Hue and Cry

I found a copy of this movie in my local (Phoenix, Arizona) used book store. Ah, bliss! The sights of old London, albeit somewhat bomb-damaged, before the developers started to build ugly tower blocks. The movie itself is excellent, with good characterization for the 'kids', although Jack Warner's role as the villain seems a little overblown. Alistair Sim's role as the nervous author of comic books is an excellent vignette, showing his trademark nervous twitchy smile. The final chase and confrontation, at "Ballard's Wharf", reputedly in Wapping, was actually filmed on the opposite side of the river, as can be scene in the long shots, where St. Paul's cathedral can be seen.

Eccentric boys' adventure writer Felix H Wilkinson (Sim) has his copy - "The Enthralling Adventures of Selwyn Pike and his Youthful Assistant Smiler" - altered by master crooks, using a special code through the pages of kids' comic 'Trump'. Only sharp-eyed schoolboy Joe Kirby (Fowler) seems to have noticed, but fails to convince a sceptical Detective Inspector Ford (Lambert).

Undeterred, Kirby enlists the help of a gang of bombsite-dwelling little cockneys, the self-styled 'Blood and Thunder Boys' to up-end the criminals' dastardly plans. Wilkinson is persuaded to alter his copy and catch the robbers, headed by Kirby's boss Nightingale (Warner, cast against type as a baddie), and Trump secretary Rhona Watson (White).

Originally billed with the slogan, "The Ealing film that begs to differ", Hue And Cry is less a comedy (actually, it's Ealing Studios' first acknowledged 'comedy') than a thrilling adventure story for older kids; the occasional punch-up scenes are peculiarly realistic. Director Crichton weaves a fantastic, but bizarrely believable yarn, helped no end by his unsentimental, dedicated cast.

The standout performer is Sim, whose potty writer, despite limited screen time, pretty much waltzes off with the entire picture - whether he's castigating the crooks ("The insolent scoundrels, they've purloined one of my codes - the very code I invented for the 'Case of the Limping Skeleton!'") or tremulously backing out of the deal ("Remember what happened to Nicky the Narc in the 'Case of the Creeping Death'?").

Acclaimed cinematographer Dougie Slocombe makes great use of post-Blitz London locations, including Holborn Viaduct, Docklands, and Covent Garden - particularly for the climactic scenes of hundreds of boys teeming Battleship Potemkin-fashion down the capital's steps toward the scene of the crime. While an almost incidental scene of a small boy re-enacting an aerial dogfight on a bombsite leaves viewers in no doubt about the psychological impact of the World War II on a new generation.

I particularly enjoyed seeing London in its derelict state after WW2, I remember my parents taking me there in those days and seeing piles of bricks everywhere. It was amusing to read a review by an American academic whose main complaint was that the children were all white and there should have been a better balance with black children. I wonder where he thought Ealing Studios might have found such people in 1946/7 - the Empire Windrush did not arrive at Tilbury until June 1948. Indeed looking at the devastation in London in the film it is amazing that Ealing could make anything. This is something that i watched as a kid and have seen many, many times again.

I SO would have loved this movie as a kid; but being far too young, I'm now only getting into these lesser known Ealings as a middle-aged film lover. Hue & Cry is part of the Ealing Comedy DVD Collection.

From what I've heard from older folk and relatives about the just post- war years, this yarn is plain good old fashioned fun, but one for the boys only, whatever their age. With bombed-out London their playground and comics their fantastical relief, young boys run around pursuing adventure at every turn. This is where I get my Angels with Dirty Faces connection from.

A few disgruntled viewers say that Hue & Cry lacks focus and central characters. This is true - a boy's adventure never runs to plan and if it does, you change it! But, seen as the first Ealing comedy proper, the Studio is still finding its feet and is gathering talented people to direct (Charles Chricton, who directed many BIG Ealings) screenwriters (T.E.B Clarke, who is synonymous with Ealing) and one very accomplished cinematographer, Douglas Slocombe, who here manages some Hitchcockian imagery - such as on a spiral staircase and in a room full of circus dummies. Otherwise, it's brisk, the camera darting about, with a film score every bit as vibrant as the escapades.

No-one ever, though, denies the pull and special attraction of Alistair Sim as the eccentric Comic strip creator, a Scrooge-like hermit living at the top of those scary stairs. That he isn't on screen very much just happens to be one of those things, relish him when he is on, that's all you can do.

The story, now, to an adult takes second fiddle - lots of boyish conspiracies and such, avoiding the police and the occasional fight. Something about a missing page in their favourite comic and they have to use passwords and such, getting caught in gangster Jack Warner's wide- boy gangsterish crook (as far cry from his beloved Dixon of Dock Green!). It is the sights - and sounds - of an almost alien London, only a generation ago that makes it all so watchable - and enjoyable. Unlike today, with our comparatively lazy and health and safety pampered youth, these boy actors literally pour gusto and energy into everything, swarming over a rubbled landscape like herds of buffalo in a western.

The sound is often a bit thin and distorted but the picture quality not as bad as it could be, a little lacking in punch perhaps but surprisingly blemish-free.

The Trump!

Forgotten, under seen or not very good? Either way Hue & Cry is a very important film in the pantheon of Ealing Studios. Blending comedy with that of a children's thriller, this would be the launching pad for the long string of Ealing classics that would follow. Nobody at the time would know of its importance, nor did head guru Micahel Balcon have ideas to steer the studio in the direction that it would take, thus practically inventing its own genre of film.

In truth, it's a scratchy film, admittedly one with moments of class and social hilarity, nifty set-ups and ever likable young actors, but it's a bit too wrought to fully work, the odd blend of comic book values and crime busting youths is never at one for a fully rounded spectacle. But the hints of greatness are there, an awareness of the times, the half bombed London backdrop, the send-ups of Hollywood conventions, and the irrepressible Alastair Sim a forerunner of many eccentrics to follow.

Hue & Cry is a fine and decent viewing experience, and perhaps it's harsh to judge it against "those" bona fide classics coming up along the rails? But really it's more for historical values to seek it out and it's not an Ealing film you would recommend to a newcomer wanting to acquaint themselves with that most brilliant of British studios. 6.5/10