Apparently Lilacs in the Spring was successful enough at the box office to inspire Herbert Wilcox to reunite Errol Flynn with Anna Neagle for another colourful musical. Whereas Lilacs was a Neagle vehicle, this one is more a vehicle for Errol, Neagle and Patrice Wymore (a mistake, since surely Lilac only made money on the back of Neagle's appeal).
It starts with Errol living it up as a playboy in Monte Cristo, recovering from a hang over, with his mistress (Anna Neagle). Mum rocks up, says that his father has died and that he is to marry Patrice Wymre. Wymore isn’t keen on an arranged marriage at first – until she finds out she’s marrying Errol, on whom she had a crush. Since by this stage Errol was looking his age you’re likely to think “yeah right”.
Actually there is something a little touching about Errol as this aging playboy prince, who has led this wastrel life but who loves his mistress, called to duty late in life. I kept thinking of Prince Edward and Queen Victoria. Just because he’s married though doesn’t mean he has to give up his mistress – indeed, he hangs on to Neagle through the birth of his son. Then Neagle leaves, telling Errol that he actually loves Wymore – and Errol goes “fair enough” and gives Wymore a pash.
But then there’s this third act where Errol is forced to abdicate in favour of his son by nasty politicians (well we assume they’re nasty but Errol clearly isn’t much of a king) – he goes into exile, levaes Wymore behind, runs into Neagle who encourages him to go back for his son’s coronation which he does and he seems to be reunited with Wymore… so what? Why do we care? It’s like this bit tacked on to a decent enough drama for the first hour.
It’s like an amateur theatre production, with the stars “acting” but with enthusiasm. I enjoyed the color photography and the impressive sets – and even Ivor Novello’s tunes. Patrice Wymore is pretty and likeable though no great shakes as an actor (at least not on evidence here); she’s a decent dancer though and gets an opportunity to show off her skills in that area.
Errol does a drunk scene with Wymore – a fore runner of the sorts of scenes he would play with increasing regularity over the next few years. It’s not a bad performance – he’s blotchy and sad and clearly has wasted his life. I don’t know if that’s the effect that was intended but it’s what comes across. Neagle is fine – she wears a really way out black dress in one scene that draws attention to her chest in a rather alarming way.
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