In a famous essay he wrote about Charles Dickens, George Orwell points out that many readers always regretted that Dickens never continued writing like he did in PICKWICK PAPERS: that is, he did not stick to writing funny episodic novels for the rest of his career. This would not have been too difficult for Dickens. His contemporary Robert Surtees did precisely that, only concentrating on the misadventures of the fox hunting set (MR. FANCY ROMFORD'S HOUNDS is a title of one of his novels). Among hunters and horse lovers Surtees still has a following but most people find his novels unreadable. Dickens was determined to show he was more than a funny man (and don't forget, his first book, SKETCHES BY BOZ, was also a funny book). So Dickens third book is OLIVER TWIST (which got pretty grim at points). Orwell says that for any author to grow they have to change the style of their books. Dickens would definitely (and successfully) have agreed to that.

But Orwell overlooked the genre writer who transcends his fellows. Surtees, as I said, is a genre writer concentrating on hunting - but not everyone is interested in hunting. But P.G.Wodehouse saw himself as an entertainer, poking fun at the upper reaches of the British social system. His Earl of Emsworth is prouder of raising the finest pig in England than being...well Earl of Emsworth! His Psmith is always prepared to counterattack when he is supposed to be submissive to an unfair superior. His Stanley Uckridge will always have a "perfect" scheme that should net a huge profit (but always manages to come apart at the end). And best of all, his Jeeves will always put his brilliant brain to work rescuing the inept Bertie Wooster, his boss. Since Wodehouse had a limited view of his mission as a writer - he was there to do cartoon figures of fun for the entertainment of the world - his books never lost their glow. They served (and still serve) their purposes. In fact, compare Wodehouse with his far more serious contemporary Evelyn Waugh (who also wrote funny books but of a more intellectual type). The best of Waugh remains among the high points of 20th Century British literature: BRIDESHEAD REVISITED, DECLINE AND FALL, and the rest. But in his determination to make his points, if his points failed to interest the reader the book frequently collapsed. For every VILE BODIES there was some failure late in his career like THE ORDEAL OF GILBERT PINFOLD. While Wodehouse could do lesser hack work too, his falling did not go as far as Waugh's did.

Wodehouse also was a gifted lyricist (when you hear "Bill" in the score of SHOWBOAT, it is not Kern and Hammerstein's tune, but Kern and Wodehouse's tune transposed from "Oh Lady, Lady" a dozen years earlier). He was a handy dramatist too. So it is pleasing to see that he took his novel A DAMSEL IN DISTRESS and turned it into the screenplay here.

It has the normal Wodehouse touches. That perfect butler Keggs (Reginald Gardiner in a wonderful performance) is a scoundrel in rigging a "friendly" gambling game of chance among the staff of the stately home he heads. He is also unable to refrain, occasionally, from singing Italian opera - despite Constance Collier's attempts to control his impulse. This is typical Wodehouse characterization. So is the way the love affair between Lady Alyce and Jerry keeps going well and going down due to the antics of Keggs and young Albert, both of whom want to win that game of chance pot of cash. Wodehouse always does that type of plot switch, with antagonists switching their point of view depending on their present state of interest.

Wodehouse was also lucky here to have Burns and Allan to work with. It is generally considered that of all the films they made as supporting actors together (such as SIX OF A KIND and WE'RE NOT DRESSING) George and Gracie did their best support with Fred Astaire. The Fun House sequence, which includes the song "Stiff Upper Lip", is wonderful, as is an earlier sequence where the three do a "whisk broom" dance (that Astaire learned from Burns). But Gracie's marvelous illogical logic is used by Wodehouse in scenes with Gardiner (see how she manages to confuse him into giving her more money than her change deserves to be - only Albert happens to notice Keggs/Gardiner's mistake, and looks at Gardiner as though he's either stupid or mad). Her dialog with Lady Caroline (Collier)'s son Reggie (Ray Noble, the British band leader)leading him to imagine that he will marry her, but saying goodbye to Gracie as she drives off with George to get married is wonderful too.

The film supposedly failed at the box office because of the lack of Ginger Rogers in it, and the weakness of Joan Fontaine. Fontaine is not doing a remarkable job in the role, but the flaw is really Wodehouse's - he didn't make the character very interesting. But the film can stand without that, given the other performers and their characters, Gershwin's music, and Wodehouse's marvelous sense of fun.

I read that Jessie Matthews was approached and turned down co-starring with Fred Astaire in Damsel in Distress. Jessie Matthews in her prime never left her side of the pond to do any American musical films. IF they had teamed for this film it would have been a once in a lifetime event.

