The Good Companions (1957)

Simply Perfect

Don't listen to the negative reviews

Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Producers: H.G. Inglis and J. Lee-Thompson. An Associated British picture, made at the Associated British Elstree Studios, England. Copyright 1956 by Associated British Pictures Corp. No trace of any U.S. release. U.K. release through Associated British-Pathé: 22 April 1957. Australian release through Warner Bros Pictures: 20 November 1958. 9,413 feet. 104 minutes.SYNOPSIS: Susie Dean is a young, talented singer and dancer, who is determined to become a great star, but the touring company in which she works, "The Dinky Doos", far from setting the world alight, is on the point of closing down. Then three strangers enter Susie's life and convince her to try again. The new company, christened "The Good Companions", sets to work to put together a new show.COMMENT: As the 1933 "Good Companions" is one of my favorite films, I know that my readers will not expect me to like, let alone endorse this version. The story line is exactly the same — omitting of course many of the brightest touches and embellishments, whilst at the same time substituting the original's lively songs by parades of musical rubbish so unmemorable that even the film's producers made absolute no attempts to market them with disc jockeys.As for the players in this tedious "revival", let me quote the Monthly Film Bulletin: "Janette Scott, though conceivably a Dinky Doo, hardly convinces as a potential West End star." Hardly is exactly right! Aside from the principals, I will admit that some of the support artists do turn in some engaging portrayals: Bobby Howes, Rachel Roberts, Mona Washbourne, Thora Hird, Anthony Newley. But are they worth sitting through the rest of "The Good Companions"?

I'm not familiar with J B Priestley's book of The Good Companions so I can only comment on this 1957 British musical film as a stand alone feature. I have no idea how this fared at the box office but as it was made at a time after Rock 'n' Roll had already made it's mark, I do wonder why it was considered a good idea. We never really made many good musicals compared to the might of America and this creaky effort is just another disappointment, in spite of me hoping for more. I had been tempted to watch it, seeing the name of that fine actor Eric Portman heading the cast, and indeed he is probably the best actor on board with some sharp lines and his strong personality. Sadly, the support isn't as good. This is basically a music hall scenario, made at a time long after music hall had faded away, replaced as I say by rock 'n' roll and TV, the year of release was 1957 so they should have known better. Choice of director is odd in retrospect, being J. Lee Thompson, known for his thrillers and adventure films and he did make some very good ones, including Ice Cold in Alex, Tiger Bay and The Guns of Navarone and who ended his career helming nine pictures with old Stone Face Charles Bronson, so a musical was an oddity in his career. The songs such as they are seem rather weak and Janette Scott (Thora Hird's daughter) who was just coming to maturity is sweet enough as a lead in a Debbie Reynolds sort of way, but unfortunately lacks the zest and talent of Debbie Reynolds. Lots of small character parts do add interest, not least from Joyce Grenfell, Anthony Newley, Shirley Ann Field, Melvyn Hayes and Janette Scott's mum, Thora Hird. Hugh Griffith, a fine Oscar winning actor (Ben Hur) is wasted in a weak part. Celia Johnson of Brief Encounter fame doesn't fare much better as the lady who saves the touring troupe, the Dinky Doos and changes the name to The Good Companions. Could have been better. Another film I saw recently, Harry Secombe's 'Davy', covering exactly the same material about failed touring troupes in music hall I found more satisfying.

Well, the star of this film from start to finish was 18 year old Janette Scott of "The Day of the Triffids" fame. It was also a pleasant surprise to see Celia Johnson some 12 years later from the classic film "Brief Encounter", and looking very good indeed. She brings the same understated charm to this part as she did to that one. You genuinely feel the admiration between her and the character Jess Oakroyd. Janette Scott brings her all to this part; dancing a few simply numbers very nicely and lip syncing with aplomb. She does lack the gravity of a superstar, but this part is perfect for her as the up-and-comer. The movie does quite a good job of covering what in novel form is some 640 pages. Of course the movie can't compete with the book in its detail, but it does nicely cover the story line and give each character a chance to shine, and it does manage to capture that "good companion" atmosphere by casting good character actors who are obviously having a good time making the film. All in all much fun and many musical stage numbers. The ones at the end of the film were even good enough to remind me of similar numbers in the movie "Funny Face". Don't miss this one if you have a chance.

This musical film remake of THE GOOD COMPANIONS (Dir:J Lee Thompson, for Associated British in 1957) features several tuneful songs by Paddy Roberts(m/l), C. Alberto Rossi(m/l) and Geoffrey Parsons(l). Miss Trant (played by Celia Johnson),and her encounter with the struggling concert party, the 'Dinky Doos', and the world of the touring theatre as depicted by J.B. Priestley was well known to English audiences since the thirties. As the setting of the story is updated from 1929 (when touring shows were highly popular) to the 1950's, when they were in decline, the musical style is also updated, and the songs are all catchy in the style of variety c1956. Indeed, the film is priceless as a 1950's British film musical which owes nothing to operetta or rock and roll - in its recording and celebration of fifties variety it is unique. It also remains faithful to the essential spirit of Priestley's novel in its celebration of show business and the theatrical life, and in particular, the metaphor of the touring theatre as an escape for the middle aged male from a society that is domesticated, drab and puritanical, epitomised in those dour apron wearing wives (played by Thora Hird and Beatrice Varley in the film) who appear at the stage door and attempt to drag their 'erring' husbands away from the chorus girls, and back to 'reality'. There is also the sense of community amongst the performers, and of communal travel by steam hauled trains through the length of Great Britain. Eighteen year old Janette Scott, a potent symbol of a lost age of 1950's innocent screen romance, does not receive top billing, but clearly emerges as the star of THE GOOD COMPANIONS. She displays great spirit and loads of charm, especially in the 'Today will be a Lovely Day' number, and her enthusiasm is quite infectious in the skilfully staged finale. I would also single out for praise Eric Portman, who is perfect in the role of Jess Oakroyd, and brings richness and depth to the role. There is a wonderful moment at the end of TGC, when after Susie Dean's triumph, he nods leans forward and glances towards Miss Trant, who is sitting in the same row of the theatre stalls, and almost telepathically communicates with her to share Susie's moment of triumph. THE GOOD COMPANIONS is strong in character acting in a very English tradition (even a theatre manager has an individuality about him, even though he appears only briefly with one line of dialogue), and just look at the cast list of supporting actors!: Joyce Grenfell, Anthony Newley, John LeMesurier, Rachel Roberts, Thora Hird, Alec McCowen, Hugh Griffith, Shirley Anne Field, Bobby Howes, Melvyn Hayes, the list goes on and on - what a cast! It is also to the credit of the direction and writing, that with so many characters they are so clearly defined and that the narrative remains focused. It is these qualities, together with the film's excellent production values (in its restoration, the film is one of the most visually elegant British films of its decade-the lighting of interiors is exceptional,rooms and decor are beautifully depicted-Jess Oakroyd's living room, public houses, theatre interiors, and a private dining room at the back of a seedy café which takes on a warmth all of its own because of the theatricals seated round the table). These qualities, together with the good natured charm of the young leads, make THE GOOD COMPANIONS excellent entertainment. A rarely seen, high spirited British showbiz musical,'The Good Companions' of 1957 is a 'must see' for 1950's nostalgia buffs.