Joyce Grenfell Movies

In this drama, from director Anthony Asquith, the lives and stories of three different people are linked together by their possession of an unusual car, a yellow Rolls Royce Phantom II. Lord Frinton (Rex Harrison) is a diplomat who purchases the exquisite auto as a gift for his wife (Jeanne Moreau). After Frinton's horse wins the Royal Gold Cup, Lady Frinton incurs the Lord's wrath when she is caught in the back seat of the Rolls with his underling John Fane (Edmund Purdom). In the 1930s, the car is bought by Italian gangster Paolo Maltese (George C. Scott), who is carrying on with the hatcheck girl Mae Jenkins (Shirley MacLaine). The two take a tour of Italy and see all the historic sights, but Mae is less than impressed. While Paolo is in the United States on one of his frequent hit-man assignments, Mae and a street photographer try out the back seat for comfort and carnal pleasure. Art Carney plays Paolo's associate Joey. In the final episode, Gerda Millett (Ingrid Bergman) is the married American woman who buys the car in 1942. With Hitler attacking Yugoslavia the brave and brazen beauty helps fight the Nazis by smuggling Davich (Omar Shariff) across the border, and this duo also find themselves in the back seat for a roll in the Rolls. Davich shows his gratitude by shipping the car along with Gerda back to the United States. ~ Dan Pavlides, Rovi

Set in the title manse, this chilling comedy chronicles the spooky exploits of a Yankee car salesman working in London who sets out to deliver a car to a remote and very creepy Welsh estate. Unfortunately he discovers the owner dead. While attempting to leave a fierce storm erupts and he has a wreck. He returns to the mansion to seek shelter from the disparate sisters therein. Once warm and dry, he meets the rest of their strange family, including twins, a looney who is building an ark, and the matriarch of the household. The storm rages on and as the grim night slowly passes, family members are bumped off at appallingly regular intervals leaving the American to solve the crimes.. ~ Sandra Brennan, Rovi

This soft-pedalled British comedy was adapted from Quiet Wedding, a play by Esther McCracken that had previous been filmed in 1940. On the eve of their nuptials, David (Ian Carmichael) and Janet (Janette Scott) have a serious falling out. It isn't really the couple's fault, however; as usual, their relatives have messed things up with their well-intentioned meddling. Patching up their differences, David and Janet decide that the best strategy is to hide out until the wedding, and to that end they embark upon a long motor trip. Unfortunately, a zealous traffic cop nearly prevents the couple's appearance at the altar. ~ Hal Erickson, Rovi

Writer/artist Roland Searle's diabolical "belles" of St. Trinian's Girls School return in this raucous British comedy. Because the girls cannot behave themselves, their headmistress (Alastair Sim in drag!) has been thrown in jail, and the school is surrounded by police and army troops. The students escape their durance vile by winning an all-expense-paid trip to Europe (by cheating, of course). While laying waste to the Continent (with Terry-Thomas driving the bus), the girls are enmeshed in a diamond theft instigated by the father (George Cole) of one of the students. The film ends with an elongated water polo game, played with the ladies' usual sense of sportsmanship and fair play. In the 1950s and 1960s, the "St. Trinians" series was as popular a British movie attraction as the "Carry On" films--but unlike "Carry On", they don't play quite as well with American audiences. ~ Hal Erickson, Rovi

Released in the US as Man With a Million, The Million Pound Note is a satisfying adaptation of a satirical short story by Mark Twain. Gregory Peck plays Henry Adams, an impecunious American living by his wits in London. Henry becomes the object of a wager between millionaire brothers Oliver and Roderick Montpelier (Ronald Squire and Wilfred Hyde-White), who want to find out if a man with a million pound note in his bank account could live comfortably for one month on the strength of that note--without ever spending a penny of it. When Henry is given the note and lets it be known that he has it, every courtesy imaginable is extended to him by hoteliers, restauranteurs, etc. Trouble brews when Henry uses the note's reputation to speculate on the stock market. When his creditors demand that he produce the note as an act of faith, Henry is unable to do so, whereupon pandemonium reigns--and the audience's laughter cascades. ~ Hal Erickson, Rovi

The plot of the thoroughly captivating British comedy Genevieve can be summed up in a sentence: Two young couples participate in the Vintage Car Rally, a yearly race from London to Brighton. The title "character" is the 1904 Darracq auto owned by John Gregson and Dinah Sheridan. The couple's friendly rivals are Kenneth More and Kay Kendall, the latter graduating to stardom on the basis of this film. At first treating the race as a lark, the two couples become increasingly--and hilariously--competitive as they near the finishing line. Among the film's plethora of small pleasures are Joyce Grenfell as a wry hotel proprietress and Arthur Wontner as an elderly car fancier. Despite the many technical gaffes and continuity errors overlooked by director Henry Cornelius, Genevieve is a uniquely British delight from beginning to end, its charm enhanced by the uncredited harmonica score of American expatriate Larry Adler. The film was a moneymaker in every country that it played, and a multi-award winner in England and abroad. ~ Hal Erickson, Rovi

