| Follow a Star | |
|---|---|
Theatrical release poster
| |
| Directed by | Robert Asher |
| Written by |
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| Produced by | Hugh Stewart |
| Starring |
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| Cinematography | Jack Asher |
| Edited by | Roger Cherrill |
| Music by | Philip Green |
Production | |
| Distributed by | J. Arthur Rank Film Distributors |
Release dates |
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Running time | 102 minutes |
| Country | United Kingdom |
| Language | English |
Follow a Star is a 1959 British black and white comedy musical film directed by Robert Asher and starring Norman Wisdom.[1]
Norman Truscott works as a dry cleaner, but dreams of being a stage performer. To this end, he takes elocution and singing lessons with Miss Dobson, so far with little success. He is also in love with Judy, Miss Dobson's colleague, who teaches piano.
Norman goes to the theatre to see singing star Vernon Carew and causes chaos when he tries to join in the performance. But Carew realises that Norman's untrained voice is better that his own voice, which is fading rapidly, as is his popularity. On the pretext of offering Norman singing lessons, he secretly records Norman singing in the bath, and passes the recordings off as his own - miming to the recording on television. They are a success and Carew is a star again.
Miss Dobson realises what's happened and smuggles herself and Norman backstage during Carew's performance. She sees the record being played with Carew miming to it. She exposes him as a fake, again causing chaos onstage and backstage. Norman is persuaded to sing on stage and is acclaimed by the audience. But whilst they applaud him, he slips quietly away with Judy.
Norman Wisdom had a falling out with his regular director John Paddy Carstairs so was replaced on this by Bob Asher.[2]
The film was popular at the British box office.[3]
The Monthly Film Bulletin wrote: "The potential that Norman Wisdom once undoubtedly possessed is quite obscured by this film – with its silly, tawdry script and the inept direction of Robert Asher .... The comedian is permitted to indulge his taste for mawkish sentimentality and for 'shame-dream' situations which involve him in unfunny humiliations. Such comedy as there is is mostly muffed by the lack of any sense of comic timing in the direction and editing. The reassuring professionalism of Jerry Desmonde, Hattie Jacques and Richard Wattis, and beguiling glimpses of Ron Moody and Fenella Fielding, are not compensation enough for the rest."[4]
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