Tag: Fascism

Trouble Brewing (1939)

Featured<strong><em>Trouble Brewing</em> (1939)</strong>

Lancashire singer and comedian George Formby was an extremely popular entertainer during the interwar period. He had an instantly recognisable brand: catch-phrases such as ‘Turned out nice again!’; songs full of gentle innuendo and always accompanying himself with his banjolele (a cross between a ukulele and a banjo).

Supported by his wife Beryl as his manager, Formby made a series of comedy films in the second half of the 1930s, at the rate of two a year. These were often directed by Anthony Kimmins, a writer and director who also worked with that other Lancashire star, Gracie Fields. Kimmins and Formby’s sixth collaboration was Trouble Brewing, which was released in July 1939 and could serve as an antidote to the ever-increasing concerns about impending war in Europe.

In Trouble Brewing, Formby plays George Gullip, a newspaper printer at a fictional daily tabloid. George wants to be a detective, and has developed a type of ink which is impossible to rub off, to help him take fingerprints. The police are on the track of a gang which is distributing counterfeit money. When George and his friend Bill are duped by the gang, they team up with secretary Mary to unmask the gang once and for all.

George (George Formby), left, and Bill (Gus McNaughton), right, at work in the print room in Trouble Brewing

The film takes its title from the beer brewery which the counterfeiting gang uses as a front for their operations. As is common for these 1930s comedies that are primarily showcases for individual stars, Trouble Brewing consists of a series of set pieces which are only loosely strung together by a plot. George and Bill get duped on the racetrack; their subsequent investigations have them dress up as waiters at a private party; join a wrestling match; break into the police inspector’s home (and accidentally kidnap him); and confront the criminal gang in their brewery. At each stage, the script allows Formby plenty of physical comedy. His scenes with Mary and other female characters are opportunities for George to serenade them with his songs, even if they are more cheeky than romantic.

George subjected to a wrestling match in Trouble Brewing

In Trouble Brewing, the line between journalism and policing is blurred to the point that it almost disappears. When George says to his superiors as the paper that he wants to become a detective, the newspaper proprietor harrumphs that being a journalist is pretty much the same thing. Although in reality, printers and journalists had very distinct professional identities, George moves between the basement print room and the editorial offices with relative ease. Mary, who works as the secretary to the newspaper’s editor, appears to know George and Bill and treats them as her direct colleagues.

The police in Trouble Brewing have been ineffective in rounding up the counterfeiting gang, which has been at work for at least six months at the beginning of the film. Yet the two printers and the secretary manage to close the gang down in a matter of days. There are plenty of other British interwar films in which journalists collaborate closely with the police, but Trouble Brewing takes this a step further by focusing on main characters who are not even actual journalists. At the same time it is tacitly assumed that George wants to get promoted and work as a journalist, which he achieves at the end of the film when both the newspaper proprietor and the police inspector are duly impressed with his work in rounding up the criminal gang.

Trouble Brewing gives Formby plenty of opportunity to exploit the sexual innuendo he was known for, not only in his songs but also in the scene when he and Bill serve as waiters at a private house party. The party is thrown by an opera singer, whom George and Bill suspect may be part of the criminal gang. George has gotten the singer to put her fingerprint on a piece of paper, but she put that piece of paper in the top of her stocking. When the woman sits down to speak to a male guest at her party, George creeps under the table in an attempt to get the paper. The woman naturally assumes that her conversation partner is touching her leg under the table. This joke is repeated three separate times, causing the singer to shout at and slap at the various men she sits down with. For modern spectators, it is perhaps clearer that such a joke primarily works for male viewers; female audience members may find little to laugh at here. This indicates that Formby’s primary appeal was to men, whereas Gracie Fields aimed her jokes and songs at a broader audience.

George under the table in Trouble Brewing

Trouble Brewing ends in the beer brewery where the gang is hiding. Here physical comedy takes over, with actors running up and down stairs, hiding in barrels, and hanging on ropes. The brewery contains several vast vats of beer, which are left uncovered. Bill lands in one and becomes inebriated almost immediately; the same eventually happens with the counterfeiting gang members. The apparently instantaneous effects of alcohol on the men underlines how far the events on screen are removed from reality at this stage of the film. It has developed into slapstick, harking back to earlier cinematic traditions.

Unlike another 1939 film set in a brewery, Cheer Boys Cheer, which makes direct reference to Nazi Germany, Trouble Brewing offered audiences complete escapism. Money laundering and the circulation of counterfeit money were popular tropes in interwar crime fiction, but they were far removed from the real-life horrors of war and fascism. The film expanded on the already-established cinematic narrative that journalists could effectively solve crimes, by presenting three workers as skilled detectives. The film’s happy ending no doubt provided audiences with welcome escapism as the international political situation deteriorated.  

