User reviews

The Guv'nor finds George Arliss not playing in one of his heroic biographical films for which his reputation has come down to the present day. Instead he's playing a gentleman tramp over in Paris who happens to have the famous name of Francois Rothschild. Ironic because one of Arliss's most famous biographical roles was that of Nathan Rothschild in House Of Rothschild.

Poor Arliss, all he wants to do is go south for the winter. But he becomes part of a scheme by banker Frank Cellier to fleece Viola Keats and her mother Henrietta Watson out of their iron ore works because of his name. But Arliss proves way too smart for all of them.

I'm really glad I discovered this film on TCM today. It was an absolutely charming portrayal by Arliss, very much in the same vein as Maurice Chevalier in Ma' Pomme and Cary Grant in Father Goose. Let's just say that Arliss plays his famous name for all that it's worth and he proves more than a match for those who want to use him.

Do not miss this one if it is broadcast again.

I recognized George Arliss from "Disraeli" (He starred in both the silent 1921 version and the talkie 1929, with his wife Florence, no less. Won an Oscar for the 1929 role.) "The Guvnor" opens with Barsac the banker (Frank Cellier) discussing a scheme that might help him get out of a mess, and make some quick money at the same time. Send in Arliss as the hobo. (They were willing to work for food back then...) The hobo, whose last name just happens to be "Rothschilde", befriends Madelaine, a young lady about to lose her home. The hobo manages to be in the right place at the right time, and ends up in a position where he can try to help out Madelaine and her family. Frank Cellier was the Sheriff in Hitchcock's "39 Steps". Also take note of Paul, the rep from the bank, Patric Knowles. Knowles was a little fish in some huge films in the 1930s and 1940s. Directed by Milton Rosmer, who seems to have done things in reverse - he stopped writing and directing in 1938, and acted until 1956. Made by Gaumont Studios, its not just a "quota film" from the Cinematography Act; its actually quite good, and 80 minutes long in the Turner Classics version. Acc to IMDb, the original was 88 minutes... wonder what was so horrible that eight minutes had to be chopped off. The film production code was just being phased in here in the US, but the rest of the film seems quite tame and innocent. Tramps toying with the rich were all the rage in the US in the 1930s (Merrily we Live, My Man Godfrey), and this is right up there with the best of them.

There's a definite Frank Capra feel about this making it one of the most enjoyable, entertaining feel-good movies from the whole 1930s. Apart from 'eye candy' this film's got everything. It's beautifully directed with perfect pace, acted by people you like and believe in and has the ideal blend of humour, drama and tension.

When Frank Capra told his boss Harry Cohen that the star of his 1933 picture would be a 75 year old, Cohen thought he was mad. Quite rightly Cohen knew that a pensioner's pulling power would be next to nothing. I must admit that I'd agree - unless it was something special I'd always go for Joan Blondell rather than someone who looked like her grandmother but Capra's LADY FOR A DAY was something special and so was Milton Rosmer's THE GUV'NOR - something very special. George Arliss is absolutely phenomenal in this. This proves you don't need cool or sexy stars to make something you'll batter down the doors to see.

It's a Gaumont-British remake of a French film made a year earlier so some credit needs to go to our talented cousins over the water but there's still tonnes of praise which needs to go to Arliss and the team at G-B. This is one of those brilliant surprise finds - one of the best films I've seen in ages. It makes it even better when you're not expecting much. I never knew Arliss could be this good. Despite its hopeless direction and abysmal acting, he was so endearing in THE WORKING MAN made a few years earlier that he single handedly rescued that, making it something quite entertaining.

If you only ever watch one George Arliss picture, watch this one. After you've watched this you'll be so impressed that you'll want to see his other works but you'll always remember this one. It's just such a nice warm picture and it's nice without being cute, sentimental or corny. It's got both edge and heart. It will make you angry, it will make you happy. If you're addicted to 1930s films and have realised that they're not all as good as LITTLE CAESAR or IT HAPPENED ONE NIGHT, do yourself a favour and give this a go.

I recently saw this film on video and was pleasantly surprised. George Arliss was a real gem of the early cinema and this film continues to display his genius on screen. The film itself is the standard vehicle for Arliss, typically his character undermines some unscrupulous scheme whilst playing cupid to two young lovers. Even after several films this formula remained fresh due to Arliss' talent for reinventing characters. Its a great shame that more of his films aren't available, they have certainly endured more than many films half their age. The similarities with Trading Places are almost immediately obvious, the only difference is that this film is half a century older. A tramp (Arliss) is, through a series of plot twists, made a manager of a bank, in order to cover the unscrupulous dealings of two businessmen, who think him to be a simpleton. The businessmen find out to their cost as Arliss outsmarts and bankrupts them. The film also nicely parodies Arliss' early movie The House of Rothschild.

