This is a rather strange film.It is set in the record industry.It charts the rivalry and feud between 3 families.Sam Livesy and Donald Wolfit,who else,steal the record manufacture business and patents from Clifford Evans father and Elliott Markeham.All the time this is happening the plot is being interrupted by as mixed as band of performers as you will ever see.There is Charles Penrose singing his immortal "The Laughing Policeman",then a song from George Robey,poetry from Cedric Hardwicke,Sir Henry Wood conducting "Pomp And Circumstance".Some of the technical developments in the industry are shown.However by far the most curious is saved for last .Makehams latest device,a video disc no less, is used to catch the dying confession of Wolfit that he and Livesey were in cahoots in the attempted arson.Baird had in fact recorded vision on disc.Approptiate since Adele Dixon stars and she was of course very prominent in pre war TV broadcasts from Alexandra Palace.The story is rather commonplace but it is worth viewing for all the cameo appearances.
4 Reviews
The Birth of an Industry
boblipton27 February 2017
Sam Livesy cheats all his partners to become a major power in the nascent gramophone industry. Twenty or so years later, he drives innovative Clifford Evans into the arms of his competitor, Elliot Makeham. When Donald Wolfitt offers to blow up their new recording plant in return for a partnership and the hand of Livesy's daughter, Sally Grey, the audience gets to watch the fuse spark to the tune of "Ride of the Valkyries".
The real pleasure of this ATP release -- the studio would later evolve into Ealing -- is a succession of acts, presented as recordings or recording sessions: Nellie Melba on the gramophone, Charles Penrose singing "The Laughing Policeman, Cedric Hardwicke in an extract of THE MERCHANT OF VENICE, and George Robey, the Prime Minister of Mirth, doing one of his patter songs. They offer some bright, nostalgic moments during this tale of industrial sabotage that make this film worth watching.
The real pleasure of this ATP release -- the studio would later evolve into Ealing -- is a succession of acts, presented as recordings or recording sessions: Nellie Melba on the gramophone, Charles Penrose singing "The Laughing Policeman, Cedric Hardwicke in an extract of THE MERCHANT OF VENICE, and George Robey, the Prime Minister of Mirth, doing one of his patter songs. They offer some bright, nostalgic moments during this tale of industrial sabotage that make this film worth watching.
Sometimes it's off key. Sometimes it's sublime
mark.waltz21 June 2022
Warning: Spoilers
This will strike most viewers as very dated and frequently shrill and annoying with the acts a mixed bag, and some, if performed live today, would have the audience running out to grab the ripest of tomatoes they could find to pelt the performers with. For me, a lot of it was fascinating only because I trained myself to tolerate the most antique of entertainment styles, and watch them in private because my closest of friends wouldn't get it. If you might chuckle along with "The Laughing Policeman" and sing falsetto along with "The Hallelujah Chorus", but a lot of the female chirping in solos being recorded might has them covering their ears. Even though with the highest of music appreciation would find it tough going.
But that being said, this is a historically important film because while probably not based on any fact, it does give an indication of what went on behind the scenes in a recording studio and how the businesses may have been run. This deals with a partner who years before cheated others, and it comes back to haunt him years later. Outside of Sir Cedric Hardwicke whom viewers will recognize from "The Ten Commandments", here in a cameo role, the only actor whose name was familiar to me for more than one or two films was the heroine, Sally Gray. Only the most discriminating of audiences will be interested in this, or those interested in the history of recorded sound and music. I wouldn't give this a standing ovation, but I was able to avoid walking out on it.
But that being said, this is a historically important film because while probably not based on any fact, it does give an indication of what went on behind the scenes in a recording studio and how the businesses may have been run. This deals with a partner who years before cheated others, and it comes back to haunt him years later. Outside of Sir Cedric Hardwicke whom viewers will recognize from "The Ten Commandments", here in a cameo role, the only actor whose name was familiar to me for more than one or two films was the heroine, Sally Gray. Only the most discriminating of audiences will be interested in this, or those interested in the history of recorded sound and music. I wouldn't give this a standing ovation, but I was able to avoid walking out on it.
Fascinating historical record
brian-joplin27 March 2014
By a curious coincidence, two of the only three major films based on the British recording industry were made at Ealing within a year of each other. One was the nowadays rarely seen George Formby vehicle 'Feather your Nest', the other the subject of this review, 'Calling the Tune'. As you might expect, the Formby movie uses gramophone recording as the basis for broad though effective comedy whilst 'Calling the Tune' could not be more different. Here the approach is that of melodrama, the story outlining the rivalry between two recording firms around the time of the onset of electrical recording in the late 1920s. The narrative is well-paced and plausible, and acted with some verve not only by stalwarts of the profession such as Lewis Casson (one of his best screen appearances) but also by newcomers such as Clifford Evans, later to achieve huge box-office success in 'While I Live', or Donald Wolfit, best seen in 'Room at the Top' and the inspiration for Albert Finney's hugely entertaining Sir in 'The Dresser' But the main claim of 'Calling the Tune' to posterity's interest is the line-up of notables who attend the recording studio to cut discs. For aficionados of classical music, the sight of Sir Henry Wood conducting his Queen's Hall orchestra is a genuine delight. For lovers of music hall, there's George Robey performing one of his patter routines. And, perhaps weirdly, Sir Cedric Hardwicke steps forward to declaim some Shakespeare in very much the oratorical style he employs in 'Things to Come' shot at Denham in the same year. As an historical record this movie is absolutely fascinating, but as entertainment it works pretty well too, especially at its exciting climax.
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