Courtneidge in a role partly written for by her husband Jack Hulbert often spelt disaster.However whilst she isn't good lets say she is less bad than at other times.The problem with Courtneidge is that she just does not know how to act for the camera.It is as if she is playing to the furthest member of an audience in a theatre.Her supposed highlight,having to take over in the troupe may have been funny then but it certainly isn't now.The musical numbers really are the highlight of what otherwise would be a highly unmemorable film.This really is a film that only fans of hers can enjoy.Otherwise be warned,this is an entertainment free zone.
6 Reviews
Catchy songs, but ripe acting and dull direction!
JohnHowardReid9 November 2017
Warning: Spoilers
Cicely Courtneidge (Jenny Marvello/Maisie Marvello), Dorothy Hyson (Judy Marvello), Anthony Bushell (Lieutenant Ronald Jamieson), Edward Everett Horton (Sebastian Marvello), Frank Cellier (Colonel Markham), Lesley Sarony (Wally Marvello), Herschel Henlere (Albert Marvello), Ivor McLaren (Harry Marvello), Olive Sloane (Sarah Marvello), Arty Ash (Doug), Resla (acrobatic dancer), O.B. Clarence (Tom), Betty Semsey, David Deveen, Glenn Ellyn, William Pardue, André Rolet.
Director: MAURICE ELVEY. Screenplay: Jack Hulbert, W.P. Lipscomb, J.O.C. Orton. Story: Douglas Furber. Photography: Percy Strong. Film editor: R.E. Dearing. Art director: Alex Vetchinsky. Costumes designed by Gordon Conway. Songs by Noel Gay (music) and Clifford Grey (lyrics). Music director: Louis Levy. Assistant director: Edward Baird. Unit production manager: T.L. Rich. Sound recording supervisor: George Gunn. Producer: Michael Balcon.
A Gainsborough Picture for Gaumont-British. Not copyrighted in the U.S.A. U.S release through Gaumont British: 29 May 1934. New York opening at the Westminster Cinema: 28 May 1934. U.K. release through Gaumont British Distributors: April 1933. Australian release: November 1933. 80 minutes.
U.S. release title: THE WOMAN IN COMMAND.
SYNOPSIS: A troupe of acrobats tries to prevent one of their number marrying an outsider.
PRINCIPAL MIRACLE: Cecil Courtneidge has a dual role as the old, retiring "queen" of the acrobats and as her daughter, the newly elected "queen". Special effects are achieved both by the use of a split screen and doubles photographed from behind.
COMMENT: With husband Jack Hulbert collaborating on the screenplay, "Soldiers of the King" emerges as a movie that was principally designed to showcase the talents of Cicely Courtneidge. Not that the other players don't get an occasional look-in, particularly the lovely Dorothy Hyson as the girl who loses her heart.
But it's Cicely's movie, whether hamming it up as the old lady or gaudily impersonating an officer and a gentleman as the younger of the two. A surprising slim Courtneidge even joins the acrobats for a comic turn.
Fortunately, Cicely's ripe acting and the twists of the familiar plot are outweighed by the catchy songs penned by the talented team of Gay and Grey. They make the movie worth seeing.
Production values also impress, but Elvey's direction otherwise comes over as dull and routine. His heart obviously wasn't in this one!
Director: MAURICE ELVEY. Screenplay: Jack Hulbert, W.P. Lipscomb, J.O.C. Orton. Story: Douglas Furber. Photography: Percy Strong. Film editor: R.E. Dearing. Art director: Alex Vetchinsky. Costumes designed by Gordon Conway. Songs by Noel Gay (music) and Clifford Grey (lyrics). Music director: Louis Levy. Assistant director: Edward Baird. Unit production manager: T.L. Rich. Sound recording supervisor: George Gunn. Producer: Michael Balcon.
A Gainsborough Picture for Gaumont-British. Not copyrighted in the U.S.A. U.S release through Gaumont British: 29 May 1934. New York opening at the Westminster Cinema: 28 May 1934. U.K. release through Gaumont British Distributors: April 1933. Australian release: November 1933. 80 minutes.
U.S. release title: THE WOMAN IN COMMAND.
SYNOPSIS: A troupe of acrobats tries to prevent one of their number marrying an outsider.
PRINCIPAL MIRACLE: Cecil Courtneidge has a dual role as the old, retiring "queen" of the acrobats and as her daughter, the newly elected "queen". Special effects are achieved both by the use of a split screen and doubles photographed from behind.
COMMENT: With husband Jack Hulbert collaborating on the screenplay, "Soldiers of the King" emerges as a movie that was principally designed to showcase the talents of Cicely Courtneidge. Not that the other players don't get an occasional look-in, particularly the lovely Dorothy Hyson as the girl who loses her heart.
But it's Cicely's movie, whether hamming it up as the old lady or gaudily impersonating an officer and a gentleman as the younger of the two. A surprising slim Courtneidge even joins the acrobats for a comic turn.
Fortunately, Cicely's ripe acting and the twists of the familiar plot are outweighed by the catchy songs penned by the talented team of Gay and Grey. They make the movie worth seeing.
Production values also impress, but Elvey's direction otherwise comes over as dull and routine. His heart obviously wasn't in this one!
Cicely Courtneidge Is Marvelous
drednm13 January 2011
Cicely Courtneidge was a major musical comedy star in England for decades. She starred in 30s films (sometimes with husband Jack Hulbert) and ranked as a major star. She seems forgotten now.
