This is the start of Gracies film career,which is most memorable for the introduction of what would become her signature tune "Sally".Her co star is Ian Hunter who was to go to Hollywood and appear in featured roles.The film is written by that well known character actor Miles Malleson and Hitch's wife Alma Reville,with additional material by her then husband and manager Archie Pitt.The film was made at Ealing prior to its emergence under Michael Balcon.The script is based on a play but it has to be said that it is as poverty struck as the films settings.There ate only 3 sets for the whole of this 75 minute film.There are a couple of interesting exteriors of Trafalgar Square and Buckhingham Palace.This film must have been a hit because Gracie when on to make a number of films at Ealing during the 1930s.No doubt her popularity in the Music Halls and Theatre carried her through this uncertain start.
6 Reviews
Underrated
mdbrown-322 October 2007
Nicely crafted little drama set on the back streets of London's East End (?). Might look like a safe harmless comedy, but it boasts an authentic atmosphere, tight story and some great performances, especially from Fields and Desmond.
A couple of points to add to Mozjoukine's excellent summary (above). Firstly, the use of music hall song and routine. According to film scholar Stephen Shafer, this was a common feature of 1930s British films and is now hardly noticed or valued. But it is not hard to see why Fields became a global star with her singing and persona, very much grounded in music hall tradition. Second, Florrie's adoration of Hollywood stars in movie magazines is surely a comment on the pure escapism of this brand of cinema - to which 'Sally in Our Alley' presented a refreshing alternative.
A couple of points to add to Mozjoukine's excellent summary (above). Firstly, the use of music hall song and routine. According to film scholar Stephen Shafer, this was a common feature of 1930s British films and is now hardly noticed or valued. But it is not hard to see why Fields became a global star with her singing and persona, very much grounded in music hall tradition. Second, Florrie's adoration of Hollywood stars in movie magazines is surely a comment on the pure escapism of this brand of cinema - to which 'Sally in Our Alley' presented a refreshing alternative.
Our Gracie
bkoganbing31 August 2015
Sally In Our Alley has come down in history of the British cinema as the film that introduced Gracie Fields to the movie going public. In her own way Gracie Fields the perky lass from Lancashire was a symbol of that British stiff upper lip tradition in the hard times of The Great Depression.
Fields was a marvelously versatile entertainer equally adept at comedy material and more dramatic fare shows that versatility here as the woman pining for her lost love. The lost love is Ian Hunter who was wounded in the Great War and crippled and lets it get back to her that he's been killed. So for over a decade she pined for Hunter keeping up a perky front, but in the end decides to accept the marriage proposal of pub owner Ben Field. Then Hunter who is no longer paralyzed but walks with a limp and the aid of a cane reenters the picture.
It's a slight and somewhat silly story. But as a vehicle for Fields for a motion picture debut it's a perfect fit. Gracie sings her theme song Sally and then some other numbers that became identified with her, Fred Fannakapan, Lancashire Blues, and Fall In And Follow The Band. All were much requested numbers in her Music Hall act.
Sally In Our Alley introduced Gracie Fields to film and let it be an introduction to you for a marvelous performer.
Fields was a marvelously versatile entertainer equally adept at comedy material and more dramatic fare shows that versatility here as the woman pining for her lost love. The lost love is Ian Hunter who was wounded in the Great War and crippled and lets it get back to her that he's been killed. So for over a decade she pined for Hunter keeping up a perky front, but in the end decides to accept the marriage proposal of pub owner Ben Field. Then Hunter who is no longer paralyzed but walks with a limp and the aid of a cane reenters the picture.
It's a slight and somewhat silly story. But as a vehicle for Fields for a motion picture debut it's a perfect fit. Gracie sings her theme song Sally and then some other numbers that became identified with her, Fred Fannakapan, Lancashire Blues, and Fall In And Follow The Band. All were much requested numbers in her Music Hall act.
Sally In Our Alley introduced Gracie Fields to film and let it be an introduction to you for a marvelous performer.
Exceptional early English sound film.
Mozjoukine27 October 2005
I'd always assumed this was run of the mill vehicle for a popular broadcasting star of the day, though I'd heard Maurice Elvey speak about it and it's star with enthusiasm.
Seeing it decades after his death is a strange experience because it is startlingly good. Production values are so so. The make-up shows and Norman Arnold's decors are clearly constructions but it is the most plausible and involving depiction of working class life the sound film would produce in Britain for years and, of it's day, only the more elegant DANCE PRETTY LADY compares as an achievement.
They really do invent an involving character for Fields, left alone after WW1 but still able to take an interest in (later radio star) Florence Desmond, as a movie struck girl beaten and twisted by her hard life. The scene of Desmond, dared into smashing Gracie's few pitiful possessions, is startling in such a film and lets you know what you're watching is not production line entertainment.
This is followed by the two more set piece scenes - Gracie doing her "Fred Fanacapan" song for the Toffs, which contains a wealth of comment of British society, jammed into it's story and comedy functions, and the final theme song which she performs in character, as the personal story winds down in front of her.
