Where There's A Will (1936 - B/W) - Will Hay farce starts promisingly, descends into running about.
Boys Will Be Boys (1935 - B/W) is mostly baffling patter with Gordon Harker, but nice to see Norma Varden, before her move west.
Radio Parade of 1935 (1935) - Will Hay plays it straight in a futuristic farce set at the NBC, a BBC manque. A dystopian comedy revue with Helen "Mina" Chandler and weird sequences in colour.
Windbag the Sailor (1936 - B/W) - Redone as Old Bones, some fun stunts, but turns slowly to proto-Spencer and Hill stereotyped jungle stuff.
Oh, Mr. Porter (1936 - B/W) - "Limerick, home of poetry". A bit of a slog. But there is good stuff in there. And it's about Norn Iron Railways.
Good Morning, Boys (1937- B/W) - Schoolboy routines padded out with music routines. Lilli Palmer!
Convict 99 (1938 - B/W) - Prison comedy, Moffat miscast as a guard, Googie Withers shoehorned in, while there is some nice proto-Porridge stuff, but it's not the best.
Hey, Hey USA (1938 - B/W)- Has a dubiouslycreated Chicago setting and Edgar Kennedy for US appeal. Appearing as a well-spoken young scamp is Roddy McDowall, before his move to the US (his trademark accent already in place). Not good.
Old Bones of the River (1938 - B/W) - Not one of Will Hay's best. Moore Marriott overdoes it. Typical jungle tedium.
Ask A Policeman (1939 - B/W) is better, as by now we have the trio of Hay, Moffatt and Marriott. There's lots of jokes against the BBC. The Headless Horseman effects are interesting.
The Ghost of St. Michael's (1941 - B/W) - Overage schoolboys including a convincing Charles Hawtrey plus John Laurie in Scotland
The Black Sheep of Whitehall (1941 - B/W) - Surprisingly enjoyable. John Mills is gormless. Hay's drag resembles an aunt, Big Lil.
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