Alan (John Gregson), an antique car fanatic, and his less enthusiastic wife, Wendy (Dinah Sheridan), drive his 1904 Darracq, named Genevieve, in the annual London to Brighton road rally. Also taking the trip is their equally fanatical friend Ambrose (Kenneth More) and his new girlfriend (Kay Kendall). Each car has its share of troubles along the way, and after the club dinner, pride and jealousy cause the two men to challenge each other to a race back to London.
Genevieve has the feel of an Ealing comedy, although it isn’t one. It has the gentle, near-reality tone that was the studio’s trademark. And therein lies the problem. A subtle, character-driven comedy needs to derive its humor naturally from the characters, and from witty dialog. But in Genevieve, the jokes are built around backstabbing, tricks, and slapstick. It is the stuff of broad farce, but here it is too restrained to elicit laughs. Often, situations are set up, and then nearly ignored. Alan and Wendy are forced to stay at an old hotel with no hot water and an incredibly noisy bell that tolls each hour. But after Wendy complains about the water and the bell rings once, nothing more is made of it.
The relationships are best labeled “sweet,” but unrealistic for a movie that cares deeply about depicting regular people. The women have no understanding of how important the rally is to the men, and the men have no concern for the women of any kind. Why the girlfriend doesn’t run off after the first day is a mystery that’s never touched on. I suppose there’s a message in there somewhere about how men and women interact. Then again, maybe not.
One of the few Post-War British Comedies shot in color, it is too bright and garish. While the countryside looks pleasant, skin tones are off, and the high contrast makes the women’s makeup fitting for streetwalkers.
The acting and directing are strong, as I would expect. It is difficult to find a weak actor in the entire movement. The four leads all hold their own, with no one outshining the others. Joyce Grenfell (The Belles of St. Trinian’s) appears in an all-too-brief cameo. The film would have benefited by greatly enlarging her part at the expense of three or four of the apologies Alan and Wendy are always making to each other.
The harmonica dominated score was nominated for an Academy Award, but composer Larry Adler’s name wasn’t read and didn’t appear on American prints of the film. Adler had been blacklisted by the McCarthy witch hunts. Equally unsettling is the fact it took thirty years to reverse the situation and give him the credit he deserved.
Genevieve is a well made, sentimental film of no consequence. It tries for “nice” over “funny,” and is reasonably successful in attaining its goal. I would have gone for funny.
John Gregson also appeared in the Post-War British Comedies Whisky Galore! (1949), The Lavender Hill Mob (1951), The Titfield Thunderbolt (1953).