The George Formby Film Collection [DVD] [2009]

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Smart, Sue; Bothway Howard, Richard (2011). It's Turned Out Nice Again!: The Authorized Biography of the Two George Formbys, Father and Son. Ely, Cambridgeshire: Melrose Books. ISBN 978-1-907732-59-1. Spare a Copper (1940)". British Film Institute. Archived from the original on 13 January 2009 . Retrieved 10 March 2014. Let George Do It (1949)". British Film Institute. Archived from the original on 13 January 2009 . Retrieved 10 March 2014. Formby's biographer, Jeffrey Richards, considers that the actor "had been able to embody simultaneously Lancashire, the working classes, the people, and the nation". [1] Formby was considered Britain's first properly home-grown screen comedian. He was an influence on future comedians—particularly Charlie Drake and Norman Wisdom—and, culturally, on entertainers such as the Beatles, who referred to him in their music. Since his death Formby has been the subject of five biographies, two television specials and two works of public sculpture.

Richards considers that Formby "had been able to embody simultaneously Lancashire, the working classes, the people, and the nation"; [1] Geoff King, in his examination of film comedy, also sees Formby as an icon, and writes that "[Gracie] Fields and Formby gained the status of national as well as regional figures, without sacrificing their distinctive regional personality traits". [205] While the national aspect was important for success outside the north, "the Lancashire accent remained to enhance his homely comic appeal". [206] The media historian Brian McFarlane writes that, on film, Formby portrayed "essentially gormless incompetents, aspiring to various kinds of professional success... and even more improbably to a middle-class girlfriend, usually in the clutches of some caddish type with a moustache. Invariably he scored on both counts". [52] Further information: George Formby on screen, stage, record and radio Formby in the early 1920s, when still playing John Willie Roach, Martin (2008). The Virgin Book of British Hit Singles. London: Virgin Books. ISBN 978-0-7535-1537-2.While on leave from the Irish Guards, Harry Parr-Davies was given just ten days to complete the music for the film before returning to service. [106] Leigh, Spencer (14 December 2007). "Unfit for Auntie's airwaves: The artists censored by the BBC". The Independent. London.

Sweet, Matthew (2006). Shepperton Babylon: The Lost Worlds of British Cinema. London: Faber & Faber. p.137. ISBN 978-0-571-21298-9. Waddington, Andrew. " 'George Formby' tram prepares for service". British Trams Online . Retrieved 25 June 2014. a b c Botting, Jo. "Boots! Boots! (1934)". Screenonline. British Film Institute . Retrieved 15 June 2014. McFarlane, Brian. "Formby, George (1904–1961)". Screenonline. British Film Institute . Retrieved 28 May 2014. Tranquada, Jim (2012). The Ukulele: a History. Honolulu, HI: University of Hawaii Press. ISBN 978-0-8248-3544-6.

Other bikes that were used include a 350cc Ariel that had been flown to the Isle of Man, partly dismantled, in a de Havilland Dragon Rapide. [5] Stunts [ edit ] A group of art students help a reserved odd-job man pursue his interest in painting nude portraits. An incompetent apprentice sound engineer passes off an established performer's song as his own and becomes an overnight star. The success of the pictures led Dean to offer Formby a seven-year contract with ATP, which resulted in the production of 11 films, [14] although Dean's fellow producer, Michael Balcon, considered Formby to be "an odd and not particularly loveable character". [46] The first film from the deal was released in 1935. No Limit features Formby as an entrant in the Isle of Man annual Tourist Trophy (TT) motorcycle race. Monty Banks directed, and Florence Desmond took the female lead. [47] [f] According to Richards, Dean did not try "to play down Formby's Lancashire character" for the film, and employed Walter Greenwood, the Salford-born author of the 1933 novel Love on the Dole, as the scriptwriter. [1] Filming was troubled, with Beryl being difficult to everyone present. The writer Matthew Sweet describes the set as "a battleground" because of her actions, and Banks unsuccessfully requested that Dean bar Beryl from the studio. [48] The Observer thought that parts of No Limit were "pretty dull stuff", but the race footage was "shot and cut to a maximum of excitement". Regarding the star of the film, the reviewer thought that "our Lancashire George is a grand lad; he can gag and clown, play the banjo and sing with authority... Still and all, he doesn't do too bad." [49] The film was so popular it was reissued in 1938, 1946 and 1957. [43]

George Formby, Sr., "Standing on the Corner of the Street"; his luxury item was his first ukulele. [69] [70]Formby and Desmond disliked each other, with Formby calling her a "snotty-nosed little minx"; she thought he was a "dreadful, slobbering little oaf". [40]

Mistakenly Formby's character lays himself open to a bribe by stating that he "wouldn't ride again for fifty quid", a bribe which Turner is happy to pay, and ensures such by taking the Shuttleworth Snap up to the Marine Drive where Formby's character rides it over a cliff. Turned Out Nice Again (1941)". British Film Institute. Archived from the original on 13 January 2009 . Retrieved 10 March 2014.A stable-hand forms a bond with a nervous horse and encourages the animal to become a success on the racecourse.