Cornelius Thryke, the fictional star of the novels “Gone to the Dogs” and “Thyrke: The Man That Nobody Knew” spent many years working in fabricated British Film Studios.
The legendary production studio that I had in mind for Cornelius Thryke and his plethora of film appearances was the fantastic Ealing.
When one mentions the Ealing Comedies, one evocative title is not too far from the lips. In this blog post, I would like to write about the wonderful film that is “The Lavender Hill Mob” (1951.)
The first thing that strikes you when watching is the cast. Alec Guinness is superb as the main character, bank clerk Henry Holland. His is a remarkably understated performance, as the retiring clerk would be, but Guinness’ presence fills the screen, with adept half-smiles and knowing looks.
His leading partner in crime is Mr Pendlebury, part-time artist and foundry owner. This part is played by Stanley Holloway, who also starred in other Ealing films, such as A Passport to Pimlico (1949) and, one of my favourites, “The Titfield Thunderbolt” (1953.)
Guinness and Holloway create engaging on-screen chemistry and, in a sense, Pendlebury is the larger character, with his booming utterances, in marvellously ornate and of the time language. That Guinness is still able to exude the quiet self-assurance of the criminal mastermind is a testament to his acting craft.
However, Holland and Pendlebury could hardly be described as a “mob.” The pair seek to recruit additional member, and the ruse the employ to achieve this is comically delightful. I will not describe the method here, in case you wish to go off and enjoy the film for the first time, but it nets a right couple of villains, who fit nicely into the cast.
The first man encountered is Shorty Fisher, played by Alfie Bass. Bass is another of those actors, much like my Cornelius Thryke, whose face you know, but whose name does not necessarily stick. Reading up on him, he has an extensive and impressive filmography. However, what delighted my most was releasing that he played Mr Goldberg in “Are You Being Served,” one of my favourite sitcoms of the 1970’s era. My novel “Gone to the Dogs” is my little homage to the show.
The final member of the gang could only really be played by one man. To see the name Sid James on the opening titles of any film is always a joy. James fills the role of the tremendously monikered Lackery Wood, an habitual petty villain, much like his comrade, Shorty Fisher.
James is truly a giant of British comedy, having worked with all the greats. While principally remembered for his remarkable appearances in the much-loved “Carry-On” series, I am particularly fond of the work he did, both on radio and television, with the legendary Tony Hancock.
James’ screen time is not hugely extensive, but what he does deliver is timed to perfection and full of comic nuance. The scene in which he is recruited, alongside Bass, is one of my favourites in the film.
The ensemble is so dripping with talent that some now great names have only small roles. Consider appearances by Audrey Hepburn, Desmond “Q” Llewellyn, as an uncredited customs official. A couple of faces that I was delighted to see were Cyril Chamberlain, as a Police Commander and Richard Wattis, like Llewellyn, uncredited as an opposition MP. If you consider that Wattis and Chamberlain alone starred in such works as “Trouble in Store,” “Doctor in the House,” the “St Trinian’s” series, and many more, you begin to realise what a treasure trove of British comedy “The Lavender Hill Mob” really is.
The story of the film is simple, believable and, at times, gripping. I was reminded, when watching, of the 1960 film “The League of Gentlemen” which starred Guinness’ “Bridge on the River Kwai” co-star, Jack Hawkins. Similarly to this heist film, I felt an affection for the wronged, but principled thieves. As per “The League of Gentlemen,” the perfect plan of the “Lavender Hill Mob” unravels on the slightest detail, followed by a series of misfortunes as Holland and Pendlebury seek to regain equilibrium.
We do not find out the fates that befall Lackery and Fisher, but Holland and Pendlebury accept theirs with the stoicism of the military heroes that were also being portrayed around this time.
This fate includes the final, delicious twist, as Holland regales his story in a Rio de Janeiro hotel. Again, this film reminded me of a more modern piece of comedy. A Christmas Special edition of “Inside No. 9” called “The Grampus” came to mind. I would like to think that the rather disturbing ending to that show was a nod and a modern re-working of the final scene in “The Lavender Hill Mob.” Perhaps I shall ask the writers and find out.
Filmed in simpler times, when technology was not what it is today, I still think modern audiences can thoroughly enjoy the film. There is no violence, swearing or explosions, but there is a car chase and a discombobulating scene on the Eiffel Tower.
The humour is gentle and driven by the narrative, rather than having a script laden with gags and one-liners. I think it is almost perfect and I can see that modern comedy owes a lot to the writing talent of Tibby Clarke and the directorial know-how of Charles Crichton.
I wouldn’t put anyone off watching “The Lavender Hill Mob” or any of the collection of Ealing Comedies. The film is tremendously rewarding and a great place to start exploring the stars of yesteryear.
In short, I loved it! Go on now, give it a try.