George (George Formby) and Mary (Googie Withers) end up in a beer barrel at the close of Trouble Brewing

Mr Smith Wakes Up (1937)

Although the 1930s are primarily remembered for the rise of right-wing politics across Europe, including the increased popularity of the British Union of Fascists (see blog posts here and here), there were of course also activists on the left of the political spectrum. Although the Labour party served in the opposition rather than the Government from 1931 until the outbreak of the Second World War, the 1930s saw the start of some social reforms, particularly in housing and medical care.

In 1937, the Co-op sponsored a short film designed to encourage viewers to question some of the tenets of capitalism and free markets. This information film, Mr Smith Wakes Up, would have been shown in cinemas as part of a mixed programme of features, newsreels and cartoons. Advertisement films from the period were often also lengthy and designed as mini-narratives, making them quite close in appearance to this short film. Mr Smith Wakes Up, however, does not aim to sell goods but rather to influence people’s political thinking.

In Mr Smith Wakes Up, we are introduced to William and Elizabeth, a middle-aged and fairly wealthy couple who live in a nice suburb in a house called ‘Utopia’. Their house is worth a couple of thousand pounds and all the other people in the area are of the ‘better class’ which William defines as them being ‘mostly on the stock exchange.’ The vast majority of houses sold in 1930s Britain were worth less than a thousand pounds, so it would have been immediately clear to the contemporary viewer that William and Elizabeth are well-off. They also still keep a parlour maid and a cook, despite the ever-increasing servant problem significantly raising the cost of keeping servants.

William and Elizabeth are unexpectedly visited by Mr Smith, a friend of their son who had been to Africa. We never learn Mr Smith’s first name or which part of Africa he is from. By his own accord, he has come to the ‘great civilization’ of Britain to learn how it is set up, so that he can take it back to his tribe which he himself describes as ‘very primitive people’. For the remainder of the film, Mr Smith asks William and Elizabeth about how things like housing, medical care and food distribution are arranged in Britain. William consistently takes the position defending capitalism and the free market, whereas Elizabeth acknowledges that there are problems with wealth distribution in the country.

When discussing housing, for example, Mr Smith asks if all people in England own their own homes. William admits that this is not the case, but that the working classes can live in rental homes on ‘nicely planned’ housing estates. His arguments are accompanied by shots of one such an estate. Elizabeth then points out that there is still a housing shortage and that the new estates may lead people to have long and expensive commutes. She also raises the prospect of slums, which were still commonplace in pre-War British cities. The audience is duly presented with shots of slum housing, followed by images of very skinny children being examined by a doctor, when Elizabeth points out that slum living makes people ill.

Later on in the discussion the three actors discuss food distribution, re-armament and the ‘cost of living’. Wages have risen, but so have the costs of food, housing and heating, meaning many people are still struggling to make ends meet. In phrases that will sound very familiar to viewers in the early 2020s, William argues that people need to economise more, while Elizabeth points out that for large, low-income families there is nothing left to economise on.

Unfortunately, there are no opening credits preserved to the film so it is not possible to identify the actor playing Mr Smith, but it is safe to presume he was either born in Britain or one of Britain’s overseas territories in the Caribbean. Like American actor and activist Paul Robeson, who was often forced to portray stereotypical African tribesmen, the character of Mr Smith supposedly comes straight from an African rural tribe. At the same time, he also wears a very smart suit and overcoat when arriving at Utopia, and his English is flawless. Although his skin colour causes some consternation when he first arrives at the house, Mr Smith is accepted because he is able to pass as a gentleman, and he does not criticise any aspect of Britain. He even praises the food available in Britain as superior to African food, which stretches credibility.

At the end of the film, Mr Smith states that a nation should give its people food, health and protection. The preceding discussion has made clear to him that Britain is failing to provide this to all its citizens. His voice is accompanied by idyllic scenes of African tribes working and playing together. He argues that African tribes do not go to war as long as there is sufficient food available; and that if they do go to war, their methods of combat are more equal than those of Western nations. Nonetheless, he remains grateful for what William and Elizabeth have ‘taught’ him, and takes his leave.

After he has gone, Elizabeth looks in on the kitchen. Cook is just packing her bag to go home, and decides to take left-over meat to cook for her husband, as otherwise it will only go to waste. Elizabeth indulgently smiles and lets her take the food, and then tells the parlour maid she can go up to bed even though the washing up has not been completed. From her position of privilege, Elizabeth generously allows her staff these luxuries. William sits in the study pondering whether ‘peace and plenty’ are as adequately provided for in Britain as he had assumed. There is no indication, however, that either will take any further-reaching political action as a result of their conversation. Instead, their actions stay on the personal plane.

