"LET GEORGE DO IT"

Nelson Evening Mail, Volume LXXII, 31 December 1938, Page 6

"LET GEORGE DO IT"

EMPLOYS THE TALENTS OF AUSTRALIA'S PRIZE COMEDIAN

In making a comedy so hilarious as "Let George Do It,” Mr Ken G. Hall, has added to his prestige as a director and to the reputation of his studio, Cinesound. It is no light accomplishment for a director, however versatile, and a studio however flexible its organisation, to turn from outdoors melodramas and a musical drama to broad comedy. "Let George Do It” is valuable, because it employs the talents of one of Australia’s most prized comedians,

George Wallace, who finds too few opportunities for his accomplishments. The script has been most ably written, and the comedy has been ingeniously contrived along lines of boisterous humour. There is enough of the Australian about Wallace to give a national character to the film, but there is no reason why it should not be equally favoured abroad. Wallace has a keen perception of the ridiculous, in attitude, gesture and expression. He has the essential flavour of pathos and the equipment of the clown. Joe Valli, the Scottish comedian, is

an eminently suitable assistant for Wallace. So is Letty Craydon, the fat girl with the shrill voice. Alec Kellaway draws attention by the skill with which he “feeds” the principal comedian. In looks, personality and poise, completely equipped as an ingenue, Gwen Munro stands far ahead of her competitors in local films. Harry Abdy. as a gangster, gives a performance that would not disgrace Humphrey Bogart, but his strong-arm

- henchmen are by no means in character. This is the more surprising in - that the film contains several extra- - ordinarily good types, such as the “hill- - billy” poultry farmer and the crosseyed chemist. i j Cleverest and best sustained comedy 1 1 in the film concerns Wallace’s attempts )! at suicide and his meeting with the rj chemist and the gangster. 1 Mr Wallace’s capers are worth watch- ; | ing. He has the true comedian’s flair -: for being funny every moment he is r j within view of the audience. The char- ; j acter he plays is that of a stage-hand j who tap-dances and has ambitions to s | be a top-liner.