Gump

“The Gump” was Norman Wisdom’s own name for his idiot character, who is perhaps not quite fully established or embodied in his first star feature, TROUBLE IN STORE.

Wisdom’s once-upon-a-time appeal to kids is easy enough to understand. The typical Wisdom routine is Norman fucking up in front of an increasingly irate authority figure, which is a neat summary of the entire condition of childhood. And of course the one doing things wrong becomes the sympathetic one. To err is humorous.

Not content with that, of course, Wisdom pours on sentiment, which is unfortunate. As with Jerry Lewis (whose WHO’S MINDING THE STORE? is a ten-years-later improvement on this film), sometimes wringing some pathos out of the character involves stepping out of character altogether, seen most clearly when Norman sings “Don’t Laugh at Me ‘Cos I’m a Fool” in a voice which feels dubbed even though it isn’t.

About the only classically constructed gag of surprise in TROUBLE IN STORE.

What’s surprising, as this begins, is how stroppy Norman is. A regular little Jimmy Porter. There is, it turns out, a lot of class resentment at work in the Gump. He works in the storeroom at a large department store but dreams of being a window dresser. When he mistakenly thinks he’s got the promotion, he swans around the shop floor talking in grotesque toffee-nosed accents and using big words he doesn’t understand. The working-class kid is just waiting to move up.

Wisdom is agile — he can do spectacular falls, not on a Buster Keaton level, but there’s some impressive acrobatics here. Not really many interesting or surprising or sustained gag sequences, though. The best bit may be Norman setting himself on fire during his employer’s speech, and being too embarrassed to interrupt it. That’s some good Britishness. It reminds me of the very funny Manuel on fire bit from Fawlty Towers. Set a small man ablaze and everybody laughs.

Interesting people are involved — not director John Paddy Carstairs, who did a great many of these and not much else of distinction in a career starting in the thirties. THE SAINT IN LONDON looks to have been his one brush with the big time. He was the brother of producer Anthony Nelson Keyes, and he also directed SPARE A COPPER with George Formby, so he had form. Formby form. If you can direct one awful British comedian, you can direct ’em all.

Co-writer Ted Willis also had a hand in BITTER VICTORY, which takes some swallowing. But he was a man of many parts — British proto-kitchen sink realism like FLAME IN THE STREETS and WOMAN IN A DRESSING GOWN were at least as much his style as this muck. He devised THE BLUE LAMP and created its cop show spin-off, Dixon of Dock Green which started in 1955 and lasted until 1976 — I remember the damned thing.

A subplot, of sorts, has Margaret Rutherford, a more established star than Norman, as a shameless shoplifter. She doesn’t need material to be entertaining, she just inhabits a perpetual zone of entertainment which follows her about, emanating from her body. Also good value is Joan Sim, Carry On film goddess and a comedienne who never really got her due. Well, you don’t if you’re in a dozen carry Ons.

Megs Jenkins is on hand to answer any trivia questions about what connects Norman Wisdom to BLACK NARCISSUS.

There are some grace notes. Not many, but some, and they’re quite odd. When Norman sings his tearjerking song, he’s still sodden from wading into the duck pond in order to grab a duckling for his romantic interest to feed. A birdlike listener is so entranced she goes on filling her cup with sugar lumps. Norman’s physical wetness in this scene chimes well with his obvious mental and spiritual wetness.

Later, Norman gets into a row with a camp window dresser and they start smashing crockery, to the amusement of a crowd. Norman produces a small hammer to destroy a tea pot, but then his eye is caught by some rando in the crowd, who shakes his head confidentially. Norman puts down the small hammer and picks up a big hammer. The rando now nods, confidentially. And never appears again. I like this because it’s eccentric. Everything else in the film goes the direct route: things are smashed, people fall down, there is embarrassment, there is gurning. But here, in this strange exchange between strangers, one a sheer interloper in the film, something closer to British eccentric comedy in the Lewis Carroll tradition — or Dan Leno, maybe — peers its head round the corner, frowns slightly, and then disappears forever.

