![]() He’s a man of high spirits and, overall, an eccentric that seems to be fun to have around. He is happy to share a moment with an avid reader but reticent when the latter tells him the reason for his visit. ![]() He plays the author of the stripes, a man with no false pretences. The one who mainly serves as a comic element would be Alastair Sim, who was then a well-established actor. But the film doesn’t pretend to be what it’s not, which is its strength. The parts that genuinely made me laugh were rare. It lacked a few comedic aspects to be both a clever film and a clever comedy. On that level, Hue and Cry deserves many points. The premise of the film is impressively creative. Helped by his friends, he will try to stop them. The story revolves around young Joe Kirby (Harry Fowler) who discover how a gang of crooks communicates through codes sent via hacked comic stripes. Set in post-war London, Hue and Cry could be qualified as a comedic thriller leaded by teenagers. It also provokes a potent nostalgia, regardless of when you were born. However, it still has its qualities and remains a product that can encourage many reflections. Compared to other Ealing comedies I had previously seen, it is not necessarily a solid start to this series. Despite its lighthearted spirit and despite being directed by Charles Crichton, it is not necessarily the most comedic of comedies. Despite being part of the series, I must admit it modestly introduced it. ![]() I’m officially kicking things off with what is often considered to be the first one of that, let’s not forget it, unofficial series: Hue and Cry (Charles Crichton, 1947). ![]() I’ve recently announced that I was starting a new blog series exploring the Ealing comedies, films produced by Ealing Studios in London from the late 40s to the late 50s! ![]()
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