Despite the leading role of Mr Smith, and the film’s sympathetic portrayal of ‘African’ culture, it is clear that its target audience is white. Contemporary audiences for Mr Smith Wakes Up were unlikely to have recognised themselves in William and Mary – cinema viewing remained largely an activity for the working- and lower-middle classes, who were more likely to already be sympathetic to the left-of-centre views the film espouses. Although the filmmakers may have wanted to encourage people like William and Mary to re-consider their political views, it is doubtful whether many wealthy people would have seen the film or taken any notice of it. Although Mr Smith Wakes Up gives modern audiences insight into the socio-political debates and concerns of the late 1930s, it possibly was not effective in generating political change at the time it was created.

Mr Smith Wakes Up is available to view on YouTube.

Olympia, 7 June 1934

This post is the second in a loose series of posts about fascism in interwar London. The first post explored the popularity of the British Union of Fascists in the East End.  

The British Union of Fascists (BUF) was founded by Oswald Mosley in 1932. Within a few years, the party had gained thousands of members, and by 1934 Mosley felt confident enough to stage several large-scale public speeches. In April of that year, the BUF hosted a largely successful rally in the (Royal) Albert Hall. The next event in the series took place on 7 June at Olympia, a Victorian events venue that could hold up to 15,000 people.

The event attracted many people who were not members of the BUF but were interested to hear Mosley’s ideas, or curious about this new political movement. In the run-up to the event, left-wing publications such as the Daily Worker encouraged readers to attend the event and set up counter protests against fascism. Mosley set the event up as a spectacle, using standard-bearers and spotlights and many BUF members in attendance in full uniform.[1]

The exact events which took place in the hall on 7 June 1934 were subsequently disagreed on by attendees from different political persuasions. It is established that at various points during Mosley’s speech, individual audience members heckled and challenged him. In those instances, a much larger group of BUF members, acting as ‘stewards’, would physically accost the interrupter and remove them from the hall. The extent of violence used against these interrupters was disputed, as was the total number of victims, and whether the hecklers formed part of an orchestrated attempt of the extreme left-wing to interrupt the meeting.

Both the political left and the BUF released pamphlets following the meeting, each presenting their own version of events. The left-wing pamphlet, called Fascists at Olympia: A record of eye-witnesses and victims, was published under the pen-name ‘Vindicator’ by publisher Victor Gollancz, a British Jew who openly supported left-wing politics. The pamphlet was distributed for free with the aim of raising awareness of the BUF’s methods.

Fascists at Olympia contains named statements of people who were present at the Olympia meeting; statements of those who claimed they were beaten up by BUF stewards, and statements of doctors who claimed to have helped the wounded in make-shift sickrooms set up in the vicinity of the hall. A statement in the pamphlet’s opening was subsequently used by the BUF to discredit it:

Several of the documents in this book, in their original form, contain references to the attitude of the police. These have been deliberately omitted, as the object of this pamphlet is to call attention to the actions of Blackshirts, and it is not desired to complicate the issue.[2]

During the Olympia meeting, the police were not present in the hall as it was a closed gathering in a private venue, and therefore they had no jurisdiction to enter it.[3] Police officers were present on the roads adjacent to the hall but came under criticism for not interfering with or challenging the violence perpetrated by BUF stewards. The compilers of Fascists at Olympia apparently did not want to risk that anti-fascist sentiment would be considered the same as anti-police sentiment, or anti-establishment feelings more generally.

This agenda is also clear across many of the witness statements included in the pamphlet, which repeatedly present fascism as ‘not English’:

‘I could not help shuddering at the thought of this vile bitterness, copied from foreign lands, being brought into the centre of England.’[4]

‘I witnessed other scenes of great brutality such as I had never thought to see in England.’[5]

‘For that [use of violence] I can see, as an ordinary Englishman concerned for fair play and decency no possible justification.’[6]

‘I can only say it was a deeply shocking scene for an Englishman to see in London. The Blackshirts behaved like bullies and cads.’[7]

‘I fail to see the necessity for this brutality, which is so foreign to the British race.’[8]

‘I belong to no political party, but what I saw and heard on the evening of June 7th made me think that the behaviour of the opposition, those reds to whom Mosley refers as the scum of the ghettoes, were far more in the English tradition than the Blackshirts with their flags and uniforms.’[9]