I just saw this movie n Netflix which for some reason has several 1930s British movies - and I am happily and slowly making my way through them. This movie is good but nowhere near as good as Arliss' very funny The Working Man (a movie I would much like to see again as it has been many years since I last saw it). The movie's title "The Guv'nor" sounds very British to me yet the story is set in France. I assume this was done solely for the purpose of using the name Rothchild for the hobo. The audience as well as Arliss and the producers must have chuckled over this play on one of Arliss' famous roles. Here we have a hobo mistaken for a member of the renown and wealthy Rothchild family who in an unlikely but fun scenario becomes a trustee of a bank. The banker, marvelously played by Frank Cellier is very devious and plans to use Arliss as a fall guy for his own corrupt dealings. Mister Hobo is not so naive as he may appear and shows the banker a thing or two. I bet Arliss had fun with this movie. And so will those who are lucky enough to see it.

This film is quite a change of pace for George Arliss. First, he made it in his home in the UK--not Hollywood. Second, he plays a scruffy hobo--the exact opposite of his usual businessman or member of the upper class. Sure, he's done comedy (such as in "The Working Man") but as a hobo?! However, what is constant is that Arliss manages to make it all seem very effortless and fun--something I have seen in all his marvelous performances.

"Mister Hobo" begins with Arliss and his friend traipsing around France. When they are picked up by the police for vagrancy, the authorities are shocked when Arliss gives his name--François Rothschild. People think he's associated with THE Rothschild family and suddenly doors begin to open. And, with his gentlemanly manners and grace, people suddenly treat him like a king. In fact, they want him and his good name--and bring him into big business. And, now that he looks successful, people keep giving him things! And when a dirt-bag financier begins cosing up to him, Arliss suspects something and he decides to investigate things for himself. I could say a lot more, but it would spoil the fun.

This is a delightful little comedy. Arliss was wonderful--graceful and quite funny. And in the end, everything came together quite nicely. Clever and cute.

Where are the French accents?

George Arliss was one of the most unlikely film stars ever.He became a star in his sixties as a result of his star turn as Disraeli.He was given the honour of being called "Mr".Though for some reason he was never given a knighthood,maybe because he spent so much time in film studios.This film was atypical of his roles in that he was not playing the leading player in a biopic.However as in most of his films he is helping to extricate people from problems that are not of their making.Here the obnoxious villain is played by Frank Cellier.By the time this film was made Arliss was almost at the end of his career which would end in 1937 with Doctor Syn.

George Arliss is a French tramp on his way south for the winter with his friend, Gene Gerrard. He has just mended a bowl for Viola Keats, and talked about life, for which she has given him lunch and five francs, when Gerrard and he are seized by the police. When he gives them his identity card, they cannot believe his name is Francois Rothschild, so they consult with that august bank, who find him a harmless loon, write him a check for two thousand francs, and send them on his way. Arliss just wants to be on his way, but Gerrard sees this as a chance to return to a normal life, so they deposit the check in Frank Cellier's bank. Cellier is one of those evil bankers, and he has a major swindle afoot. His company, though is basically bankrupt. If only he can persuade this scion of the Rothschilds to become president, he can delay the dread day until after his swindle is complete. Arliss refuses. Then he comes to realize that the swindle is against the nice Miss Keats and accepts, hoping he can do her a good turn.

Two years earlier, Arliss had starred in THE HOUSE OF ROTHSCHILD. Here he was at the same old stand, but in modern dress ... although the old clothes he wears in his tramp persona look worn enough that they might date from the Napoleonic wars. Nonetheless, it's a modern-dress comedy, and what makes it so very telling is the character that Arliss plays. It's like his character in all his modern-dress movies. He's amiable. He's in favor of young love. He likes honest dealings and like a drunk in a brawl, open, rancor-free fighting. He knows what he likes -- here, it's to go south, where it's warm, at least until the spring -- and if it doesn't comport well with other people's goals, well, that's all right. They may think him wrong, but he's old enough to know his own mind, and to know that he's right. And, in the end, he'll get his way. The young people will get married, the greedy will be broken, and he'll be on his way south. Because, after all, he has the screenwriters on his side.