The Magic Box was the English film industry's contribution to the 1951 Festival of Britain. Its all-star cast generously forsook their usual salaries for the privilege of paying tribute to that unsung pioneer of cinema, William Friese-Greene, here played by Robert Donat. Adapted by Eric Ambler from the controversial biography by Ray Allister, Magic Box contends that Friese-Greene was the true father of motion pictures, and not such upstarts as W. K. L. Dickson and Thomas Edison. Told in flashback, the film details Friese-Greene's tireless experiments with the "moving image," leading inexorably to a series of failures and disappoints, as others hog the credit for the protagonist's discoveries. The huge cast includes such British film luminaries as Joyce Grenfell, Miles Malleson, Michael Redgrave, Eric Portman, Emlyn Williams, Richard Attenborough, Peter Ustinov, Cecil Parker, Kay Walsh, and, best of all, Laurence Olivier as the confused bobby who witnesses Friese-Greene's first motion picture demonstration. ~ Hal Erickson, Rovi

Basil Radford is cast superbly to type as The Galloping Major. The story concerns the efforts by retired Major Arthur Hill (Radford) to purchase a valuable race horse. He manages to attain financial backing from 300 fellow racing enthusiasts--and then messes things up for all concerned by buying the wrong horse. Persevering, Major Hill enters the steed in the Grand National, whereupon the horse disappears on the eve of the big event. The comic frustrations faced by the Major and his creditors are played effectively for light chuckles rather than belly laughs. The cast includes such polished farceurs as Hugh Griffith, Joyce Grenfell (a favorite of director Henry Cornelius, as witness Genevieve), Sydney Tafler and Alfie Bass. ~ Hal Erickson, Rovi

Stage Fright toys with our notions of the dividing line between reality and artifice by being set in the London theatre world. On the lam from the police, Richard Todd takes refuge in the home of his former girlfriend, RADA student Jane Wyman. Todd has been spotted fleeing the scene of a murder, but he insists that he's innocent. Wyman believes his story, but knows that the police won't, so she decides to play detective herself. She also plays several other roles in a variety of disguises so as to escape the notice of genuine detective Michael Wilding. Top-billed Marlene Dietrich plays a Dietrich-like chanteuse whom Wyman pigeonholes as the real murderer. ~ Hal Erickson, Rovi

British novelist Erik Linklater was well-represented in 1949, with adaptations of two of his best novels hitting the screen almost simultaneously. In Linklater's Poet's Pub, a rhyme-spinner named Saturday Keith (Derek Bond) assumes control of a rustic inn. All Keith wants is a little peace and quiet so that he can write his poems without interruption. Alas, his little Pub becomes a veritable Grand Central Station for a wide variety of eccentrics, ranging from absent-minded professors to bumbling crooks. Stealing the show is the peerless Joyce Grenfell as a toothy patroness of the arts. Poet's Pub has no real plot to speak of, just a series of vignettes unified by a central locale. ~ Hal Erickson, Rovi

Director Anthony Asquith's first postwar effort, While the Sun Shines was based on a play by frequent Asquith collaborator Terence Rattigan. Set in WW2 London, the story revolves around Lady Elizabeth Randall (Barbara White), who is serving her country as an Air Force corporal. While en route to her marriage to the Earl of Harpenden (Ronald Howard, in his screen debut), Lady Elizabeth is wooed a French expatriate named Colbert (Michael Allen) and American lieutenant Joe Mulvaney (the inevitable Bonar Colleano). The resulting series of sexual misunderstandings puts Lady Elizabeth's military career-not to mention her impending marriage-in dire jeopardy. A harmless romantic farce, While the Sun Shines is generally out of favor with Anthony Asquith's many adherents. ~ Hal Erickson, Rovi

Monica Dickens' novel One Pair of Feet was the source of the sociological drama The Lamp Still Burns. Like the original novel, the film is a plea for better conditions in English hospitals-and, more specifically, for better treatment of England's selfless nurses. Rosamund John is a tower of strength as Hilary Clarke, a young woman who sacrifices all in pursuit of a nursing career. The many trials and tribulations facing Hilary in her daily work are amplified in wartime, when she and her colleagues are forced to work under appalling conditions in air raid shelters, subway cars and amidst the rubble of bombed-out buildings. The Lamp Still Burns was produced by actor Leslie Howard, who was killed in the service of his country not long after the film was released. ~ Hal Erickson, Rovi