By 1934, Hitler’s violence in Germany and Mussolini’s hard rule in Italy were well-known in Britain, and Fascists at Olympia worked hard to persuade its reader that this type of political movement was a threat to the British (English) way of life. Terms like ‘fair play’ were still considered foundational concepts that separated the (white, upper and middle-class) English from other, less civilised and more violent people. The authority of the British police was similarly built on notions of ‘decency’ and temperance, and was another way in which England could consider itself more enlightened than other countries.[10]

The emphasis on fascism as ‘not English’, were used by the BUF in their counter-pamphlet about the Olympia meeting. Red Violence and Blue Lies: An Answer to “Fascists at Olympia” was published by the BUF’s own press. On its opening page, it horrifically states: ‘English men and women?’ ‘Who are the “English men and women” who break up Fascists’ meetings?’[11] This rhetorical statement is followed by a list of names, supposedly the names of those arrested by the police for disrupting the meeting – all the names are of Jewish provenance. The author(s) do not need to spell this antisemitism out more explicitly; the reader is expected to conclude that these names do not represent ‘English’ people.

The BUF pamphlet goes on to sketch a wide-spread left-wing conspiracy to silence Mosley’s party. The left-wing press’s exhortations to their readers to visit Olympia and stage a counter-protest, ahead of 7 June, are presented as evidence of this conspiracy. Throughout the pamphlet this argument is subtly built up and alluded to, until it is made manifest at the pamphlet’s end in a way that draws together antisemitism, suspicion of the state, and fear of socialism:

At Olympia [the ‘Red Terror’] was renewed with large organised and powerful financial support from quarters which are well known. Alien finance and Red terror join hands to fight the movement of “Britain First,” with the tacit and even open approval of the Old Parties of the State, who unite to oppose the new force that threatens them with ultimate destruction at the polls.

With the hindsight offered by history, we know that the BUF lost support throughout the 1930s and that fascism did not become the dominant ideology in 20th century Britain. In the debates following ‘Olympia’, this was far from evident, however: as Martin Pugh has demonstrated, MPs in the House of Commons did not roundly condemn the BUF’s conduct during the meeting, and allegations of a left-wing plot were also aired there.[12] The pamphlets published by both the BUF and the political left in the immediate wake of the event demonstrate how both sides sought to influence popular discourse about the meeting.

[1] Julie Gottlieb, ‘The Marketing of Megalomania: Celebrity, Consumption and the Development of Political Technology in the British Union of Fascists’, Journal of Contemporary History, (2006), Vol. 41, No. 1, 47

[2] Vindicator, Fascists at Olympia: A record of eye-witnesses and victims (London: Victor Gollancz, 1934), n. p.

[3] Martin Pugh, ‘The British Union of Fascists and the Olympia Debate’, The Historical Journal, (1998), Vol. 41, No. 2, 541

[4] Vindicator, Fascists at Olympia, p. 11

[5] Ibid.

[6] Ibid., p. 14

[7] Ibid. p. 9

[8] Ibid. p. 20

[9] Ibid., p. 37

[10] Clive Emsley, The English Police: A Political and Social History, 2nd edition (Harlow: Pearson Education Ltd, 1996), pp. 144-145

[11] Various authors, Red Violence and Blue Lies: An Answer to “Fascists at Olympia” (London: BUF Publications, 1934), p. 5

[12] Pugh, ‘The British Union of Fascists and the Olympia Debate’, 532-533

Fascism in East London, 1932-1940

Fascism in East London, 1932-1940

The most notorious expression of anti-Semitic sentiment in interwar Britain was the creation and rise of the British Union of Fascists (BUF) by Oswald Mosley. Mosley founded the BUF in 1932, after first serving as an MP for the Conservative and Labour parties, and standing as an independent MP.[1] The history of the BUF has been extensively researched, and there is a general consensus that the BUF’s most fruitful recruitment ground was London’s East End.[2] The BUF’s popularity and membership fluctuated throughout the 1930s until Mosley was interned in 1940, which effectively ended the BUF’s existence.

Whitechapel and its environs had been the centre of London’s Jewish community from the mid-19th century[3]; when unemployment rates went up in the 1930s, the BUF’s anti-Semitic messages – formally adopted in 1934[4] –  found traction with some East Enders. When the local population struggled to get work, it was all too easy to blame the Jewish immigrants for ‘taking jobs’. Anne Kershen, a historian of the East End, has pointed out that Jews were the largest minority ethnic group in interwar Britain.[5] This, combined with a long history of anti-Semitism in Britain and Europe as a whole, made the Jewish community a much-used scapegoat for any perceived unfairness in society. With anti-Semitism on the rise across the content in the 1930s, in Britain too these sentiments were foregrounded more in the mid-1930s than in previous decades. 

