On the Beat (1963)

What makes it different from others?

Fantastic!

In truth, there is barely enough story here to make a film.

This is a must-see and one of the best documentaries - and films - of this year.

"On the Beat" was among Norman Wisdom's later films and remains one of his best. In this outing, the ever-aspiring Norman Pitkin wants to be a policeman like his late father, but he is rejected for being too short. Undaunted, Norman goes for the police physical exam on a pair of stilts in one of the film's many hilarious skits. Still dreaming of a police career, Norman dons his dad's uniform and plays ball with a group of kids. During the game, he blows the police whistle, and mayhem not seen since the heydays of Mack Sennett and the Keystone Cops erupts throughout the town. The physical nature of Wisdom's comedy and the emphasis on visuals explain his broad appeal among non-English-speaking audiences, much like silent comedy attracted immigrant audiences in the United States.As a bonus, "On the Beat" offers not one, but two Normans. Besides his on-screen persona, Pitkin, Wisdom also plays Giulio, an Italian gangster who poses as a hairdresser and uses his beauty salon as a front. Although the swishy mustached stereotype is dated and arguably offensive, Norman is too endearing and funny to be guilty of anything but going for a laugh. When Wisdom plays Norman the policeman impersonating Giulio the hairdresser the results are hysterical. Although Norman is nearly impossible to upstage, the pixie-like Esma Cannon as Norman's landlady, Mrs. Timms, manages to steal her scenes with delightful facial expressions and impish delivery. "On the Beat" is on the beat and strikes no false notes, providing a string of comic scenes that pay homage to silent comedy and generate tears of laughter.

On the Beat is a Norman Wisdom comedy film directed by Robert Asher. It's the tenth Wisdom picture where he was the lead actor. Plot sees Wisdom as Norman Pitkin who works at Scotland Yard as a car cleaner but harbours dreams of becoming a policeman like his late father. The problem Norman faces is that he is just too small to meet the height requirement to join the service. However, after managing to get himself fired from the car wash job, Norman is given a way into the force on account of his uncanny resemblance to a suspected Italian crime boss who is masquerading as a hair dresser. Thus Norman is required to go undercover as the crime boss. Can he pull it off?Norman Wisdom, he's Marmite isn't he? On The Beat, to this reviewer at least, is one of Wisdom's best film's. Some of his main collaborators such as Edward Chapman & Jerry Desmonde may be absent, but On the Beat has a real zest for life, an action comedy where at its core is the emotive based dreams of one man.On The Beat follows in the great traditions of British comedy film's involving the good old British Bobby. Trace a line from Will Hay's brilliant Ask A Policeman in 1939 to Hot Fuzz (2007) and you will find a number of "themed" movies involving the British copper. With film's such as On The Beat and Carry On Constable from two years previously, we get a glimpse of a time when respect and fear of the law was the order of the day. When the copper was there to aid and make the public feel safe, values that sadly today are ever diminishing. With that, as a Brit myself, it's hard not to get caught up with nostalgia; and maybe even feel those pangs of sadness of a time long past. My rating, in that context should be taken in to consideration.On The Beat is a very British film, it's also a rank and file Norman Wisdom film. One that's filled with the standard set pieces full of vim, vigour and chaos. With one medical on stilts sequence as mirthful as it is near genius. It's, however, unlikely to win over any sceptical older viewers who didn't get Wisdom back in the day. Nor is it a safe recommendation to those venturing for the first time into the works of Marylebone's famous son. But this does hold appeal for those in need of a light hearted pick me up. A harmless piece that zips along, gets in there, and gets the job done. Something that Wisdom, just like his character Pitkin, was want to do. 7/10

Norman Wisdom tries his hand at yet another favorite environment with star comedians: police-work. On the whole, this is one of his better vehicles - with Norman once again in a dual role, as wannabe-policeman simpleton and Italian gangster covering as a hairstylist (whom, needless to say, the former ends up impersonating); the level of the gags is par for the course though the film is, ultimately, overlong (with the 'good' Norman predictably falling for - and sheltering - the gangster's fleeing moll and a tendency towards gay jokes in the hairdressing scenes!). Still, all things considered, the film isn't up to the standard of Laurel & Hardy's classic short THE MIDNIGHT PATROL (1933) - let alone the genius of Keaton's COPS (1922) or Chaplin's EASY STREET (1917)...

Mr. Wisdom's pictures made a lot of money.In the 1950s he was England'smost popular entertainer,TV,movies,records,he did them all.Did he care that the critics hated him?Still do 50 years later and I daresay he probably still doesn't lose too much sleep over it. He is overdue for a reassessment.The concept of post-modern irony should see to that nicely."On the Beat" with it's moments of sublime stupidity and it's classic chase scene(Buster Keaton's "Cops" anyone?) is as good as anywhere to start. No sex,no violence,no obscene language - how come it was so funny. No sublety either,but lovely black and white photography,silly policemen,pomposity for Norman to burst and an accent for him to mangle. Bliss.