Her Man Gilbey

Joan is 16, and in love. The only problem - he's their butler! And while you can love the butler, you can't LOVE him.

About 5 plots seem to be going on at once here, and everything is introduced in a very roundabout way, not coming together until the final minutes. Surely the best part of the film, apart from Tom the Butler, is Brigid the translator, who adds a lot of charm and wit to the story.

Tom goes away to join the army, and comes back an Officer, and in love with Joan - who is older and has of course moved on! So what is a guy to do? She's now teaching English to foreign soldiers, half of whom have crushes on her, but Tom ain't gonna be licked..

An hour and 20 minutes in length, but English Without Tears at times feels a lot longer. It has its moments (don't miss the caricaturist near the start, and the Aunt's crying over the poor defenceless murdered Thrush..) but gets dull at times. It is worth it to stay tuned to the end though. 7/10

English without Tears, also called Her Man Gilbey, a reference to My Man Godfrey, which had come out in america, eight years prior. Gilbey (Michael Wilding) is butler to the Beauclerk family. So when the family travels to Geneva, he goes along. The fun, zany Margaret Rutherford is silly Lady Beauclerk, concerned with the rights of the birds that she watches. And refuses to eat. When she delivers her speech at Geneva, it is mis-understood, and causes quite a stir at the world conference. Where spies are swirling and listening, from every country. When a girl from a foreign country asks Gilbey out on a date, the neice Joan (Penelope Ward) gets jealous. But...Gilbey joins the miliary service. This was released in 1944, but it's not stated here when it was filmed. When Joan writes in her diary, we see it's the summer of 1939, so the war hadn't really hit the fan yet... many countries were still undecided what to do if war were to break out. There's no date at the start of the film, but i guess it doesn't matter when it was actually filmed. It's good. Has a sense of adventure and fun about it. In spite of the serious subject matter. Directed by Harold French. Co-stars Claude Dauphin; he was in some biggies: Barbarella, Quiet American. Some fun tidbits in Wilding's Bio section here on imdb... not only was he mister Liz Taylor in the 1950s, but sued Hedda Hopper for saying he had a liaison with Noel Coward early in his career. He and coward had worked on two films and a tv show together.

I first saw this a couple of years ago.I found it difficult to concentrate on it,it was that dull.On tv short time ago.I made another effort to watch it.Stayed the course but is still dreadfully dull.

A tedious, humorless film, interspersed awkwardly with random war-time propaganda.

A posh girl falls in/out/in love with the butler, depending on his social ranking, as he moves upwards through the social classes via promotion in military rank. The audience has to suffer through an hour of "will they, won't they". You will find yourself hoping the characters will be blitzed just to put a stop to their terrible dialogue and hopeless acting.

There are many small side plots that are not resolved satisfactorily, such as an interpreters struggle with citizenship papers. random war propaganda is inserted at various points such as the scene where the aunt has a gas-mask fitting, and an awkward montage of the main character doing some very unrealistic military training.

Considering that it uses as its backdrop the mounting militarisation of Britain between the summer of 1939 and the beginning of 1943 this is a fantastically inconsequential and unfocused piece of escapist fluff.

A sequel in name only to 'French Without Tears' (1939), based on Terence Rattigan's West End hit of 1936, which had got the newly formed company Two Cities Films on its feet five years earlier; they prevailed upon Rattigan to lend his name to this occasionally risqué nonsense utilising material which had been left over by Rattigan when he recently completed his play 'When the Sun Shines' in 1943. If you can't be bothered to keep track of the elaborate ebb and flow of romantic entanglements that flit before you, there's always the usual collection of familiar faces in supporting roles to enjoy, particularly cherishable contributions coming from Peggy Cummins, Margaret Rutherford and Roland Culver.