GANGWAY
UK, 1937, 90 minutes, Black and white.
Jessie Matthews, Barry Mac Kay, Nat Pendleton, Alistair Sim, Oliver Blakeney.
Directed by Sonnie Hale.
Gangway is a star vehicle for British light comedienne and singer and dancer, Jessie Matthews (a range of films including the very popular Evergreen). She is very cheerful and lively personality on screen.
The film is indebted to the musicals of Fred Astaire and Ginger Rogers (and verbally acknowledges these). However, while Barry Mac Kay sings, he is no dancer. The dancing is left almost completely to Jessie Matthews.
The plot is creaky – but has nods in the direction of the United States. Jessie Matthews is Patricia Wayne, a reporter who emulates the reporters of such plays as The Front Page. Barry Mac Kay is a Scotland Yard detective who suddenly inherits a lordship. Nat Pendleton is a Damon Runyon-type gangster and Alistair Sim shows the indications of what his comedy would be like in the future as a private detective.
There are the scenes in the newspaper office, in swanky hotels, the search for a jewel thief, a Transatlantic cruise, gangsters in New York City, the Trocadero nightclub and dancing and a shoot-out. The film is designed to be popular both at home and abroad. It is an example of British film-making in the 30s, striving for a touch of American sophistication.
1. An entertaining musical of the 30s? Comparisons with the Astaire- Rogers musicals? The particular British style? The nods towards the United States?
2. Studio settings, the black and white photography? The musical score, the songs, the choreography and the dancing? The insertion of the songs in the action?
3. The conventions of the Depression era comedies, the picturing of the rich, thieves, gangsters, detectives? The hero and heroine and the happy ever after?
4. Bob, Scotland Yard, the inheritance? The chief, sending him to the hotel to find the jewel thief? His friendship with Greta – and missing his opportunity to arrest her? Suspicions of Nedda, her husband? The encounter with Pat, the dropping of the glove, meeting her, suspicions of her, taking her out, falling in love? The Cinderella overtones? The discussions with the chief, the chief dancing with Patricia at the club? Going on board, finding Patricia in the trunk? His suspicions of Nedda? The voyage, the encounters with Taggett, finally tying him up? Trying to get Taggett to remember the nursery rhyme where the gangsters went? Coming in at the end, rescuing Pat, the humorous wedding sequence?
5. Pat, at work, reviewing the play, the dancer coming and objecting, their doing a song and dance routine? Her going to the hotel, encountering Bob, pretending to be the maid, Nedda’s haughtiness? The dresses, going out, late, being sacked? The press officer and the proposal that she steal the jewellery? Stealing it from the wrong person? Hiding, the trunk, on board? Enjoying the voyage? Getting friendly with Smiles, it being assumed that she was the thief? Landing, with the gangsters, the dancing rehearsal and the shots? The dance routine, the spotlights and her saving the day? Being rescued, the happy ending marriage?
6. Taggett, Alistair Sim’s comic style as the detective, his being tied up, unable to remember the place?
7. Smiles, the gangsters, genial and serious, the shoot-outs, the police, his being indebted to the police? In the final attack? The serious criminals, the plan to steal the jewellery, the rehearsals, with Pat, the set-up for the stealing of the jewels? Her thwarting them?
8. Nedda Beaumont, the haughty Hollywood star, imperious, imposing on her husband, the clause about marriage? Sacking people, changing rooms? In at the end? Carl and his being trodden on by Nedda?
9. Greta, the obvious candidate to be Sparkle, her not being on the ship, at the end, in the showdown, going to prison?
10. A cheerful kind of musical comedy for Britain in its pre-World War Two period?