Gracie Fields became such a star on the strength of SALLY IN HER ALLEY that Maurice Elvey could only afford her for one more film, the less imposing LOVE LIFE AND LAUGHTER. Neither would continue into further important film careers and Elvey's already substantial achievement was neglected by commentators, leaving him to die in poverty. This film is a reproach to them as it is a surprise for determined vintage film viewers.
Seeing it decades after his death is a strange experience because it is startlingly good. Production values are so so. The make-up shows and Norman Arnold's decors are clearly constructions but it is the most plausible and involving depiction of working class life the sound film would produce in Britain for years and, of it's day, only the more elegant DANCE PRETTY LADY compares as an achievement.
They really do invent an involving character for Fields, left alone after WW1 but still able to take an interest in (later radio star) Florence Desmond, as a movie struck girl beaten and twisted by her hard life. The scene of Desmond, dared into smashing Gracie's few pitiful possessions, is startling in such a film and lets you know what you're watching is not production line entertainment.
This is followed by the two more set piece scenes - Gracie doing her "Fred Fanacapan" song for the Toffs, which contains a wealth of comment of British society, jammed into it's story and comedy functions, and the final theme song which she performs in character, as the personal story winds down in front of her.
Gracie Fields became such a star on the strength of SALLY IN HER ALLEY that Maurice Elvey could only afford her for one more film, the less imposing LOVE LIFE AND LAUGHTER. Neither would continue into further important film careers and Elvey's already substantial achievement was neglected by commentators, leaving him to die in poverty. This film is a reproach to them as it is a surprise for determined vintage film viewers.
Eating the scenery - and then some!
JohnHowardReid13 October 2017
Warning: Spoilers
An Associated Radio Picture. (Available on a superb Optimum DVD). Not copyrighted or theatrically released in the U.S.A., but available to TV stations through Creative Cine-Tel. U.K. release through RKO Radio (it was the first British film that the newly formed Radio Pictures, Ltd distributed): August 1931. 77 minutes.
SYNOPSIS: A Lancashire lass, working in a coffee shop off London's Mile End Road, is courted by a soldier who is severely wounded in WW1. Via a mate, he sends her word he is dead ("She wouldn't want half a man!"). But later, almost fully restored to health, he returns.
NOTES: Film debut of Gracie Fields. One of the top ten attractions at British cinemas for 1931-32, the movie did not do anywhere near as well in the rest of the world, not even in Australia. It wasn't released at all in America.
COMMENT: In what is easily his worst performance in a generally bright career, Ian Hunter succeeds in making the hero a gormless, naive cretin instead of the self-sacrificing lover envisioned by the script. His attempts at a Cockney accent would be laughable were he not so hammy.
Mind you, the rest of the players are not much more astute at tailoring their stagey performances to suit the camera. Just about everybody theatrically over-acts and over-reacts. Even a normally reliable player like Gibb McLaughlin cannot restrain himself from chewing the scenery. As for Fred Groves, Ben Field, Ivor Barnard and Florence Desmond, all try hard to equal Mr. Hunter's asinine staginess, but can't quite make the grade — though Miss Desmond comes mighty close to theatricality before redeeming herself completely in a remarkably effective scene in which she is egged on to smash the heroine's few humble possessions.
Fortunately, Miss Fields herself seems almost completely unaffected by all the false jollity and artificial color surrounding her. The only player who can match her for naturalness is Helen Ferrers, who joins her briefly but amusingly for the refrain, "Fred Fanackapan". In addition to this comic number, Gracie also sings "Sally" (twice) and "Lancashire Blues". More songs and less story would have been welcome, but those we have are delightful (and well recorded too).
As in many early sound films, the producers often go out of their way to record street music and other naturalistic effects, which here include London street traffic, the band of the Coldstream Guards, cannon-fire, Punch-and-Judy, and the shouts of boisterous crowds. The novelty still works. We enjoyed them all.
OTHER VIEWS: It's rare to see such a beautiful print of such an old film to-day — especially an old British film. It's obvious that the original negative has been very carefully preserved — in fact there is not a single scratch on it — and the photography shines crisp and sharp and glossy and modern. The sound recording too is a marvel for its times — as clear as a flute without the slightest trace of surface noise and a surprisingly full range without the slightest hum in the upper registers. Given this, it's a pity Gracie doesn't sing a few more songs, though she does render the title tune twice, does a comic number ("Fred Fanackapan") and one or two others. But most of the film is taken up with very corny plotting and banal dialogue. The characters are no more than conventional stage cardboard cut-outs.
In fact, Sally in Our Alley is little more than a filmed stage play. Maurice Elvey's direction consists in the main of long static takes and is as fully illustrative of his lack of invention and sparkle as are his just as drearily routine more recent efforts (at least he displays a remarkable consistency throughout his incredibly long career!). Mr. Hunter is miscast and struggles gamely with a Cockney accent. Florence Desmond does a Greta Garbo impersonation but is otherwise wasted as a sniveling and rather unattractive urchin.
