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'?"). Director Crichton weaves a fantastic, but bizarrely believable yarn, helped no end by his unsentimental, dedicated cast. 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. 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). 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. Only sharp-eyed schoolboy Joe Kirby (Fowler) seems to have noticed, but fails to convince a sceptical Detective Inspector Ford (Lambert). 6.5/10Įccentric 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'. 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. 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. 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. 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. 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. The Trump! Forgotten, under seen or not very good? Either way Hue & Cry is a very important film in the pantheon of Ealing Studios. HUE AND CRY isn't the best Ealing comedy,and not necessarily the most typical,but despite dated elements is still largely very enjoyable and pleasantly nostalgic for older film-goers. The highlight is the final battle between the criminal gang and London street urchins who seem to swarm over their prey like soldier ants.The sequence is funny,exhilarating,thrilling and even spectacular. Generally reckoned to be the first 'Ealing' comedy,a fondly-regarded series of gentle,humorous satires of British life in the late 1940's-early 1950's,this is actually more of a rowdy,fast-paced crime caper than what gradually developed to the above familiar style of this famous film studio.However,it is none the worse for that,with an amusing script and speedy direction by Ealing veterans TEB Clarke and Charles Crichton,and efficient performances by a mostly teenage cast.Looking from a 21st Century viewpoint,it is an astonishing fact how UK teens dressed (in dull tweed suits) and behaved (no guns,knives or bad language) in the pre-rock n' roll era in this more cynical day and age,it would be the adults stopping the kids committing crime rather than vice versa.This actually helps the film in giving it a quaint period charm which will never be recaptured,as is the well-photographed scenes of war-torn London.Alastair Sim is billed first but the real leading man is inimitable cockney actor Harry Fowler,while the usually genial Jack Warner (a little uncomfortably) is the main adult protagonist,a ruthless villain Sim is enjoyably buffoonish as a cartoonist,but his is basically a minor character and little seen despite his top billing.
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