after inheriting ramshackle farm in Devon to try their hand at farming. Leslie Dwyer, stalwart character actor of British films, George Cole, with permanent fag in the mouth, plays a 'spiv' - a sort of Flash Harry, a role he reprised in several later films and the irrepressible Kathleen Harrison of 'Meet the Huggetts' fame are all a joy to watch. Leslie Dwyer, who plays middle aged Alfie Brewer, enthuses about taking up farming as a way of life, as he can't wait to see the back of London and 'Turkish baths' where he was gainfully employed, but the rest of the 'family' are distinctively underwhelmed with 'working on the soil,' and would rather sell the place. However, Dwyer finds an ally in his dreams of running a farm by striking up a very friendly relationship with the deceased farmer's housekeeper, played by the delightful Kathleen Harrison, a spirited and canny woman, who encourages him to pursue his rural dreams with her. There's only one 'fly in the ointment' which is the housekeeper sees herself as being a lot more than a housekeeper/companion to Dwyer! My problem with the film is there are too many stereotypical characters and a storyline overburdened with too much dialogue about the interminable problems of the mortgage, which after a while became a total bore! On hindsight, this light hearted comedy would have been better and more interesting as a TV series of six episodes as a way of developing the writer's (R. F. Delderfield) characters. Nevertheless, the film is a pleasure to watch as it features so many talented character actors, who went on to appear in countless films over the decades.

This film has no connection with the Will Hay film, WHERE THERE'S A WILL (1936). This is an amusing fifties British comedy, for those who like such things, and the exteriors were really shot on a run-down, scruffy farm, not just in a studio. The story concerns the inheritance of a farm by the relatives of a childless farmer who apparently dies intestate. The relatives are all London cockneys, and there are numerous jokes and sight gags (endlessly tromping through mud and stroking pigs) about how ill at ease they are in a farmyard setting. The deceased farmer's housekeeper is charmingly played in a fey manner by Kathleen Harrison. She has lived there for 25 years and had expected to inherit the place herself, but as no will can be found, she soldiers on as the housekeeper for the new and rowdy incomers. Later on, the will is found is an unexpected place. However, I will not spoil the story by explaining all the ins and outs, and how they are all surprisingly and unexpectedly resolved. This is a very light film, the humour is gentle and slow, and there are no Hollywood-style wisecracks, nor is there much pace. It is mildly amusing, not riotously funny. Those who are interested in knowing more about fifties Britain can always profit by seeing such films as these, hearing the topical subjects of the day mentioned in passing, seeing somebody make her way to the outhouse with a lamp in her hand, understanding how few comforts there were at the time and how little anyone expected any, and gathering from the behaviour of the characters what things tended to be like then, allowing of course for all the exaggerations necessary for a film comedy. The film was directed by Vernon Sewell, who was not noted for anything in particular, though he directed 39 films between 1933 and 1972. If this film drags a bit and does not seem to be written for the screen, that is because it was not written for the screen. It is based on a play by R. F. Delderfield (1912-1972), who adapted it for the screen himself, but not very well, so that it is rather stagey and you can imagine a proscenium just out of shot. Delderfield is best known for his Horseman Trilogy of novels, the initial parts of which, dealing with the period ending in 1919, were made into a 13-part TV series in 1978 entitled A HORSEMAN RIDING BY, of which I have an old video and I expect I will watch and review it one of these days. (The latter part of that trilogy was never filmed.) This film contains the first screen performance by the actor Edward Woodward (1930-2009), who later rose to prominence and appeared in 99 films. Leslie Dwyer (1906-1986) is the amusing and engaging lead, and he eventually appeared in 120 films. Hence, many favourites of future British films and TV series, including Dandy Nichols, are to be found in this sleepy offering which is suitable for a rainy afternoon by the fire, for those of a homey disposition who might be inclined to have a full teapot nearby snuggling under its cosy and a slice of homemade Victoria Sponge cake ready to hand.

A wealth of familiar faces comprise the talent in this better than average British B movie comedy. Many of whom went on to later (and wider) TV stardom. The plot is standard comedy bordering on grace fate, surrounding a Will and the usual machinations around money and morals ensues. The wonderful (and sadly neglected) Kathleen Harrison brings a warm heart to the centre of it, and likewise Leslie Dwyer brings a degree of charm that makes us root for these two unlikely romantic suitors amidst the skullduggery. Grey power at the box office isn't new! The film crackles along at a great pace. The financial ramifications of various legal positions are hard to follow, but it doesn't matter to the enjoyment of the piece. Warm chuckles all round.