It seems that Awful British Comedians have a way of growing on one — Will Hay and George Formby both seemed less offensive on the second go-round, so I popped in another Wisdom, THE SQUARE PEG, lured by the prospect of Norman in a duel role — a typical Norman gump and a fiendish Nazi general. But any resemblance to THE GREAT DICTATOR, or even WHICH WAY TO THE FRONT? is purely uninspired. (Actually, I wonder if Jer saw this and decided, wrongly, that he could do better.)

Most of the Awful British Comedians did WWII pics — Old Mother Riley battled Nazi spies in OLD MOTHER RILEY JOINS UP, Will Hay teaches the Hitler Youth a thing or two in THE GOOSE STEPS OUT, George Formby literally punches Hitler in LET GEORGE DO IT. So it was natural for Norman to have a go, even if the war had been over for years.

Again, Norman is surprisingly stroppy — instead of setting him up as sympathetic, the movie takes pains to show its hero as an officious, petty council worker who regards his own roadwork as more central to the war effort than that of enlisted men. The movie introduces Edward Chapman as Mr. Grimsdale, his employer. Chapman had already played Norman’s boss in JUST MY LUCK, but that was Mr. Stoneway, who never appeared again. Mr. Grimsdale would recur several more times, even though Norman himself has a different surname each time. Maybe one reason Mr. G. gets increasingly grumpy (they’re kind of pals, here) is that he keeps running into idiots called Norman, all with the same face. The reason for his reappearance goes beyond a sympathy between the two actors — for some reason, Norman Wisdom yelling “Mr. Grimsdale!” in a helpless, panicky manner was judged to be hysterical. Like how Jerry Lewis was always shouting “Lady!” only he never did.

This one also has Honor Blackman — too interesting and sexy for this context — and lots of other favourites like Andre Mauranne from the PINK PANTHERS (Herbert Lom’s pained assistant) and the mighty Hattie Jacques. Oliver Reed is apparently in there somewhere also, but the anticipation of a Reed-Wisdom face-off (delicious? horrifying?) remains unfulfilled.

Nazi Norman is quite a good bit of play-acting — one always suspected he had an inner sadist. In another weird moment, non-Nazi Norman has to pretend to be French, but doesn’t speak the language so he acts the part of a non-verbal idiot. A little idiot playing a bigger idiot. Russian dolls of imbecility.

Some peculiar Nazi loveplay as Nazi Norman pours champagne over Nazi opera diva Hattie’s ample bosom. “Cor,” says non-Nazi Norman, peeping through a keyhole.

It isn’t any good, you understand. Occasionally Norman, by going too far (like Jer) can raise a laugh with dismal material or no material, but we all pay a terrible price for it. My favourite bit was when he runs out of air after being repeatedly told to exhale by a doctor. As an asthmatic, I enjoyed the ghastliness of a man deflating himself through the medium of acting.

Matthew Sweet’s section on Wisdom in Shepperton Babylon is very enlightening — and just short of nasty. He notes the way Wisdom’s home (on the Isle of Man, a tax haven) was a kind of shrine to his career. We get the Chaplinesque upbringing of horrible poverty and neglect, which does seem to explain the needy screen persona. And real life persona. And Sweet nails the way maturity tends to erode one’s ability to sympathise with the Gump.

There’s also this documentary, made subsequent to Sweet’s visit, when Norman was suffering from Altzheimer’s. Except, in a Norma Desmond version of ironic mercy, he wasn’t really suffering. His illness reduced him to the character he’d played so often, a big kid. You don’t want to get Altzheimer’s, but if you get it, this is the form you want to get it in. It’s tragic, but not for you. Norman’s biggest worry is being forced to take a bath. His second childhood was, thanks to his wealth and his loving children, a lot happier than his first.

