A Run for Your Money

"Run for Your Money" is a 1949 comedy that's just about that - two Welsh brothers, with some other interested parties, running all around London in a single day to collect a cash prize. This isn't a comedy of great witty lines and dialog that was typical of Hollywood in its golden age. Rather, it's of the British ilk of the same period with funny situations, and warm-hearted humor.

The film has a fine cast of actors of its day from around the United Kingdom. Donald Houston and Meredith Edwards are the brothers, Dai (David) and Twm (Tom). They work in the coal mines and hail from the fictional town of Hafoduwchbenceubwllymarchogcoch, Wales. Listening to the town pronounced in the opening, one comes up with a phonetic spelling for pronunciation close to this - Hah¬¬o Duke Ben Cray Buff Mare Hog Co.

The brothers have won a £200 prize from the Echo newspaper and are sent on their way to collect by the mine boss, company office and fellow miners. Clive Morton plays the paper editor who assigns his garden columnist, Whimple, to the story. Alec Guinness plays Whimple. He's to meet their train and escort the boys around London, show them a good time, and then deliver them at the paper office to accept their cash prize.

Several other people have fine parts. One is another Welshman, Hugh Griffith who plays Huw. He's a one-time celebrated singer from Wales who is now panhandling in London for drink money. And South African actress Moira Lister plays Jo. She's an attractive girl the boys meet in a lunchroom. She's also a local scam artist.

The hilarity begins when the boys arrive in London and Whimple can't find them at the train station. They soon get split up after meeting Jo, and Tom then runs into Huw. The rest of the film is frenzy as these disparate players run around looking for one another, with David showing up to collect the cash and Tom being thrown out of the office after he and Huw have had one too many pints.

The film has many chuckles with the scurrying about, and encounters they all have. The ending is just right for a harried day of country lads in the big city. The funnies line in the film is Guinness's Whimple. He says to his editor, "How much I prefer vegetables to human beings."

This is an early look at Donald Houston (1923-1991). He was just 25 years old here and in only his fourth film. It was one of just a few comedies that he would make. After this he would make mostly mysteries and dramas. He made a few war films, and although playing a leading man for a time, he was mostly cast in second tier films. His later career saw him in some fine supporting roles of first tier films. Both Houston and Edwards were Welsh, and Houston actually worked for a time in the coal mines as a young man. He entered an acting contest held in his local town and began a career in acting.

This was only the fifth film for Alec Guinness (1914-2000). While he had been on stage for several years, Guinness was slow to come around to the silver screen. But he made some fantastic British comedies over the years. He was a great actor who could play any roles. He received many major award nominations and won an Oscar, a Golden Globe, and three BAFTA awards. He still preferred the stage over film, and won a Tony on Broadway in 1964.

Most young people will know Guinness only for his role as Obi-Wan Kenobi from the Star Wars films. Film buffs who haven't seen him otherwise, and those interested in the theater and acting, owe it to themselves to watch at least a few Guinness films. "The Bridge on the River Kwai" (1957) is one of the best war movies ever made. For comedic genius and versatility, Guinness's eight roles in "Kind Hearts and Coronets" (1949) can't be topped. Among other great dramatic films in which he starred are "The Prisoner" of 1955 and "Damn the Defiant!" of 1962. He also starred in two blockbuster British TV mini-series.

This story is about two Welsh brothers who are miners from an unpronounceable place in Wales who win a contest to go to London to see a rugby match. Part of the winnings are 200 pounds, a considerable sum in those days. The pair arrive, completely miss the otherwise disinterested gardening columnist asked to give them the prize (a great Alec Guiness) and go to the city. They meet up with Jo (the beautiful Moira Lister) and it turns out she is a scam artist and wants the money, so she becomes closer to the naive Dai. The brothers end up losing each other, with Twm meeting up with an old friend from their town. Hee helps him get back his pawned harp. The film goes from there, the brothers trying to find each other, Jo trying to get the 200 pounds and the columnist trying to endure this, being clearly out of his element. This is a very good film, comic, dramatic and even touching. The last half hour is excellent as you see how the story unfolds. If you like British film, especially classic British film, I highly recommend this.

