|Folly to Be Wise|
|Directed by||Frank Launder|
|Produced by||Sidney Gilliat|
|Written by||James Bridie (play)
|Music by||Temple Abady|
|Edited by||Thelma Connell|
|Distributed by||British Lion Film Corporation|
|19 January 1953|
Folly to Be Wise is a 1953 British comedy film directed by Frank Launder and starring Alastair Sim, Elizabeth Allan, Roland Culver, Colin Gordon, Martita Hunt and Edward Chapman. It is based on the play It Depends What You Mean by James Bridie. The film follows the efforts of a British Army chaplain attempting to recruit entertainment acts to perform for the troops and the complications that ensue when he does. The title is taken from the line by Thomas Gray "where ignorance is bliss, 'tis folly to be wise".
Having recently taken over the role of entertainments officer at an army camp, the army chaplain Captain William Paris (Sim) is disheartened so few of the troops turn out for an evening of classical music. He visits a local pub and finds the place packed with soldiers, including his own driver. He then resolves to try and secure something more entertaining for the troops and decides to copy the idea of a brains trust, as in a popular BBC radio programme, where panellists answer questions from the audience.
With the help of Lady Dodds, Paris manages to gather together a group of local notables, who all swiftly prove to be mildly eccentric. The group includes the opinionated Professor Mutch, who is a popular radio personality on BBC radio, and his friend the oil painter George Prout and his wife Angela. Upon arriving at their house, Paris interrupts Mutch and Mrs Prout who are about to embrace. Then meeting Mr Prout, he soon finds him a cold man who verbally abuses his wife. The 'brains trust' panel is rounded out by the hard-of-hearing Doctor McAdam and the chippy local Labour MP Joseph Byres.
With the help of his secretary, Private Jessie Killigrew, the chaplain manages to organise the event. The hall is relatively well filled. Trying to avoid anything controversial, Paris forbids any discussion of politics or religion and begins with some innocuous questions about cows chasing after trains and if the Moon is inhabited. Things soon become heated when the MP takes offence at comments directed at him and threatens to start a fight. Having only just averted this, a question about marriage from Killigrew reveals the fragility of the Prouts' marriage. Fearing any controversy, Paris quickly announces that it is time for the interval.
As word spreads around the camp of the goings-on, the second half begins with the room completely packed. Paris tries to steer the debate back to harmless questions about bluebottles, but Killigrew interrupts and demands an answer to her earlier question about marriage. As the Prouts begin arguing once again, Mrs Prout admits that the Professor is her "lover". At this, the whole event threatens to descend into anarchy despite Paris' attempts to maintain order. Desperate to restore a sense of propriety, he draws the proceedings to a close, and announces that next week they will return to classical music with a string quartet. A soldier stands up and thanks the chaplain for providing such entertainment and asking if the 'brains trust' can be made a regular feature, to rapturous applause.
Worried about Mr Prout, who has disappeared and has been drinking heavily, the others follow him back to his house, where they mistakenly come to believe that he is going to throw himself over the cliffs, whereas he is merely planning a bit of quiet painting. Meanwhile, the Professor has revealed himself to be an inherently selfish man, while Mr Prout is suddenly far more reasonable. He and Mrs Prout soon resolve their differences, and he tries to be a little more considerate to her.
The film ends with the string quartet playing once more and Paris sitting in an almost empty theatre.
The film was shot at Shepperton Studios and made by the British Lion Film Corporation. James Bridie wrote the screenplay, adapting it from his own play. Alastair Sim had previously produced the play in a 1944 run at the Westminster Theatre and was a driving force behind bringing it to the screen. Launder was encouraged to make the film by Alexander Korda.
A contemporary New York Times review described the film as a "cheerful British import". While noting that the film did not "succeed in building into towering proportions the fragile theme of what makes a marriage tick" the cast had made it "all worth while". The review praised the performance by Alastair Sim in particular.