Ron Randell's second go at Drummond and it's absolutely fine and competent with a storng mystery but by 1947 television was digging in to the B market and all the series were being wound up - Kildare, Andy Hardy, etc.
This is a very British tale - it's set in Britain, all the actors play British. The John Howard Drummonds felt more American.
Heard of him? He was an Australian actor who leapt to national fame when cast in the title role of the biopic Smithy (1946), about Charles Kingsford Smith. The film was financed by Columbia Pictures who signed Randell to a long term contract and whisked him off to Hollywood.
He started well, given the role of Bulldog Drummond in two quickies (low budget, to be sure, but that's how Ray Milland got started) and support roles in some A productions like It Had to be You and The Loves of Carmen. But then they lost enthusiasm. Randell's career never really recovered - as a star prospect, that is. As an actor he had an entirely decent career, and he worked for the rest of his life.
It's a CV not exactly littered with gems but there was solid work - including stage appearances in Bent and The World of Suzie Wong, lots of compere gigs, impressing in King of Kings, turning up in films like Kiss Me Kate and I am Camera, as well as a lot of B pictures.
He was handsome, confident and could act. How come he didn't become a bigger name? If not Errol Flynn proportions then why not say Rod Taylor?
A couple of reasons, I think (this is all wisdom in hindsight of course)... he lacked a certain spark on screen. He wasn't terribly memorable - there were plenty of handsome men floating around, then as now. Despite extensive radio experience, he didn't have an imposing speaking voice, an under-rated quality when it comes to actors. It's possible he was distracted by his private life - he was married and divorced a number of times. He may have been a whinger - he publicly complained about the Bulldog Drummond films, which feels ungrateful. Maybe he just didn't get the breaks - a good role in a hit, in particular.
Ken Hall always seemed to feel a bit awkward he picked Randell to play Smithy over Peter Finch. But it's easy to see why - Randell had the looks; and in A Son is Born he steals the film from Finch in a dynamic performance. Finch didn't grow into his looks for another decade. You can't help but wonder if Ron Randell was a star that got away...
John Howard's first entry as Bulldog Drummond, taking over from Ray Milland and Ronald Coleman quite comfortably. Howard was engaging but had less charisma than those two other actors, but this meant the series felt more like an ensemble - the feeling of a close-knit high-spirited family that made the series enjoyable. It seems the studio was a bit worried about Howard's drawing power, though - so we also have John Barrymore as Colonel Nielsen. (Barrymore is top billed but is more of a second lead.)
The day before Bulldog's marriage his good friend the Colonel (HB Warner, replacing John Barrymore) is kidnapped by a foreign spy and whisked off to Africa. The spy is actually very polite and nice and puts on a spread for the Colonel. He also has a pet lion in his backyard - you know, for emergencies. Plots of the Drummond series weren't terribly complicated - this is basically a "chase" film, with a fast paced climax involving the lion that is quite well done. There is also a funny bit at the beginning where Drummond and Tenny are running around without their pants - because Drummond's fiancee is determined for them not to leave the house. Anthony Quinn turns up as a villainous foreigner - hang in there, Anthony, you'll be right in a few years! Heather Angel, who was Phyllis in Bulldog Drummond Escapes, returns to play Phyllis here.
Again, it's the morning before the wedding of Drummond and since its going to happen at his own house with everyone already there you'd thinkyou'd be OK, right? Not so - a boffin turns up claiming there's lost treasure on the premises; said boffin is kidnapped and hijinks ensue. There is a funny sequence where Drummond has a series of bad dreams the night before his wedding (this is the series at its most tongue in cheek and engaging - we see snippits from earlier films such as the battle with the lion in Bulldog Drummond in Africa and the rapier vs whip fight), plus a lively finale involving some underground catacombs with large gates and moats and things. Leo G Carroll is the villain. There was only one more film in the series, Bulldog Drummond's Bride.
Ronald Colman had starred in two Bulldog Drummond movies before Paramount decided to turn the books into a B series. Ray Milland took over, and did so well he was promptly promoted off the franchise – the less charismatic John Howard stepped in for the rest of the movies. Milland is very engaging and likeable as Drummond – he dominates the film far more than Howard did in his movies, which tended to be more ensemble pieces (also, here Algy(Reginald Denny) , Tenny (E E Clive) and the Colonel (Guy Standing) don’t do that much).
Plot wise this is so-so – Drummond comes to the rescue of a damsel in distress whose family have basically kidnapped her. She’s a bit of a ninny though she proves her worth by the end – she is Phyllis (Heather Angel) who became Drummond’s fiancée. (NB for the purposes of numbering I only refer to the official series - there was another Drummond made aroud this time with John Loder, called Bulldog Drummond at Bay without Denny or Clive).
Sapper's series of Bulldog Drummond novels may have been fascist escapades but the movies on which they were based were more like jolly japes about some chaps who went to school together and never really shook it off - Drummond (John Howard) is an ideal prefect, friendly, brave and basically sensible but always up for an escapade, Algy (Reginald Denny) is a dumb ass but loyal, the butler Tenny (E.E. Clive) sensible, and fiancée Phyllis (Louise Campbell), is exasperated (the story happens on the way to Drummond's marriage to Phyllis). They, along with Algy's equally dumb girlfriend and John Barrymore's Scotland Yard detective, all have an engaging easy-going familiarity with each other, mucking around like one big family, which is the film's best attraction.
Story-wise things are less strong - the basic plot is servicable enough (a scientist is killed and his super secret explosive device goes missing), but it's a bit of a long haul to have Drummond just happen to stumble upon the device just after his friend Barrymore has said goodbye to the scientist, then (this is the biggest flaw) just happen to get on the same train as the killer. This is lazy writing. Cast in good form - Howard isn't the most charismatic actor in the world but he tries and has energy, and it's fun to see Barrymore.
