Review for Dandy Dick

Despite an upsurge in Will Hay’s popularity during recent years, principally as a result of releases of his finest works on DVD sets (oh – and a memorable school-holiday BBC-2 film season in the early eighties), some of his earliest films have remained out of print.


When you consider that some of these were silent and that the earliest of his talkies made him a British contemporary of people like Laurel and Hardy, it’s a good reminder that he is one of Britain’s earliest film comedians. It may shock some to note that he died in 1949, having made the last of his films a couple of years before that.


Thanks to the fine folk at Network, one of the more delightful early examples of his gentle and typically British humour, Dandy Dick, is now released to DVD. 



Based on a popular play by Arthur Wing Pinero from 1887, Will Hay was already nudging his late middle-age as he played the leading role as a country vicar in what is a delightful, if rather slight, slice of British farce.


Reverend Richard Jedd needs to raise a thousand pounds to repair the village steeple which has become twisted. Though he is very much against gambling he eventually gets talked in to gambling the small amount of money he has on his sister’s race horse (‘Dandy Dick’) which she is convinced is a dead cert, despite the generous odds.


Cue lots of money raising shenanigans (including a crazy bi-plane stunt ride which sees Hay stranded on the aforementioned steeple) as well as romance between his daughter Pamela (Nancy Burne) and wealthy Mardon (Esmond Knight) who is also part owner of the horse.


The film was Hay’s third ‘talkie’ and one of several which would be directed by Hollywood’s William Beaudine who had a fearsome reputation for going with the first take, thereby reducing the film ratio and budget.


Whilst much of Hay’s later persona can be seen in the performance (William Porter; Captain Ben Cutlet etc) as a vicar he comes across as a likable and benevolent character, prone to accident and disaster but possessing a good heart. Even when looking quite strict or stern it is with a devilish twinkle in the eye.


There are also moments that seem to capture something of a melancholy side to the actor. Despite the buffoonery Hay was an intelligent man who spoke half a dozen languages and was a well-respected amateur astronomer too. 


He is ably supported by a theatrical cast (well, the whole thing is rather stagey) including a youthful Esmond Knight looking every bit the matinee idol.


Despite being made in 1935 (yep – 80 years ago more or less) it looks in remarkable shape here. Other than a few glitches and scratches through the titles, it’s a very fine print and the meticulous transfer from Network (via Studio Canal) makes the film look almost contemporary. Apparently re-compiled from elements held by the BFI, the team responsible should be warmly applauded.


All in all a fun film which, although unremarkable by most measures, will thrill Hay fans and gently amuse everyone else.