On the Beat (1963)

Wonderful Movie

Slow pace in the most part of the movie.

Nice effects though.

Lack of good storyline.

I guess I just don't know my British film history. I have never heard of this guy, but I started watching him, and he struck me as quite funny. There is a Stan Laurel vacancy to Mr. Wisdom's face that is quite appealing. I thought he was excellent in his dual role as the mincing and lisping Italian hairdresser. A talented comedian, with a bit of Chaplin's pathos. Is 'On the Beat' biting satire? Is it 'outrageous comedy'? No. It's a pleasant little funny movie.That Mr. Wisdom recalls to mind Stan Laurel is all in his favor. No doubt, the British public has all but forgotten Mr. Wisdom. This type of small, comic entertainment is decidedly 'dated', but that's part of the charm for me.I immediately liked the comic, if familiar character of Norman Wisdom's clumsy, small nobody who is determined to become one of Scotland Yard's finest, just like his father before him. Perhaps Wisdom's work is forgotten because of the predominance of Peter Sellers, who was the reigning comic king of Britain. That's what made watching this film a bit of a nice surprise.

"On the Beat" was among Norman Wisdom's later films and remains one of his best. In this outing, the ever-aspiring Norman Pitkin wants to be a policeman like his late father, but he is rejected for being too short. Undaunted, Norman goes for the police physical exam on a pair of stilts in one of the film's many hilarious skits. Still dreaming of a police career, Norman dons his dad's uniform and plays ball with a group of kids. During the game, he blows the police whistle, and mayhem not seen since the heydays of Mack Sennett and the Keystone Cops erupts throughout the town. The physical nature of Wisdom's comedy and the emphasis on visuals explain his broad appeal among non-English-speaking audiences, much like silent comedy attracted immigrant audiences in the United States.As a bonus, "On the Beat" offers not one, but two Normans. Besides his on-screen persona, Pitkin, Wisdom also plays Giulio, an Italian gangster who poses as a hairdresser and uses his beauty salon as a front. Although the swishy mustached stereotype is dated and arguably offensive, Norman is too endearing and funny to be guilty of anything but going for a laugh. When Wisdom plays Norman the policeman impersonating Giulio the hairdresser the results are hysterical. Although Norman is nearly impossible to upstage, the pixie-like Esma Cannon as Norman's landlady, Mrs. Timms, manages to steal her scenes with delightful facial expressions and impish delivery. "On the Beat" is on the beat and strikes no false notes, providing a string of comic scenes that pay homage to silent comedy and generate tears of laughter.

Norman Wisdom's trademark comedy skill is showcased well in this 1962 film and reminds us how simple and effective comedy can be.Although the film is not the strongest that Wisdom produced during his long career there are still lots of moments to enjoy including lots of the physical comedy that Wisdom so enjoyed.No Mr Grimsdale or Jerry Desmonde cameo on this occasion but still lots of laughs as Pitkin stumbles and bumbles through numerous comedy mishaps.Wisdom's films are timeless and effortlessly funny so are well worth watching regardless of whether you are a fan or just someone discovering Wisdom's work after his death.

It has become fashionable in recent years to belittle (sorry!) the talents of Norman Wisdom - and I can't think why. In his day, the slight talents of many "superstars" of today would have resulted in them being shown the door.Back then, a "star" was expected to be multi-talented. And Norman WAS. If you don't believe me, check out the kinescope of the mid-sixties primetime live "Sunday Night At The London Palladium" where Norman and Bruce Forsyth wrote and did THE ENTIRE TWO-HOUR SHOW BY THEMSELVES.Huh? Well, S.N.A.T.L.P. was HUGE then and because of a strike, it looked like it would be canceled - even though the strike had been settled, who could POSSIBLY put together a two-hour show in THREE DAYS? Brucie and Norman, that's who. They did songs, dance sequences, comedy sketches and various bits of business they had written and rehearsed in Bruce's HOUSE. The MILLIONS who watched said it was one of the BEST S.N.A.T.L.P.s EVER.M'point is, in those days, to be a success you needed to be able to sing, dance, play instruments, act (comedy or straight) and it helped if you wrote - ALL of which Norman Wisdom DID.And in "On The Beat", he demonstrated his talents to the full. It's a film of set-pieces - the opening, which satirises the British cop-shows of the time, the car-washing sequence, the "tube" sequence, him and Eric Barker as the Police Doctor (those eye-charts with the sharps and flats were put back into props and surfaced in other films of the time!) the "briefing" where he is "coached" in the mannerisms of "Julio Napolitani", the scenes with him AS the afore-mentioned Julio, the sequence where hundreds of coppers run round the streets of Herts - SURREAL! - and of course, the back-garden "steeplechase".In its day, "On The Beat" was a tour-de-force, but today it stands as a work of GENIUS the like of which is rarely seen anymore.