Miss Fields does what she can to spark up the proceedings and the support cast is competent if perhaps over-enthusiastic. A few location scenes in London have some nostalgic interest, but most of the film was lensed in the studio — the sets are realistic rather than visually attractive (and the same might be said for the costumes). Some students may find interest in the film's class attitude which is most definitely pro-worker. JHR writing as X.X.
SYNOPSIS: A Lancashire lass, working in a coffee shop off London's Mile End Road, is courted by a soldier who is severely wounded in WW1. Via a mate, he sends her word he is dead ("She wouldn't want half a man!"). But later, almost fully restored to health, he returns.
NOTES: Film debut of Gracie Fields. One of the top ten attractions at British cinemas for 1931-32, the movie did not do anywhere near as well in the rest of the world, not even in Australia. It wasn't released at all in America.
COMMENT: In what is easily his worst performance in a generally bright career, Ian Hunter succeeds in making the hero a gormless, naive cretin instead of the self-sacrificing lover envisioned by the script. His attempts at a Cockney accent would be laughable were he not so hammy.
Mind you, the rest of the players are not much more astute at tailoring their stagey performances to suit the camera. Just about everybody theatrically over-acts and over-reacts. Even a normally reliable player like Gibb McLaughlin cannot restrain himself from chewing the scenery. As for Fred Groves, Ben Field, Ivor Barnard and Florence Desmond, all try hard to equal Mr. Hunter's asinine staginess, but can't quite make the grade — though Miss Desmond comes mighty close to theatricality before redeeming herself completely in a remarkably effective scene in which she is egged on to smash the heroine's few humble possessions.
Fortunately, Miss Fields herself seems almost completely unaffected by all the false jollity and artificial color surrounding her. The only player who can match her for naturalness is Helen Ferrers, who joins her briefly but amusingly for the refrain, "Fred Fanackapan". In addition to this comic number, Gracie also sings "Sally" (twice) and "Lancashire Blues". More songs and less story would have been welcome, but those we have are delightful (and well recorded too).
As in many early sound films, the producers often go out of their way to record street music and other naturalistic effects, which here include London street traffic, the band of the Coldstream Guards, cannon-fire, Punch-and-Judy, and the shouts of boisterous crowds. The novelty still works. We enjoyed them all.
OTHER VIEWS: It's rare to see such a beautiful print of such an old film to-day — especially an old British film. It's obvious that the original negative has been very carefully preserved — in fact there is not a single scratch on it — and the photography shines crisp and sharp and glossy and modern. The sound recording too is a marvel for its times — as clear as a flute without the slightest trace of surface noise and a surprisingly full range without the slightest hum in the upper registers. Given this, it's a pity Gracie doesn't sing a few more songs, though she does render the title tune twice, does a comic number ("Fred Fanackapan") and one or two others. But most of the film is taken up with very corny plotting and banal dialogue. The characters are no more than conventional stage cardboard cut-outs.
In fact, Sally in Our Alley is little more than a filmed stage play. Maurice Elvey's direction consists in the main of long static takes and is as fully illustrative of his lack of invention and sparkle as are his just as drearily routine more recent efforts (at least he displays a remarkable consistency throughout his incredibly long career!). Mr. Hunter is miscast and struggles gamely with a Cockney accent. Florence Desmond does a Greta Garbo impersonation but is otherwise wasted as a sniveling and rather unattractive urchin.
Miss Fields does what she can to spark up the proceedings and the support cast is competent if perhaps over-enthusiastic. A few location scenes in London have some nostalgic interest, but most of the film was lensed in the studio — the sets are realistic rather than visually attractive (and the same might be said for the costumes). Some students may find interest in the film's class attitude which is most definitely pro-worker. JHR writing as X.X.
"What's the news down our alley?"
richardchatten2 November 2023
Due to the title song people these days are far more familiar with the title 'Sally in Our Alley' than with the film itself, which like most films of that era it has an open air prologue before thereafter transferring most of the action to a rather Dickensian street set.
Our Gracie - sporting a strange hairstyle with a kiss curl that makes her look like a gypsy - looks relatively young; Ian Hunter, however, even then looked a bit mature to have served in The Great War. (As befits a film made during the Great Depression it addresses the problem of women whose sweethearts come back disabled.)
The most surprising feature of the film is that the script was written by Miles Malleson and Alma Reville, while one arcane piece of information that it provides was that ninety years ago the uneducated were already calling glossy magazines 'books'.
Our Gracie - sporting a strange hairstyle with a kiss curl that makes her look like a gypsy - looks relatively young; Ian Hunter, however, even then looked a bit mature to have served in The Great War. (As befits a film made during the Great Depression it addresses the problem of women whose sweethearts come back disabled.)
The most surprising feature of the film is that the script was written by Miles Malleson and Alma Reville, while one arcane piece of information that it provides was that ninety years ago the uneducated were already calling glossy magazines 'books'.
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