It's a pity because Damsel in Distress has everything else going for it. Fred Astaire, story and adapted to screen by author P.G. Wodehouse, Burns&Allen for comedy, and songs by the Gershwin Brothers. In answer to the question posed by the Nice Work If You Can Get It, there isn't much you could ask more for this film.

Except a leading lady. Though Ginger Rogers made several films away from Fred Astaire, Damsel in Distress is the only film Astaire made without Rogers while they were a team. Young Joan Fontaine was cast in this opposite Astaire.

Her character has none of the bite that Ginger Rogers's parts do in these films. All she basically has to do is act sweet and demure. She also doesn't contribute anything musically. And if I had to rate all the dancing partners of Fred Astaire, Joan Fontaine would come out at the bottom. The poor woman is just horrible in the Things Are Looking Up number.

When she co-starred later on in a musical with Bing Crosby, The Emperor Waltz, it's no accident that Fontaine is given nothing musical to do.

The version I have is a colorized one and in this case I think it actually did some good. The idyllic lush green English countryside of P.G. Wodehouse is really brought out in this VHS copy. Especially in that number I mentioned before with Astaire and Fontaine which does take place in the garden.

Burns&Allen on the other hand as a couple of old vaudeville troopers complement Astaire in grand style in the Stiff Upper Lip number. The surreal fun-house sequence is marvelously staged.

P.G. Wodehouse's aristocracy runs the gamut with Constance Collier at her haughty best and for once Montagu Love as Fontaine's father as a nice man on film.

The biggest hit out of A Damsel in Distress is A Foggy Day maybe the best known song about the British capital city since London Bridge Is Falling Down. Done in the best simple elegant manner by Fred Astaire, it's one of those songs that will endure as long as London endures and even after.

Overlooking the young and inexperienced Joan Fontaine, A Damsel in Distress rates as a classic, classic score, classic dancing, classic comedy. Who could ask for anything more?

Damsel in Distress had a lot going for it, and while not all my high expectations were met, most were. Not everything works here, but the good things are a great many and come off pretty splendidly.

There's actually not an awful lot wrong here. The story does get rather silly and contrived, with romances where while sweet it is not hard at all figuring out the outcome, and is occasionally more of a slow-mover more than a smooth-mover (a vast majority of the time it is the latter though). Harry Watson did to me come across like he was trying too hard and eager to please, and it irritated rather than amused. Am in agreement however that Joan Fontaine was the biggest flaw, have nothing against her overall as an actress and while there are signs of an aristocratic presence which suited the role just fine her acting inexperience here does show, her comic timing is flat (barely keeping up with the energy of the rest of the cast),her chemistry with Astaire is at times stilted and she is very ill at ease as a dancer, her work in Things are Looking Up is basically a walk-through.

Fred Astaire however absolutely sparkles, who cannot love the grace and poise of his dancing or his charming, suave screen presence? He shines particularly in Stiff Upper Lip, his unconventional but quite clever routine with the drums and especially A Foggy Day. George Burns and Gracie Allen are hilarious in their comic relief supporting roles and their dancing comes off remarkably well, more than holding their own against Astaire in Stiff Upper Lip in a way where two different styles gel surprisingly effectively. In other supporting roles, Reginald Gardiner is brilliantly funny with a conniving character that could easily have been over-played, and the conniving side of the character is more than convincing, and Montagu Love is equally great value.

George Stevens directs with grace and care throughout, the comedy elements are appropriately light and he doesn't lay it too thick or sentimental for the drama and romantic elements. Damsel in Distress looks lovely, with elegant production values and crisp, beautiful photography. The photography actually dazzles in Stiff Upper Lip, and is more than an ideal match for the cleverness of the choreography. The script is witty and light-hearted, enough to induce a number of laughs easily, and it's sweet and heart-warming as well.

Other than Astaire, George Gershwin's songs and Hermes Pan's Oscar-winning choreography are what stand out. The songs are typically fine, as can be expected from Gershwin, One Foggy Day and Nice Work If You Can Get It are classic standards for good reason. The choreography is every bit as superb, Astaire's scene with the drums will delight and surprise fans but the highlight is indeed Stiff Upper Lip, set in a funhouse, it is so much fun and is the most imaginative and colourful the choreography gets.

All in all, while Fontaine is disappointing, Astaire, the songs and the choreography are winning on every level. While not a must-watch, it is still highly recommended but the many good things are so impressive. 7/10 Bethany Cox