Two brothers, country-boy Welsh miners, come to London for a day to collect a prize won and to see a football match. They are separated when they arrive and spend the rest of the film trying to find each other. One, a handsome, naive lad (of the sort Bill Travers played in WEE GEORDIE) is alternately taken in tow by Alec Guinness, an effeminate garden-column writer, and by Moira Lister, a larcenous blonde. The other meets up with old-friend, street-singer Hugh Griffith, and they get wildly drunk. The pacing is superb, and the style is realistic. There is a large variety of amusing characters, the most memorable of which is Joyce Grenfell in a fancy dress shop. It's all extremely cleverly done, and filled with well-timed laughs. You don't see the laughs coming; in that sense they're never predictable. Nor are they easy, lazy laughs; they're very deftly worked out. Yet it doesn't go beyond that consummate skill. Halliwell, as usual, puts it very well; "with characterizations as excellent as they are expected." Somehow, the film isn't quite as pleasing as should be. This is largely because of the naive lad's relationship to the con-girl; one has to wonder about the worth of a man who'd completely forget his fiancé in a day, and Lister's weak performance doesn't give the conceit any help. Also, the level of farce is occasionally pushed beyond its limits. It's OK that the brothers keep missing each other like people slipping in and out of doors in a stage farce, but for Griffith and the brother he's with to literally pop in and out of the doors of the underground train, and stretch the routine to the limit, seems a bit much. But one feels a bit bad complaining about the weaknesses of the film, because it is very entertaining, and a skillfully made comedy.

This is a wonderful early post-war example of what would become staple 1950s comedies - one of the first from Ealing Studios - it has an innocence and freshness, as well as genuine laughs and charm, that hold up well nearly 70 years later.

Two Welsh miners win the Daily Echo's prize for the most productive miners in Britain and head up to London to collect the enormous sum of £200 - as innocents in London they get separated and the one meets a gorgeous girl on the make, and the other a broken-down Welsh harpist. They are all chased by a bemused Alec Guinness as the gardening correspondent out of his métier.

All in all this foreshadows the great comedies of the 1950 - but it is a very lovely example of the genre - full of joy, energy, even some farce, and lots of very beautiful music - this is one to enjoy with a nice cup of tea and a roaring fire!

There's plenty to love about the Ealing Studios comedies of the late 1940s and early 1950s. There's a certain laid-back attitude towards all the stories, rarely falling back upon melodrama and maintaining a solid feeling of everyday realism – the humour is much more akin to the Australian style of comedy rather than the American, and that certainly appeals to me. Charles Frend's 'A Run for Your Money' is an undiscovered gem – a term I suspect I'll be using to describe a lot of the Ealing Studio's films – from 1949. The simple story concerns Tom and David Jones, two mining brothers from the quaint Welsh town of Hafoduwchbenceubwllymarchogcoch, who win a newspaper award, and so travel to London for the first time to claim their $200 prize. Once there, the two enthusiastic young men waste no time in getting separated, and their eventful day consists of numerous coincidences, near-misses, the reacquisition of a harp, a rugby match, the boss' bowler hat, and a cunning female con-artist who tries to relieve David of his money.

This is how I like comedy the best: simple, fun and effective. The two Welsh brothers (Meredith Edwards and Donald Houston playing Tom and David, respectively) are a pair of likable larrikins, though David (called by his nickname, "Dai Number 9") is naive to the point of gullibility, and Tom ("Twm") finds it difficult to say no to a drink at any time of the day. Alec Guinness has a brilliant supporting role as Whimple, the gardening-columnist who is instructed by his newspaper editor (Clive Morton) to escort the men about London. Interestingly, he is a sort of Clouseau-esquire figure, filled with a bloated sense of self-importance that is punctuated by, above all else, his terrible luck. Fittingly, and to our great amusement, the story eventually winds up with Whimple receiving the raw end of the deal, despite his best intentions. Moira Lister is adequate as Jo, the sweet-talking Londoner who tries to scam the credulous David out of the $200 prize money.

I also noticed some solid comparisons between 'A Run for Your Money' and director Frank Capra, and the sub-plot of the female con-artist finding the heart to redeem herself was reminiscent of Jean Arthur in 'Mr. Deeds Goes to Town (1936).' Additionally, Capra always had a talent for celebrating of the "common man," a notable example being the singing on the night bus in 'In Happened One Night (1934).' This film follows a similar sort of path: Tom and David Jones certainly represent this noble "every-man" - they are first sighted hundreds of metres underground, as cheery, hard-working labourers in the mine, with sweaty hands and blackened faces. Director Charles Frend also uses a merry song to emphasise the magnificence of the small-town folk of Wales. On the train to and from London, the hundreds of good-natured Welshmen join each other in a jubilant chant, a symbol of their togetherness as a people. Conversely, the uptight folk of the big city prohibit music in their pubs, and, on one of the London trains, a simple request for directions leads to a heated dispute over the most efficient route to Twickenham.