With the rapid increase of car ownership in interwar Britain, it is no wonder that car production companies started to produce high-end advertisements to persuade the public that their cars were superior to all others. In 1934, Zoltan Korda, brother of Alexander Korda, produced a 15-minute advert for Daimler subsidiary company BSA cars. As with other adverts produced in this period, this film would have been shown in cinemas as part of a mixed programme.
Pa Puts His Foot Down starts with several high-angle establishing shots of Piccadilly Circus. There are few road markers and vehicles are seemingly randomly moving around the roundabout. By 1934, the majority of vehicles on the road are motorised: double-decker buses, private cars, taxis, and trucks. Closer shots of traffic, however, also reveal cyclists, bike couriers and the occasional horse-drawn cart. Pedestrians do their best to avoid traffic as they cross the road. These shots are clearly taken on location in Central London.
We are then introduced to Pa and his daughter Betty, who are standing on a pavement trying to cross. For the shots in which the characters are talking, they are clearly on a sound stage mocked up to look like a pavement with a series of shop-fronts. Betty tries to persuade her father several times to cross the road. Each time the shot of her stepping off the pavement in the studio is followed by a shot of a vehicle rushing close by, clearly shot on location. This gives the illusion that the actors really are in Piccadilly Circus.
Betty tells her dad he should ‘just cross over’, after which he starts grumbling about the dangers of modern traffic. It transpires that Pa used to drive a car in the past but now is too nervous to drive. Rather than owning up to his fear, he pretends that modern cars are too expensive, which of course gives his daughter the opportunity to tell him (and the audience) that ‘good cars are quite cheap nowadays’ and ‘the best people drive themselves nowadays’.
After this exposition dialogue which has placed the notion of cheap, reliable cars in the audience’s mind, Pa tries to cross the road himself. In quick succession we see Pa stepping off the pavement; a police officer directing traffic; a close-up of a car; the daughter shouting at Pa; the police officer looking alarmed; Pa’s hat on the asphalt; a female passer-by screaming; and Pa gathering his hat off the road. The final shots are overlaid with the sound of a car horn honking. Korda effectively conveys the illusion of a near-miss without having to stage a stunt or even have any of the actors get close to a moving vehicle. Although Pa Puts His Foot Down is a sound production, this sequence is heavily indebted to silent cinema conventions.
Once Pa is safely back on the pavement, a car pulls up and a young man jumps out, who immediately greets Betty in a very familiar way. She explains to Pa that they met ‘at a dance somewhere’ and that the man has a ‘good job in the motoring business’. The young man promptly offers to drive the pair to their destination – home in the country, 30 miles outside of London. Pa gets bundled in the back seat whilst Betty sits next to the driver.
Immediately after they set off, the young man starts explaining to the daughter that his Daimler BSA has gears but no clutch, because of the Daimler Fluid Flywheel. With a rather dreamy voice, the man starts talking about this innovation, at which point the image cuts away to a diagram demonstrating to the audience the inner workings of this novel gearbox. The Daimler BSA essentially was halfway between a car with a manual clutch and an automatic car. It still had gears, but rather than having to manipulate the clutch pedal and gear change at the same time, the driver could ‘pre-select’ the next gear and then press the clutch pedal at their leisure.
After a minute and a half of diagrammatic explanation, we cut back to the trio in the car where the daughter asks some more detailed questions about how the gearbox works in practice. After several more minutes of explanation, the man invites Betty to try it for herself. Although she previously stated quite confidently to her father that she drove cars, she now minimises her abilities by hastening to add she drives ‘very little’. Naturally, this is no impediment to her being able to drive the Daimler BSA with ease. When Pa wakes up and is alarmed to see that his daughter is driving, the man says it’s quite alright, as ‘this car would be safe in the hands of a child’. The fluid flywheel is so successful that even Pa is starting to get interested in its operation.
After a few more demonstrations of gear changes and brakes, the trio arrive at their destination. While the daughter invites the man in for a drink, Pa subjects the car to a closer inspection. Over a drink, Betty states she is determined to raise the money to get herself a Daimler BSA car. The man immediately ups the ante by suggesting they get engaged. Although Betty quite reasonably counters that they hardly know one another, she falls in with the plan quite readily. Clearly half an hour’s conversation about fluid flywheels has convinced her of the match.
When the couple try to find Pa to get his consent, they realise that he’s driven off with the car and is driving it round the common. When Pa returns he tells the man ‘I thought, if you go off with my daughter, I’ll go off with your car.’ He follows it with saying that he’d always heard the pre-selector gearbox described as an ‘effeminate thing’ but that this was ‘utter rubbish’. When Betty asks him if she may get engaged to the man, Pa jokes that he won’t ‘find her as easy to control as the car’ and then suggests a ‘bargain’: ‘You take the girl, I take the car’.
At this, the end of the advert, both car and woman are commodified and put on equal footing with one another. At the same time, the advert has taken great pains to portray the BSA car as both easy to handle for inexperienced / female drivers, and robust and ‘masculine’ enough for male or experienced drivers who wanted to show off their driving skill. The diagrammatic explanation of the flywheel may appeal to technically-minded viewers, whilst the subsequent practical demonstration demonstrates its benefits to a less specialised audience. Rather implausibly, extensive talk about car technology is also presented as the way to a woman’s heart.
Pa Puts His Foot Down can be viewed on the BFI Player (UK only)