Although it has its amusing moments, in eneral the plot does not convince.

I gave this film a 9 out of 10, because it was exactly what I expected it to be.

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

At last an early Carol Reed movie that's neither risible nor cringe-making. Ironically it was mostly his later films - Climbing High etc - that fell into that category. On the other hand in this case he is working from a rock-solid base, a 'well-made' play by Jack Priestley rather than an 'original' screenplay. In fact Reed was working for an outfit that had been formed to bring West End successes to the screen so it may well be that he was, to a certain extent, restricted creatively. Certainly there is no discernible 'signature' in evidence in what amounts to a (presumbably) faithful rendering of a West End success. Edmund Gwenn is his usual lovable rogue as the head of a household with a secret life as a master forger. Cedric Hardwicke is unconvincingly cast against type as his seriously sponger brother-in-law whilst Katie Johnson lends solid support - and looks exactly the same as she did in The Ladykillers almost 20 years later - as Gwenn's wife. Gwenn's would-be son-in-law behaves exactly as his counterpart in The Winslow Boy, i.e. running a mile at the first whiff of scandal and somewhat bizarrely for a climate in which film producers were under orders to make Crime Does Not Pay fodder for the masses, Gwenn walks into the sunset happier and wiser. Worth a look.

I saw this film at the NFT last night.It was shown as part of the tribute to Carol Reed.A director who now largely seems to be forgotten.This film is based on a play by J.B.Prisetley.Given that there is not a lot in the way of opening out it is fairly easy to see where the three acts begin and end.The two lead performances by Gwenn and Harwicke are ones to cherish.I have seen Gwenn in a number of his British films and i have to say that i have not seen him put a foot wrong.He has a cherubic smile which normally hides some mischievous thought.This film thrives on incongruity.There are some exterior shots of suburban London in the 1930s including the exterior,and possibly the interior of Stolls Picture Theatre,which i believe was in Kingsway.