The BUF paid considerable attention to the visual impact of its branding. Apart from the Blackshirt uniforms, which immediately identified BUF members in public, the party also recorded and sold speeches by Mosley and recordings of the Blackshirt Military Band as well as posters, postcards and photo books of Mosley and other BUF leaders.[6] Historian Julie Gottlieb has argued that the party deliberately borrowed from cinematic conventions at their rallies and meetings, which were sometimes held in cinemas. The use of light and sound effects, banners and flags, and choreographed movement all built up to a crescendo when Mosley himself appeared.[7]

The BUF recruited and retained its members primarily through its network of local offices and branches, were members could convene, plan and discuss activities such as rallies and marches. This local, grass-roots organisation meant that there was significant variation of BUF uptake and activity from parish to parish. In the East End, the Bethnal Green branch of the BUF was very successful in drumming up support by offering a cohesive ideological alternative to the local socialist council, which had left residents disillusioned.[8] The BUF also gained traction in Limehouse and Whitechapel.[9]

The organisational structure of the BUF also meant that a member’s involvement with the party was primarily based on local interactions and social activities. In the local headquarters, (male) party members convened to educate themselves, work on party outreach activities and undertake physical exercise classes. Female members had an entirely separate, but similar, experience, with their activities centring on recruiting and training new female members, as well as learning ‘fencing, boxing and first aid’.[10] The BUF’s insistence on physical fitness was part of its racist quest to create ‘New Men’ who would be able to ‘maintain and re-unify’ the British Empire.[11]

Beyond the social activities of the local branch, members could buy the aforementioned party memorabilia as well as party newspapers, cigarettes from the party’s own brand, playing cards, letter heads, et cetera.[12] For the truly committed BUF couple, a fascist wedding may be considered. At these, the groom would typically wear his Blackshirt uniform, whereas the bride could accessorize her dress with Fascist details. At one wedding, the bride cut the cake with an axe rather than a knife.[13] As historian Michael Spurr puts it: Rather than simply voting fascist at elections or proselytising on the streets, members of the BUF became Blackshirts, individuals whose identity and social experience was shaped and defined by this alternate fascist community.’[14]

Herein lies the key to the BUF’s popularity in the East End of the 1930s. The vast amount of social and cultural change which Britain experienced during the interwar period left some groups feeling abandoned. The international political situation was uncertain and a second World War seemed increasingly inevitable. The BUF offered a sense of community and a promise of a Greater Britain – as well as a strong commitment to peace with Hitler. The Party’s savvy marketing strategies amplified its mass appeal; it also frequently recruited teenagers looking for a sense of belonging. Being a BUF member left such an impression that members were able to fondly recall their time with the party, decades later.[15] For them, it was not the party’s political ideas which were of primary importance, but rather its community and the belief that Britain would rise above its difficulties to come out stronger.

[1] Mosley’s Blackshirts: The Inside Story of The British Union of Fascists 1932-1934 (London: Sanctuary Press, 1986), p. v-vii

[2] Thomas P Linehan, East London for Mosley: The British Union of Fascists in East London and South-West Essex, 1933-1940 (London: Frank Cass, 1996), p. 199

[3] Anne Kershen  Strangers, Aliens and Asians: Huguenots, Jews and Bangladeshis in Spitalfields 1666-2000 (London: Routledge, 2005), p. 64

[4] Michael A. Spurr. ‘’Living the Blackshirt Life’: Culture, Community and the British Union of Fascists, 1932-1940’, Contemporary European History, Vol. 12, No. 3 (Aug., 2003), 305-322 (307)

[5] Kershen, Strangers, Aliens and Asians, p. 208

[6] Julie Gottlieb, ‘The Marketing of Megalomania: Celebrity, Consumption and the Development of Political Technology in the British Union of Fascists’, Journal of Contemporary History, Vol. 41, No. 1 (Jan., 2006), 35-55 (41-42)

[7] Ibid., 45

[8] John Marriot, Beyond the Tower: A History of East London (Yale: Yale University Press, 2009), p. 306

[9] Ibid.

[10] Spurr, ‘Living the Blackshirt Life’, 315

[11] Liam J. Liburd, ‘Beyond the Pale: Whiteness, Masculinity and Empire in the British Union of Fascists, 1932–1940’, Fascism, 7 (2018), 275-296 (284-285)

[12] Spurr, ‘Living the Blackshirt Life’, 318

[13] Ibid., p. 319

[14] Ibid.

[15] Mosley’s Blackshirts: The Inside Story of The British Union of Fascists 1932-1934 (London: Sanctuary Press, 1986) is a compendium of past BUF members’ memories of the party