Deanna
There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.
writers_reign
In some aspects The Good Companions formed the basis of J.B. Priestly's pension pot given the number of outings it has enjoyed on the large and small screen since the first adaption in 1933. For me the drawing card for this, 1957, version was Celia Johnson as Miss Trant, the spinster who saves the Concert Party dying on its feet in their initial encounter and turns it around. On paper this story is the personification of simplistic as Priestly contrives to have three disparate people, a down-to-earth Yorkshire factory worker with a nagging wife, just rendered jobless even as an upper-class schoolteacher finds himself in the same boat, and the aforesaid spinster who realises simultaneously that life is for living, come together and collide with the Concert Party whose manager has just eloped with the takings and left them stranded. A plot as flimsy as this requires deft performances and here Eric Portman as the bluff Yorkshireman and Celia Johnson as the Home Counties lady of leisure are a delight. Janette Scott as the ingenue Susie Dean shares the screen if no actual scenes with real-life mother Thora Hird, as the nagging wife and Paddy Roberts, very much in vogue at the time, performing his own lyrics, provides a half-decent score. Worth a look.
didi-5
This remake of the thirties Jessie Matthews/John Gielgud musical has a lot of charm due to its lovely colour, excellent songs, and a strong cast (good roles for Celia Johnson, Eric Portman, Joyce Grenfell, Hugh Griffith, Bobby Howes, Rachel Roberts, John Fraser and of course Jeanette Scott and her mother Thora Hird; smaller showy roles for Anthony Newley and John Le Mesurier). The last few musical numbers towards the end of the film match many of Hollywood musical efforts around the same time, but the fact that the film is British gives it a heart and a sense of fun sometimes lacking in American polish.
john_jarvis36
I considered "The Good Companions" simply made and entertaining, as was the novel. The actors were well cast and each played their part to perfection. It was unusual for a British studio to 'try' a musical at that period of time, and I think it came off pretty well. For me it is an unexpected, delightful offering such as "Curtain Up".
ROGER P MELLOR
This musical film remake of THE GOOD COMPANIONS (Dir:J Lee Thompson, for Associated British in 1957) features several tuneful songs by Paddy Roberts(m/l), C. Alberto Rossi(m/l) and Geoffrey Parsons(l). Miss Trant (played by Celia Johnson),and her encounter with the struggling concert party, the 'Dinky Doos', and the world of the touring theatre as depicted by J.B. Priestley was well known to English audiences since the thirties. As the setting of the story is updated from 1929 (when touring shows were highly popular) to the 1950's, when they were in decline, the musical style is also updated, and the songs are all catchy in the style of variety c1956. Indeed, the film is priceless as a 1950's British film musical which owes nothing to operetta or rock and roll - in its recording and celebration of fifties variety it is unique. It also remains faithful to the essential spirit of Priestley's novel in its celebration of show business and the theatrical life, and in particular, the metaphor of the touring theatre as an escape for the middle aged male from a society that is domesticated, drab and puritanical, epitomised in those dour apron wearing wives (played by Thora Hird and Beatrice Varley in the film) who appear at the stage door and attempt to drag their 'erring' husbands away from the chorus girls, and back to 'reality'. There is also the sense of community amongst the performers, and of communal travel by steam hauled trains through the length of Great Britain. Eighteen year old Janette Scott, a potent symbol of a lost age of 1950's innocent screen romance, does not receive top billing, but clearly emerges as the star of THE GOOD COMPANIONS. She displays great spirit and loads of charm, especially in the 'Today will be a Lovely Day' number, and her enthusiasm is quite infectious in the skilfully staged finale. I would also single out for praise Eric Portman, who is perfect in the role of Jess Oakroyd, and brings richness and depth to the role. There is a wonderful moment at the end of TGC, when after Susie Dean's triumph, he nods leans forward and glances towards Miss Trant, who is sitting in the same row of the theatre stalls, and almost telepathically communicates with her to share Susie's moment of triumph. THE GOOD COMPANIONS is strong in character acting in a very English tradition (even a theatre manager has an individuality about him, even though he appears only briefly with one line of dialogue), and just look at the cast list of supporting actors!: Joyce Grenfell, Anthony Newley, John LeMesurier, Rachel Roberts, Thora Hird, Alec McCowen, Hugh Griffith, Shirley Anne Field, Bobby Howes, Melvyn Hayes, the list goes on and on - what a cast! It is also to the credit of the direction and writing, that with so many characters they are so clearly defined and that the narrative remains focused. It is these qualities, together with the film's excellent production values (in its restoration, the film is one of the most visually elegant British films of its decade-the lighting of interiors is exceptional,rooms and decor are beautifully depicted-Jess Oakroyd's living room, public houses, theatre interiors, and a private dining room at the back of a seedy café which takes on a warmth all of its own because of the theatricals seated round the table). These qualities, together with the good natured charm of the young leads, make THE GOOD COMPANIONS excellent entertainment. A rarely seen, high spirited British showbiz musical,'The Good Companions' of 1957 is a 'must see' for 1950's nostalgia buffs.
