Hellen I like the storyline of this show,it attract me so much

Beanbioca As Good As It Gets

Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

JohnHowardReid Producers: H.G. Inglis and J. Lee-Thompson. An Associated British picture, made at the Associated British Elstree Studios, England. Copyright 1956 by Associated British Pictures Corp. No trace of any U.S. release. U.K. release through Associated British-Pathé: 22 April 1957. Australian release through Warner Bros Pictures: 20 November 1958. 9,413 feet. 104 minutes.SYNOPSIS: Susie Dean is a young, talented singer and dancer, who is determined to become a great star, but the touring company in which she works, "The Dinky Doos", far from setting the world alight, is on the point of closing down. Then three strangers enter Susie's life and convince her to try again. The new company, christened "The Good Companions", sets to work to put together a new show.COMMENT: As the 1933 "Good Companions" is one of my favorite films, I know that my readers will not expect me to like, let alone endorse this version. The story line is exactly the same — omitting of course many of the brightest touches and embellishments, whilst at the same time substituting the original's lively songs by parades of musical rubbish so unmemorable that even the film's producers made absolute no attempts to market them with disc jockeys.As for the players in this tedious "revival", let me quote the Monthly Film Bulletin: "Janette Scott, though conceivably a Dinky Doo, hardly convinces as a potential West End star." Hardly is exactly right! Aside from the principals, I will admit that some of the support artists do turn in some engaging portrayals: Bobby Howes, Rachel Roberts, Mona Washbourne, Thora Hird, Anthony Newley. But are they worth sitting through the rest of "The Good Companions"?

malcolmgsw If you have seen the original 1933 version of the Good Companions then you will understand why I say that this is a vastly inferior remake.True it is in colour,but if anything it detracts rather than adds to the film.In any event by the time this film was$ made concert parties had virtually died out.The two leads are very poor.Jeanette Scott cannot sing or dance which makes her appearance rather pointless.John Fraser is an inadequate leading man.The film differs from the original in a number of ways,all to its own disadvantage.There is the tacked on show at the end which is truly dreadful and represents all that is worst in fifties British musicals.So not surprising that in the final credits it is the dancers who take the top credits.Definitely not one of Associated British Pictures better efforts

writers_reign In some aspects The Good Companions formed the basis of J.B. Priestly's pension pot given the number of outings it has enjoyed on the large and small screen since the first adaption in 1933. For me the drawing card for this, 1957, version was Celia Johnson as Miss Trant, the spinster who saves the Concert Party dying on its feet in their initial encounter and turns it around. On paper this story is the personification of simplistic as Priestly contrives to have three disparate people, a down-to-earth Yorkshire factory worker with a nagging wife, just rendered jobless even as an upper-class schoolteacher finds himself in the same boat, and the aforesaid spinster who realises simultaneously that life is for living, come together and collide with the Concert Party whose manager has just eloped with the takings and left them stranded. A plot as flimsy as this requires deft performances and here Eric Portman as the bluff Yorkshireman and Celia Johnson as the Home Counties lady of leisure are a delight. Janette Scott as the ingenue Susie Dean shares the screen if no actual scenes with real-life mother Thora Hird, as the nagging wife and Paddy Roberts, very much in vogue at the time, performing his own lyrics, provides a half-decent score. Worth a look.

ROGER P MELLOR This musical film remake of THE GOOD COMPANIONS (Dir:J Lee Thompson, for Associated British in 1957) features several tuneful songs by Paddy Roberts(m/l), C. Alberto Rossi(m/l) and Geoffrey Parsons(l). Miss Trant (played by Celia Johnson),and her encounter with the struggling concert party, the 'Dinky Doos', and the world of the touring theatre as depicted by J.B. Priestley was well known to English audiences since the thirties. As the setting of the story is updated from 1929 (when touring shows were highly popular) to the 1950's, when they were in decline, the musical style is also updated, and the songs are all catchy in the style of variety c1956. Indeed, the film is priceless as a 1950's British film musical which owes nothing to operetta or rock and roll - in its recording and celebration of fifties variety it is unique. It also remains faithful to the essential spirit of Priestley's novel in its celebration of show business and the theatrical life, and in particular, the metaphor of the touring theatre as an escape for the middle aged male from a society that is domesticated, drab and puritanical, epitomised in those dour apron wearing wives (played by Thora Hird and Beatrice Varley in the film) who appear at the stage door and attempt to drag their 'erring' husbands away from the chorus girls, and back to 'reality'. There is also the sense of community amongst the performers, and of communal travel by steam hauled trains through the length of Great Britain. Eighteen year old Janette Scott, a potent symbol of a lost age of 1950's innocent screen romance, does not receive top billing, but clearly emerges as the star of THE GOOD COMPANIONS. She displays great spirit and loads of charm, especially in the 'Today will be a Lovely Day' number, and her enthusiasm is quite infectious in the skilfully staged finale. I would also single out for praise Eric Portman, who is perfect in the role of Jess Oakroyd, and brings richness and depth to the role. There is a wonderful moment at the end of TGC, when after Susie Dean's triumph, he nods leans forward and glances towards Miss Trant, who is sitting in the same row of the theatre stalls, and almost telepathically communicates with her to share Susie's moment of triumph. THE GOOD COMPANIONS is strong in character acting in a very English tradition (even a theatre manager has an individuality about him, even though he appears only briefly with one line of dialogue), and just look at the cast list of supporting actors!: Joyce Grenfell, Anthony Newley, John LeMesurier, Rachel Roberts, Thora Hird, Alec McCowen, Hugh Griffith, Shirley Anne Field, Bobby Howes, Melvyn Hayes, the list goes on and on - what a cast! It is also to the credit of the direction and writing, that with so many characters they are so clearly defined and that the narrative remains focused. It is these qualities, together with the film's excellent production values (in its restoration, the film is one of the most visually elegant British films of its decade-the lighting of interiors is exceptional,rooms and decor are beautifully depicted-Jess Oakroyd's living room, public houses, theatre interiors, and a private dining room at the back of a seedy café which takes on a warmth all of its own because of the theatricals seated round the table). These qualities, together with the good natured charm of the young leads, make THE GOOD COMPANIONS excellent entertainment. A rarely seen, high spirited British showbiz musical,'The Good Companions' of 1957 is a 'must see' for 1950's nostalgia buffs.