Mary Jerrold Movies

Meet Me Tonight was the American title for the British-filmed Tonight at 8:30, adapted from the Noel Coward stage production of the same name. Several rotating playlets were presented in the original Tonight at 8:30, most of them starring Coward and Gertrude Lawrence. The film version utilizes three of these short plays. "The Red Peppers" stars Kay Walsh and George Pepper as a brash music-hall team (their big number is "Has Anybody Seen our Ship") on the verge of splitting up. "Fumed Oak" stars Stanley Holloway as a man finagled into marriage by a domineering woman (Betty Ann Davies). And "Ways and Means" stars Valerie Hobson and Nigel Patrick as a pair of impoverished "professional guests" who have worn out the welcome of every wealthy host in Europe. Meet Me Tonight was given its American TV premiere on the ABC network in November of 1956, at which time its original title was restored. ~ Hal Erickson, All Movie Guide

A supernatural tale based on a short story by Russian poet Alexander Pushkin, this is the portrayal of a poor Captain in the Russian army in the nineteenth Century. His comrades in arms play cards nightly, but he cannot afford to join them until one night he dreams that he has gained from a mysterious aging countess her secret for winning at faro--a secret which legend has it she has sold her soul to obtain. This story has been filmed at least a dozen times, but this is by far the best version. Eight of the versions were silent films and another version was done as recently as 1965. A period piece, the settings and costumes are superb. ~ Tana Hobart, All Movie Guide

A confirmed bachelor and a reclusive movie star tangle in this lively French comedy. The trouble begins when the bachelor vows to disprove the star's Garboesque claim that she wants to be alone. Saying that all women are alike, he sets out to seduce her. First he poses as a Realtor and offers to let her hide out in his lavish country estate. There he and she gradually get to know each other. Much to his surprise, she is quite sincere on wanting to be alone. When the woman discovers the "Realtor's" ruse she decides to teach him a lesson by promptly marrying him. ~ Sandra Brennan, All Movie Guide

The "progressive" new British teaching methods of 1948 are sharply contrasted with the tried-and-true methods of the past in Mr. Perrin and Mr. Traill. Self-content and thoroughly set in his ways, college instructor Vincent Perrin (Marius Goring) resents the arrival of non-traditional young prof David Traill (David Farrar). Exacerbating the situation is the fact that both Mr. Perrin and Mr. Traill are both in love with Isobel Lester (Greta Gynt). Descending into petty, crass behavior, Mr. Perrin typifies all that was wrong with the postwar educational system; still, he is not entirely sympathetic, nor is the aggressive Mr. Traill 100% likeable. Based on a novel by Hugh Walpole, Mr. Perrin and Mr. Traill remains surprisingly timely when seen today. ~ Hal Erickson, All Movie Guide

Firmly in the fantasy groove previously plowed by such films as The Canterville Ghost and The Time of Their Lives is the 1947 British comedy The Ghosts of Berkeley Square. Robert Morley and Felix Aylmer play a pair of fatuous Colonel Blimp military types, whose efforts to shorten the war results only in getting the both of them killed. Summoned to a Heavenly court, Morley and Aylmer incur the wrath of Queen Anne. She orders them to haunt a mansion until they can prove themselves worthy of entering the Pearly Gates. For a film that practically no one has ever heard of, Ghosts of Berkeley Square is an embarrassment of riches in the casting department: among the British favorites appearing in the film are Martita Hunt, A.E. Mathews, James Hayter, Ernst Thesiger, and Wilfred Hyde-White. The film was based on the novel No Nightingales by Caryl Brahms and S.J. Simon. ~ Hal Erickson, All Movie Guide

The Immortal Battalion has a bit of a convoluted history. It started life as a training film, The New Lot, which ran 44 minutes. When Winston Churchill approached David Niven about creating a film that would do for the British Army what In Which We Serve had done for the Royal Navy, he contacted Carol Reed and suggested expanding The New Lot. The result, written by Eric Ambler and Peter Ustinov, was the acclaimed The Way Ahead. For its U.S. release, Way Ahead was edited to a shorter length and retitled The Immortal Battalion. In either of its feature length forms, the film is concerned with the training of a bunch of raw recruits into a capable and efficient fighting regiment. Niven stars as Jim Perry, a lieutenant and former ordinary guy who finds that he must learn to take a tough line in order to make his wildly diverse crew come together and understand the importance both of the war and of their place in it. Although it takes time and constant effort on the part of Perry and his sergeant, the eight men eventually overcome their different backgrounds and feelings, and transform themselves into a unit which performs its tasks with admirable skill and dexterity, preparing them for their battle against the Desert Fox in Africa. Told in a semi-documentary style, Battalion also features the screen debut of Trevor Howard. ~ Craig Butler, All Movie Guide

