For the film Ealing Comedy, see Ealing Comedy (film).
The Ealing Comedies were a series of film comedies produced by Ealing Studios during the period 1947 to 1957. Hue and Cry in 1947 is generally considered to be the first of the Ealing Comedies, and Barnacle Bill the last in 1957,[1] although some list Davy as the last.[2]
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Relatively few comedy films were made at the Studios during the 1940s.[3] One of the few films that can be seen as a direct precursor to the later "Ealing Comedies" is Saloon Bar, a 1940 comedy in which the regulars of a public bar join forces to clear the name of the barmaid's boyfriend who has been accused of murder.[4] Other wartime comedies featuring actors such as Tommy Trinder, Will Hay and George Formby were generally in a broader music hall tradition and had little common with the later Ealing tradition. Ealing made no comedy films at all in 1945 and 1946.[5]
T.E.B. Clarke wrote the screenplay for the first of the Ealing Comedies, Hue and Cry (1947), about a group of schoolboys who confront a criminal gang, which proved to be a critical and commercial success.[6] It was followed by three films with Celtic themes: Another Shore (1948), about the fantasies of a bored Dublin customs official, A Run for Your Money (1949), depicting the adventures of two innocent Welshman in London for an important rugby international, and Whiskey Galore! (1949) set on a Scottish island during the Second World War when a large consignment of whiskey is washed ashore.
Kind Hearts and Coronets (1949) is a dark comedy in which the son of an impoverished branch of the aristocratic D'Ascoyne family murders eight other members, all of whom are played by Alec Guiness, in order to inherit the family Dukedom and gain revenge on his snobbish relations. In Passport to Pimlico (1949) the inhabitants of the London neighborhood of Pimlico attempt to create their own independent nation state and end rationing, leading to a variety of unexpected problems and diplomatic incidents with the British government.
The Magnet (1950), set in Liverpool, is about a boy whose acquisition of magnet leads to a series of adventures in the city. In The Lavender Hill Mob (1951) a timid bank clerk gets together an unlikely gang of accomplices to snatch a truck of gold bullion. The armed robbery proves surprisingly successful, but things start to go wrong when they attempt to melt down their haul into model Eiffel Towers. The Man in the White Suit (1951) features the efforts of a zealous young scientist to create a new kind of clothing material that will never get dirty and never wear out - an invention that threatens the livelihoods of both big business and the trade unions who join forces to try and prevent the publication of this new discovery.
The Titfield Thunderbolt (1953) echoes the theme of Passport to Pimlico, switched to a rural setting, with a small community standing up for their local interests when their branch line is threatened with closure by British Railways in a forerunner of the Beeching Axe. The villagers join forces to keep their railway running, but face competion and sabotage from a rival bus company. Meet Mr. Lucifer (1953) follows a television set as it is passed on from one owner to another, causing disattisfaction wherever it goes. The film serves as a warning about the effects of consumerism and rapidly expanding television use.
The Love Lottery (1954) sees a matinee idol Hollywood Star, played by David Niven, agree to take part in a “love lottery”. The Maggie (1954) features a clash of culture and wills between a wily Scottish boat captain and a vigorous American buisness tycoon who has mistakenly contracted the boat to carry a cargo for him. In The Ladykillers (1955) a gang of criminals let a room from the elderly Mrs Wilberforce pretending to be a String quintet looking for a space to practice. They plan to use the house to stage a robbery at nearby King's Cross railway station. On the brink of escape, they are thwarted by the Mrs Wilberforce who discovers their true purpose. The gang agree that she has to be murdered before she can go to the police, but prove incapable of doing this, and begin turning on each other instead.
Who Done It? (1956) was the final comedy made at Ealing Studios, before they were sold to the BBC. It parodies detective fiction with a young man setting himself up in buisness as a private detective after receiving a windfall of £100. His confused efforts to solve a crime lead to him becoming entangled in cold war espionage. The film was closer in style to traditional 1930s comedy, rather than the type of films Ealing had become known for over the previous decade.[7]
Two final comedies were released under the Ealing banner, but made at Elstree Studios. Barnacle Bill (1957) follows Captain Ambrose who, after leaving the navy, buys a run-down pier on the English seaside. Ambrose tries to revive the pier crossing swords with the local council who have a scheme to redevelop the entire seafront, personally enriching themselves while ruining him. Ambrose battles them by severing his connection with the shore, registering his pier as a ship under a foreign flag, and marketing it as a tourist destination for those too seasick to go on cruises. In Davy (1958) a promising entertainer tries to decide whether to strike out on his own, or stay with his family's struggling music hall act. No further comedies were made by Ealing, and after the thriller Siege of Pinchgut (1959), the brand was absorbed into the wider Rank Organisation. The previous year Rank had released Rockets Galore!, a sequel to Whiskey Galore, but its production was unconnected with Ealing.
Many of the films were built around a repertory group of actors, screenwriter, directors and technicians. Directors were Alexander Mackendrick, Charles Crichton, Robert Hamer, Charles Frend, Anthony Pelissier and Henry Cornelius. Notable actors who became prolific in these films included Stanley Holloway, Alec Guinness, Raymond Huntley and Alistair Sim. A number of actors also appeared recurringly in smaller roles such as Philip Stainton and Edie Martin.
Despite their synonymous association with Ealing Studios the films made up only a tenth of the films produced by the studios.[8] A similar situation occurred with the Gainsborough melodramas at a studio which also produced many comedies.