Follow a Star

"Truscott" (Norman Wisdom) spends much of his days at work in a laundry dreaming of a stardom that might just come his way when he encounters legendary crooner "Vernon Carew" (Jerry Desmonde). This man's star is very much on the wain until he hears his new friend sing and hits on the idea of "borrowing" his voice - without telling or paying him, of course. His career rejuvenated, it's only his vocal coach "Dymphna" (Hattie Jacques) who recognises the true owner of the voice but what to do. "Truscott" can only sing if his beloved "Judy" (June Laverick) is there to encourage him and that's not possible right now. As "Carew" heads to the bright lights of the London Palladium, our plucky hero's friends have to think of a way of showing where the real talent lies. How, though? This is another decent showcase for Wisdom to show that he had quite a few strings to his bow. His semi-slapstick comedy timing is perfect but here he proves that he can also hold a tune, delivering a few of the numbers that fit entertainingly into the story. The story itself, though, is far too long. It could readily lose half and hour and not suffer. Indeed were it a tighter production with less meandering, it'd be quite a solid tale that could have better played to Wisdom's strengths, those of writer Jack Davis and the very Rutherford-esque efforts of an on-form Jacques. As it is, it struggles to stay engaging until perhaps the last ten minutes when life is breathed back into it and some laughs are to be had. It's still quite a fun vehicle for it's star and is a perfectly watchable example of his work.

This is a lovely film starring a lovely man, with some genuinely funny moments. In the part where he gets hypnotised, you really see his acting ability. In a way it's sad that Norman Wisdom is not part of this day and age. If he was he may have taken on serious film roles, as the likes of Jim Carrey have. This is definitely one of his best films, and one that my whole family loves. He also has a great voice, and at some point must have had to make a decision whether to pursue a singing or acting career. Incidentally, Norman has great support from the likes of Hattie Jacques and John Le Measurier who give assured performances. A film from a different age.

Standard formula for a Norman Wisdom movie here. Norman becomes a put upon clown whilst bubbling under the surface is the fact he's a very talented guy (singer here), whilst he's in love with a wheelchair bound beauty. It's often the saccharine elements of Wisdom's films that puts people off, but to his fans (and I'm one), they are integral to letting Wisdom hit his comedic heights.

Follow a Star is not a great Norman Wisdom film, but it is a very safe and enjoyable one. Story finds Norman used by ageing crooner Jerry Desmonde, who upon finding he is no longer fashionable, plots to use Norman's amazing singing voice as his own. Cue Norman moving in with Desmonde as the house slave and chaos ensues. Meanwhile those closest to Norman smell a rat and try to bring down Desmonde the fraud.

As usual there are plenty of laughs and high energy acrobatics, with stand out sequences involving hypnosis and the bravura mania of the finale - where the dastards do all they can to get Norman off of the stage. Some super British comedy actors fill out the support slots, most notably Hattie Jacques and Richard Wattis, while Philip Green's musical contributions are most pleasing.

One for Wisdom fans only? For sure. Otherwise leave well alone. 6.5/10

Norman is working in a laundrettes when he meets the well known, but aging singing star Vernon Carew who invites him to see his show. When Norman goes to the show he finds a patchy audience that throws abuse at the performer, standing up for him, Norman captures the audience and Carew sees his chance to use his voice to help recapture his fame. Tricking Norman into singing into a tape recorder, he rebuilds his career while Norman still struggles with his inability to sing without accompaniment from his sweetheart Judy.

This film starts badly with an unfunny singing lesson full of mugging and the establishment of a sickly sentimental subplot involving Norman's hopes to help his crippled sweetheart to walk again! However it gets better as it goes despite having to occasionally sink into sentimentality that only serves to take away from the comedy. The routines are quite funny when they come, although Wisdom has done better. One element of the comedy that I felt was ill fitting was the rather crude innuendo and sex-related gags; compared to nowadays it is still very gentle but it just doesn't sit well with the usual gentle humour of Wisdom.

That said it still has some funny scenes where Wisdom shows his ability - if only he didn't feel the need to always add an overly sentimental heart to his films. He does well here but some of that stuff doesn't sit well as it feels even heavier than usual here. The support cast has more famous faces than usual and most of the mare good. The Wisdom regular Desmonde is very good in his role and cameos from John Le Mesurier and Richard Wattis are good if fleeting, however Hattie Jacques is pretty much wasted and her biggest scene isn't very funny at all.

Overall I still enjoyed this film as I am a Wisdom fan, and it did actually get better as it went on. The illogical nature of a plot that sees Wisdom's good but nasal voice saving the career of Carew's much better crooner can be overlooked and in the end there are enough good moments to justify watching the film - just hang in there past a poor start.

Being one of the infrequent Norman Wisdom vehicles covered in "Leonard Maltin's Movie & Video Guide" - which he rates a lowly *1/2 - I was wary of this title but, actually, it was quite pleasant if, in no way, a classic!

The very first scene is an inspired one: we see Norman's sweaty face in an atmosphere of overbearing heat (the film was shot by Jack Asher, a talented cameraman best known for his work for Hammer but who also happens to be the brother of the director!) meticulously going about his business thinking he works in a steamship or something, but eventually discovering that what he's doing is simply pressing a pair of pants (a sophisticated style of gag which has been utilized as early as Harold Lloyd's SAFETY LAST [1923]). The plot - a fading crooner 'borrowing' the voice of a naïve newcomer - is simple enough and has been partly lifted from SINGIN' IN THE RAIN (1952).

While the love interest is more sentimental than usual, since Norman's sweetheart is wheelchair-bound and he wants to make it as a singer mainly so as to have the money for her operation, the film provides plenty of amusing situations highlighting the ageing performer (Jerry Desmonde at his most despicable), ebullient elocutionist Hattie Jacques and long-suffering maitre d' John Le Mesurier; a party sequence halfway through the film also features a surprise early appearance by a dark-haired Charles Gray!