The School for Scandal is a lost 1930 British historical comedy film directed by Thorold Dickinson and Maurice Elvey and starring Basil Gill, Madeleine Carroll and Ian Fleming. It was written by Jean Jay. It is the first sound film adaptation of Richard Brinsley Sheridan's play The School for Scandal. It is also the only feature-length film shot using the unsuccessful Raycol colour process, and marked the screen debut of Sally Gray. The film was shot at the Elstree Studios of British International Pictures with sets designed by the art director Lawrence P. Williams. It was released as a second feature and is classified as a quota quickie.
Contents
Preservation status
The British Film Institute National Archive holds a collection of stills but no film or video materials, and has placed it on the BFI 75 Most Wanted list of lost films.
Cast
Basil Gill as Sir Peter Teazle
Madeleine Carroll as Lady Teazle
Ian Fleming as Joseph Surface
Henry Charles Hewitt as Charles Surface
Edgar K. Bruce as Sir Oliver Surface
Hayden Coffin as Sir Harry Bumper
Hector Abbas as Moses
Dodo Watts as Maria
Anne Grey as Lady Sneerwell
John Charlton as Benjamin Backbite
Stanley Lathbury as Crabtree
Henry Vibart as Squire Hunter
May Agate as Mrs Candour
Maurice Braddell as Careless
Gibb McLaughlin as William
Wallace Bosco as Rawley
Sally Gray in a bit part
Rex Harrison in a bit part
Anna Neagle in a bit part
Reception
Kine Weekly wrote: "A creditable screen version of Sheridan's comedy of manners which, though it may depart from its original in some respects, retains a lot of the wit and presents a delightful picture of the period. It is essentially a film for high-class halls. ... The atmosphere is good, and if the director has rather cramped his scenes, it must be borne in mind that dialogue is the main attraction in a comedy of manners, and this is a photographic reproduction of it rather than, a pictorially developed play."
The Daily Film Renter wrote: "Should prove fairly acceptable booking in good class halls, and may even find appreciation in some popular houses. Its 18th century atmosphere will appeal particularly to those who do not demand jazz with every picture, and at the same time fans should find dialogue and comedy comprehensible enough. That The School for Scandal makes quite a passable picture is a tribute rather to the genius of Arthur Brinsley Sheridan than to the directorial skill of Maurice Elvey. The latter, however, though a deal of the comedy has escaped in the process, has made quite a fair job of work of its translation rom stage to screen, and acted by an efficient stage cast, it retains much of the savour of the boards."