Poet's Pub (1949) User Reviews (10)

Enjoyable but a little disapointing!

[JohnHowardReid · 7/10 · 30 May 2018]

Director: FREDERICK WILSON. Screenplay: Diana Morgan. Based on the 1930 novel by Eric Linklater. Photography: George Stretton. Film editor: Peter Bezencenet. Music composed by Clifton Parker, played by the Royal Philharmonic Orchestra conducted by Muir Mathieson. Song, "Half a World Away" by John Leighton and Colin Forster. Production designer: Douglas Daniels. Associate art director: Roy Oxley. Set decorator: Denys Pewitt. Camera operators: Bill Allan, Arthur Ibbetson. Special effects: Francis Carver, John Gow. Set continuity: Connie Willis. Dresses: Eve Betts Ltd. Wardrobe: Monty Berman Ltd. Transparency photography: Kenneth Danvers. Transparency projection: Charles Staffel. Production planner: John Defries. Frame supervisor: Geoffrey Woodward. Assistant producer: Ralph Nunn-May. Production manager: Denis Holt. Assistant director: Jack Martin. Sound editor: Len Trumm. Sound recording: Charles Knott, Gordon K. McCallum. Western Electric Sound System. Producer: Donald B. Wilson.

Copyright 1949 by Aquila Film Productions Ltd. Presented by J. Arthur Rank. Released in the U.K. through General Film Distributors: 8 August 1949. Never released theatrically in the U.S.A. but available to television stations through Walter Reade. Australian release scheduled through British Empire Films but never released. 79 minutes.

SYNOPSIS: In spite of the fact that direction is rather ragged, this adaptation of Eric Linklater's delightful novel is really good fun.

PRINCIPAL MIRACLE: Great special effects, but unless you're an expert you won't notice them-which is the way special effects should be.

COMMENT: I enjoyed Linklater's novel, but I found this movie version a little disappointing. Playing, direction and writing tend towards knockabout slapstick rather than sparkling wit, and tend to embrace conventionalities rather than try anything too fresh and original.

Nonetheless, it's a very pleasant - if highly forgettable - experience for those unacquainted with the far richer and infinitely brighter entertainment provided by the book. Fortunately many of Linklater's characters-a gorgeously bizarre bunch-are preserved to a fair degree, and the players are absolutely entrancing.

True, the director has obviously encouraged Joyce Grenfell to over-adorn her characterization, but the principals, as noted above, are a delight. Barbara Murray makes a lovely Nelly Bly, whilst John McLaren is suitably charming as an American collector and Roddy Hughes adds to the fun as a wonderfully frazzled desk clerk.

Poet's Pub

[CinemaSerf · 6/10 · 16 April 2023]

This opens up with a quite a fun exchange between poet "Saturday Keith" (Derek Bond) - "Frankly, sir, I'm lost for words" and literary critic "Prof. Benbow" (James Robertson Justice) - "I know, sir, I've read your works..." that rather sets the tone for this light-hearted post-war comedy set in a rustic inn that is struggling to make ends meet. The not-so-hot poet is, rather imprudently, made the manager of this establishment and as he gradually falls for "Joanna" (Rona Anderson) - the daughter of his nemesis - what ensues is a rather entertainingly prickly love story that also finds itself embroiled in a little kidnapping intrigue - and, the mystery of a secret room! I always found that Joyce Grenfell could light up the screen just by smiling, and though that's just about all she does here, she and JRJ do just about enough to keep Eric Linklater's jolly whimsy enjoyable for eighty minutes with some borderline farce and silliness. No, you will not remember watching it half an hour after it's done, but it is still worth a watch to see some true professionals make a small silk purse from a bit of a sow's ear.

The Literary Potman

[boblipton · 6/10 · 13 April 2020]

Derek Bond, ex-university champion rower, ex-RAF pilot and aspiring poet winds up the manager of a rural pub and gently woos Rona Anderson, daughter of John Robertson Justice, eminent professor and literary critic in this amusing screen adaptation of Eric Linklater's novel.

I thought it a jolly little comedy, although its free mixture of town and country, of serious literary issues and low comedy might have been a little early for the sort of comedy that would become a successful sort of movie with DOCTOR IN THE HOUSE. Justice plays what would become his signature sort of role, as a professor of English and critic; Joyce Grenfell is a cheery bluestocking, and Iris Hoey plays Bond's mother as if he is Lord Peter Wimsey.

Perhaps the movie's lack of popularity is due to Bond's character; he is simply too smart, efficient and successful at what he sets out to do to merit much sympathy from the audience. It's a comedy, so we know he';s going to succeed; it would be nice if he had some doubts.

The more things change...

[leatherdykeuk · 4/10 · 31 December 2017]

The more they stay the same. This is an entertaining film if you're fine with the dubious morality of 'the upper class' . Everyone but the thickie policeman and barman are ex Oxbridge and forgive each other the most heinous crimes -- kidnapping and the theft of priceless jewellery because turning them over to the police wight cause a scene. The production is full of inept hotel residents drafted in at the last moment when there are clearly two dozen professional actors in all the minor roles.