Whenever one sees a title like The Gentle Sex, one braces oneself for an ironic switcharound. The supposedly gentle girls of the title--seven in all--are actually determined young British moderns who go into military service during World War II. In true "Army bomber crew" fashion, the film explores the widely varied backgrounds of the ladies involved, showing the events which led them to their patriotic commitment. As propaganda, Gentle Sex served its wartime purpose; as entertainment, it holds up reasonably well after five decades. The film was coproduced and codirected by actor Leslie Howard, who functions as narrator and (according to one source) can be glimpsed from behind in a couple of scenes. ~ Hal Erickson, All Movie Guide

Louise Hanson's poem Man at the Gate was the inspiration for this 48-minute oddity. Having lost so many of her loved ones to the Sea, Mrs. Foley (Mary Jerrold) begs her husband (Wilfred Lawson) to give up the life of a sailor for the sake of their son George (William Freshman). But when war breaks out, Mr. Foley has no choice but to set sail, with the expected tragic results. Eventually young George answers the inevitable call of the sea, leaving Mrs. Foley alone with her memories and regrets. Man at the Gate is reminiscent of John Millington Synge's Riders to the Sea, which was likewise converted into a 4-reel film. ~ Hal Erickson, All Movie Guide

Alfred Hitchcock directed this disappointing misfire, memorable solely for the fact is that it is the final film from Hitchcock's early British period before he left for the Hollywood studio system and David O. Selznick. In the England of the 1800s, a group of ruthless smugglers, led by Sir Humphrey Pengallon (Charles Laughton), prey on ships by blacking out warning signals. When the ships crash on the rocks, the nefarious group loots the remains and kills the sailors. The plot kicks in when the beautiful orphan Mary Yelland (Maureen O'Hara) goes to visit her uncle Joss Merlyn (Leslie Banks) at a creepy hotel called the Jamaica Inn, the home of the gang of smugglers. Mary doesn't realize that Uncle Joss is one of them. Meanwhile, Lloyd's of London sends one of their ablest men, Jem Trahearne (Robert Newton), to investigate the recurring shipwrecks. Jem checks in to the Jamaica Inn, and when the coven of smugglers finds out who he is, they capture him and attempt to kill him. But Mary comes to his rescue and saves him. Through the inn, the smugglers try to recapture Jem -- along with Mary. Thrown together by dire circumstances, the two fall in love. Meanwhile, all the shenanigans occurring at the Jamaica Inn appear to be driving Pengallon insane. ~ Paul Brenner, All Movie Guide

In this melodrama, a crooner becomes pals with a gangster and saves him from his own vindictive moll (she is also the crooner's singing partner). The singer is then blinded in an accident. To repay his favor, the gangster pays for the medical treatment he needs to regain his sight. Meanwhile the gangster tries to avoid his crack-shot ex-gal. Unfortunately she finds him, so he must don a mask and pretend to be her partner during a radio broadcast. Too bad he cannot sing like his friend. The woman recognizes him, but decides that he is too lovable to kill. The story, though not a musical, contains many songs and variety acts. ~ Sandra Brennan, All Movie Guide

The Aldwych Theater farceurs are at it again in Fighting Stock. The punning title refers to a well-stocked rural fishing stream, which sparks a battle royale between two rival groups of fishermen. Brigadier-General Sir Donald Rowley (Tom Walls) gets involved in the fray when he rents a country cottage with his nephew Sydney (Ralph Lynn). While the nephew pitches woo at the local maidens, General Rowley adopts military tactics to reclaim the stream from village squire Duck (J. Robertson Hare). The weapons deployed herein are slapstick, one-liners and outrageous double-takes. The script for Fighting Stock was penned by Aldwych perennial Ben Travers. ~ Hal Erickson, All Movie Guide

John Mills made his seventh screen appearance in this British "quota quickie". Mills plays a supposed orphan who is actually the son of a medicine show huckster (Leslie Fuller). The shifty showman finances Mills' medical school education, keeping his identity secret all the while. It is all but inevitable that Mills will graduate, become a crusader against patent-medicine quacks, and come to loggerheads with his own father. John Mills would have to pay his dues with several subsequent low-budget pictures before achieving full stardom with Brown on Resolution (35). Mills' later status as an award-winning international star was certainly not due to such tripe as Doctor's Orders. ~ Hal Erickson, All Movie Guide