Most of her films are minor musical comedy efforts, often based on stage shows, and the films suffer for that. SOLDIERS OF THE KING, also known as THE WOMAN IN COMMAND, has a mish-mash of a plot, but that doesn't really matter.
Courtneidge stars here in a dual role, as the retiring Jennie Marvello, the "queen" of an odd stage troupe that marks its ancestry back to Nell Gwyn. Her successor is Courtneidge as Maisy Marvello. Maisy is pursued by stage manager Edward Everett Horton but is devoted to "the act." She had a failed love affair years before but is threatened "the act." When Maisy ascends to "queen," they bring in Judy (Dorothy Hyson), but she is soon pursued by a handsome officer (Anthony Bushell). It's then up to Maisy to confront her old flame to save Judy and "the act." The highlight is the adagio act when Maisy has to replace Judy at the last minute (the show must go on). Courtneidge is a delight as she is tossed and thrown around the stage. She also gets to sing a couple songs.
Courtneidge is probably best remembered now for he co-starring role in THE L-SHAPED ROOM.
Most of her films are minor musical comedy efforts, often based on stage shows, and the films suffer for that. SOLDIERS OF THE KING, also known as THE WOMAN IN COMMAND, has a mish-mash of a plot, but that doesn't really matter.
Courtneidge stars here in a dual role, as the retiring Jennie Marvello, the "queen" of an odd stage troupe that marks its ancestry back to Nell Gwyn. Her successor is Courtneidge as Maisy Marvello. Maisy is pursued by stage manager Edward Everett Horton but is devoted to "the act." She had a failed love affair years before but is threatened "the act." When Maisy ascends to "queen," they bring in Judy (Dorothy Hyson), but she is soon pursued by a handsome officer (Anthony Bushell). It's then up to Maisy to confront her old flame to save Judy and "the act." The highlight is the adagio act when Maisy has to replace Judy at the last minute (the show must go on). Courtneidge is a delight as she is tossed and thrown around the stage. She also gets to sing a couple songs.
Courtneidge is probably best remembered now for he co-starring role in THE L-SHAPED ROOM.
Major disappointment.
jemkat23 November 2003
I remember as a kid listening to, and enjoying, Cicely Courtneidge on record, and of the affection with which she was spoken by my parents and grandparents. One viewing of this film could destroy all that forever, if this was the first Cicely Courtneidge film I had seen. Fortunately it wasn't, although some of the others aren't all that much better. But this story of the Marvello family and its two "queens" (both played by Cicely Courtneidge)has to be the worst of the lot. It is woefully unfunny throughout, the plot is boring and predictable, and the musical numbers are eminently forgettable. Made at a time when the British film industry sought to attract audiences with American names, the name in this case is Edward Everett Horton.I hope he didn't make the trip to Britain just to make this film, because his talents are wasted.
Unmemorable musical
calvertfan5 April 2002
Totally forgettable movie here - the comedy is silly for the most part (a few good jokes, canceled out by the many bad ones), and while the music is at times quite lovely, it's unfortunately instantly forgettable. The plot could probably fill the back of a matchbox - don't watch unless you're rather bored ;)
Obey Cicely Courtneidge!
boblipton25 July 2017
When Cicely Courtneidge's mother (also played by Miss Courtneidge, albeit in heavy makeup) retires, Cicely succeeds herself as Queen of the Marvellos, a family of music-hall performers. However, when young Dorothy Hyson begins an affair with a young soldier, Miss Courtneidge is trapped between her responsibilities and memories of her own affair years ago with another young soldier.
This vehicle for Miss Courtneidge is a fine exercise in British musical comedy, mostly because the director is the canny Maurice Elvey. While other film makers in this era would shoot a number in medium close-up with a stationary camera and quick cuts, Elvey understood what was cinematic: medium long shots, a moving camera and a much slower editing pace to permit the performance to come through. It's particularly memorable in a sequence in which Miss Courtneidge is simultaneously rehearsing a sentimental number for Miss Hyson while barking commands at her troupe, and the burlesque adagio dance she performs later on. It wouldn't be until two years later that the Astaire-Rogers films in the US caught onto this method and they would become standard.
Elvey also takes advantage of the presence of Edward Everett Horton in the cast. Horton usually played comic types in support, treasured for his wonderful triple takes. Here, his role is given some depth.
While the stage antecedents of this movie are very much in evidence, it remains clearly a cinematic effort, with a couple of good songs (including Miss Courtneidge's hit, "There's Something About a Soldier") and worthwhile viewing.
This vehicle for Miss Courtneidge is a fine exercise in British musical comedy, mostly because the director is the canny Maurice Elvey. While other film makers in this era would shoot a number in medium close-up with a stationary camera and quick cuts, Elvey understood what was cinematic: medium long shots, a moving camera and a much slower editing pace to permit the performance to come through. It's particularly memorable in a sequence in which Miss Courtneidge is simultaneously rehearsing a sentimental number for Miss Hyson while barking commands at her troupe, and the burlesque adagio dance she performs later on. It wouldn't be until two years later that the Astaire-Rogers films in the US caught onto this method and they would become standard.
Elvey also takes advantage of the presence of Edward Everett Horton in the cast. Horton usually played comic types in support, treasured for his wonderful triple takes. Here, his role is given some depth.
While the stage antecedents of this movie are very much in evidence, it remains clearly a cinematic effort, with a couple of good songs (including Miss Courtneidge's hit, "There's Something About a Soldier") and worthwhile viewing.
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