Norman, to camera: “Thanks ever so much for looking at me.”

The Sunday Intertitle: Sydney Failure

I first realized how gifted a comedian Sydney Chaplin was when I noticed his interplay with his brother in A DOG’S LIFE — he’s the street vendor Charlie robs of cookies. The pair’s timing is exquisitely worked out, and the central conceit, that the number of cookies keeps diminishing and Charlie is the only suspect but Syd doesn’t feel able to make an accusation without catching him at it, is priceless.

I was disappointed, then, to learn that Syd was a rapist and a cannibal — and was caught at it. The story is gone over in Matthew Sweet’s Shepperton Babylon — Syd was preparing for the second of his British films when he assaulted an actress, Molly Wright, and bit her nipple off. He fled the country, leaving unpaid taxes (I know: infamy upon infamy) and the studio paid her a settlement.

It’s hard to imagine any way Wright could have made this story up (and certainly the studio acted like they believed her, in an era when movie studios were quite prepared to cover up sex crimes by their valued associates); it’s equally hard to imagine anyone biting off a body part unintentionally. It’s all horrific and creepy in the extreme, so much so that it’s not only surprising this isn’t better known, it’s slightly surprising that this story about the half-brother isn’t the first thing people think of when they think of Charlie. I guess that’s a measure of how his fame surpassed any scandal that came near him.

Sydney doesn’t seem to have done anything like this again, that we know of.

In THE MAN ON THE BOX (1925), made before the career-ending incident, Sydney is called a back-biter by a jealous husband, and makes the following denial —

It’s an odd film. A MacGuffin about plans for a new helicopter leads to millionaire’s son Chaplin disguising himself as a coachman (in 20s California?), getting hired as a groom, pressed into service as a butler and then disguising himself as a maid (like his semi-sibling, he’s very convincing in drag — CHARLIE’S AUNT was one of his biggest hits). Syd is able and agile — there’s some ferocious knockabout involving him and the film’s director, Charles Riesner (best known for skippering STEAMBOAT BILL JR) who co-stars as an enemy agent. Another future director, David Butler, also appears, and is just the kind of guffawing hearty you might expect from his later work.

“That’s right, Barrymore, pull them funny faces. HAW HAW!”

Syd is, as indicated, a skilled comedian, but he’s also an attractive and sympathetic screen presence, and at times his use of his eyes — flashing signals across a room like twin aldous lamps — is startlingly reminiscent of the better-known brother. For some reason, the squarer jaw-line makes his feminine side seem stranger — Charlie could be coquettish and it somehow seemed absolutely in keeping with his other qualities — imp, innocent, ruffian.

I guess if he ended up working in Britain his career was already on the slide, and there’s no reason to assume audiences had enough enthusiasm for him to want to see him move into talkies, so his career was going to be cut short by film history anyway. But it seems it should have been cut short by a prison sentence.

Alfred his cock presents

There’s a story, which I have trouble believing, that to get a shocked reaction from Madeleine Carroll for one particular close-up in THE 39 STEPS, Hitchcock unbuttoned his fly and startled her with the sight of his partial namesake. (The shot above looks to me like the only reasonable contender. The expression on Carroll’s face is hard to read: concern? Pity?)

When asked, by a subsequent interviewer, if this tale were true, Hitch is supposed to have confirmed it (I can believe that much), and said that he had used this technique on a number of actresses.

For the record, Madeleine Carroll is awesome in THE 39 STEPS, and I don’t believe such a technique would be either necessary or productive, to say nothing of the legal implications. Hitch did claim to have pranked her mercilessly, partly for fun and partly to get her to, er, unstiffen. That’s almost certainly true. But the story of the nob, which Matthew Sweet seizes upon so eagerly in his book Shepperton Babylon, strikes me as a stretch.

Also, it reminds me of Churchill’s comment when told his fly was undone: “Dead birds don’t fall out of nests.”