Wooing 101: Grab the girl, ignore her cries of 'no, no' and force kisses on her. Seconds later she'll be in love with you and won't press charges. Is this where Donnie Trump got his technique from?

Disappointing

[malcolmgsw · 4/10 · 14 December 2018]

In 1950 Rank had a ten million pound overdraft,and it was films like this that largely contributed to it.The film is shapeless and disjointed with characters acting in totally unexplained ways.Derek Bond is appointed hotel manager because he complained!A woman is forcibly kissed,but she likes it!Even the appearance of Joyce Grenfell and James Robertson Justice fail to raise the film above mediocrity.

Very good watch

[calvertfan · 9/10 · 25 February 2002]

This isn't a comedy/thriller, it's a romantic comedy that all of a sudden realises it's meant to be a thriller at approximately 15 minutes to go. It's all set in a hotel in England, owned by Saturday Keith ("he's one of 7 boys, all named after the days of the week!") and its other main players are the various guests that happen to be staying there in one particular week. Reminded me a little of Separate Tables. Now, nothing is explained too well, so halfway through the film you're apt to be thinking "huh? why is so and so doing that?" well never fear because just when it gets thrilling (kidnapping, car chase and all!) near the end, everyone all of a sudden feels the need to explain their story, and almost no one is what they seem. It only runs for about an hour and 10-15 minutes, and even if it's confusing and unexplained for the most part, it still holds your attention (I guess because you're wondering what the heck is meant to be going on), and I found myself really enjoying it. The comedy is splendid, and Joyce Grenfell plays her part to a tee. The romance is sweet, and while some scenes seem a bit ridiculous, it's never tacky or silly. Overall, 9 out of 10. I would have given it a 10 if they'd made things a bit more clear earlier on, and also explained the deal with the play/show/production/thing a little better!

The Downy Pelican, a Fun Place to Visit!

[movingpicturegal · 8/10 · 17 January 2007]

Enjoyable romp about an Oxford poet, Saturday Keith, who after complaining about the dreadful food, beer, and accommodations at an ancient country village inn/pub, befriends a lady at the next table whose husband has just bought her the inn. She makes Saturday the new manager, and soon the "Downy Pelican" is a huge success, full of an assortment of characters including an American collector, a Professor/critic who wrote a bad review of Saturday's book of verses, the critic's attractive daughter, Saturday's ditsy mother, a maid who likes to snoop around the rooms, and a bartender who collects cigarette cards and has invented what he calls a "Blue Cocktail". This is the kind of place where the guests like to indulge in such things as gossip, bridge, games of croquet on the lawn, and lots of drinks in the pub including an old English concoction, a spiced whiskey drink called "Lamb's Wool".

This film is enjoyable, silly fun where the charming old inn is really the star of the whole thing - the kind of place I would love to visit! It is mostly a comedy, but includes a thrown-in mystery involving the "Essex room", the seemingly required car chase scene near the end, and, of course, a romance between Saturday and the attractive daughter. Light, quite entertaining fare - well worth seeing.

Delightfully literate screwball comedy with leads in top form

[adrianovasconcelos · 9/10 · 9 May 2023]

It is rather unfortunate that I know so little about Director Frederick Wilson's work - he does a magnificent job of directing this exquisite screwball comedy that brims with poetical quotes, garments from the days of chivalry, a most handsome leading couple, acting of the highest order both in terms of diction and of naturalistic delivery, and absolutely delightful cinematography that brings out the beauty of the English countryside and local traditions... including a pub that sees the convergence of persons from all walks of life, including a thief.

That said, love looms large as the loftiest consideration, and the poet cum publican played by handsome Derek Bond is more than perfectly matched by the lovely English rose, Rona Anderson, to me one of the most beautiful and elegant women ever.

Add to the inventive and fast-moving script by Diana Morgan the presence of the great James Robertson Justice - one of the great voices of British cinema - and the flighty Joyce Grenfell teaching others to dance and playing the queen, and you have a glorious dish that deserves to be savored and revisited.

I had a wonderful time watching it.

Discovered ! !

[heath-stjohn · 10/10 · 8 January 2021]

Wonderful film. Please could somebody add Edward Rigby's name to this film, and to his own list of films, as I've just watched it, and can say for certain that he's one of the villagers sitting in a row, laughing, watching the Pageant, near the end. I've added it to his Wikipaedia Page. I believe this hasn't before been noticed by anyone.

Running round and around in a wild goose chase all dressed up as ridiculous Elizabethans

[clanciai · 8/10 · 13 April 2023]

Eric Linklater's affected effort at wit and sophistication seldom resulted in anything but qualified and superficial nonsense, and this is a typical example. Everything and everyone appears to be serious but no one is, the plot appears to be complicated and screwed up, but it is all about trifles of no sense. The dialog appears to be brilliant in splendour and intelligence, but it is all affected make-believe of silly nonsense, and silliness is the main character of the whole show. The performance is saved to some degree by James Robertson Justice, whose imposing appearance used to grace every film he was in, and Derek Bond is never as silly as he seems but actually tries to make a contribution. The music is the worst of all, bits and pieces of all kinds of truncated tunes, and it is not even funny, just silly all the way, while Rona Anderson is the only one who in spite of all makes the film worth watching.