Cast
Development
The musical was seen by producer Charles H. Schneer who loved it and acquired the rights. He sold these to Paramount. In November 1965, Paramount bought the screen rights for $250,000 plus a percentage of the profits. They also hired Steele to repeat his stage performance. Prior to the film being made, Steele did ''The Happiest Millionaire'' for Disney. In June 1966, George Sidney signed to direct. Steele signed a three picture deal with Paramount. Steele said: "if this hits I'll carry on the burden of starring in musicals in widescreen and in colour. If not I'll retreat to the backwoods and do what I'd as soon do, just quietly act." Schneer said: "Unfortunately, just as we began to shoot, Paramount was sold to Gulf & Western. ''Half a Sixpence'' should have been a small and intimate picture. It turned out to be anything but that. The director and the star ran away with it, and I was virtually out of the picture. I was very unhappy about the whole situation."Production
Filming started 13 September 1966 in England. It was meant to take four months but went over schedule. Location scenes include Aylesford, Kent; The Pantiles in Royal Tunbridge Wells, Kent; Eastbourne, East Sussex; Blenheim Palace, Oxfordshire; Oakley Court, Berkshire; Devil's Bridge, Ceredigion; and Ockham, Surrey, Ockham, Surrey. Interiors were filmed at Shepperton Studios, Surrey. Sidney later recalled making the film was "quite an experience because they'd never made a musical film in England" for a number of years. "They'd never worked with playback in England, and when I went there they didn't have a music cutter. So I had to bring some people in... It wasn't fast working in England, not by a long shot. But I must say that I enjoyed it." According to one report, the budget was originally $2.5 million, then increased to $3.3 million.Walker, Alexander. ''Hollywood, England'', Stein and Day, 1974, p. 394.Song list
*"All in the Cause of Economy," performed by Artie, Pearce, and Apprentices *"Half a Sixpence," performed by Artie and Ann *"Money to Burn," performed by Artie, Harry, Helen, and Chorus *"I Don't Believe A Word of It"/"I'm Not Talking to You," performed by Ann and Friends, Artie, Pearce, and Apprentices *"A Proper Gentleman," performed by Chorus *"She's Too Far Above Me," performed by Artie *"If the Rain's Got to Fall," performed by Artie, Children, and Chorus *"Lady Botting's Boating Regatta Cup Racing Song" (by David Heneker and Irwin Kostal), performed by Artie and Chorus *"Flash, Bang, Wallop!," performed by Artie, Pearce, and Chorus *"I Know What I Am," performed by Ann *"This Is My World" (by Heneker and Kostal), performed by Artie *Finale: "Half a Sixpence" (reprise)/"Flash, Bang, Wallop" (reprise), performed by Artie, Ann and Chorus Julia Foster's vocal double was Marti Webb, who played Ann in the original 1963 London production (and who appears on the London Cast album).Critical reception
In her review in ''The New York Times'', Renata Adler said the film "should be visually fascinating to anyone in a state that I think is best described as Health issues and effects of cannabis, stoned. The movie is flamboyantly colourful [and] wildly active: hardly anyone holds still for a single line, and the characters – in the ancient tradition of musicals – live on the verge of bursting into improbable song. The songs themselves, trite, gay, and thoroughly meaningless, make absolutely no concession to anything that was happened in popular music in the last 10 years ... some of it is quite beautiful to watch.... it is nice to have a musical photographed not on a sound stage, but in outdoor England ... but most of the time one wonders where anyone found the energy to put on this long, empty, frenetic extravaganza ... I cannot imagine that there will be many more musicals that are so lavishly, exuberantly out of touch with the world of rock and the music of our time." Kathleen Carroll of the ''New York Daily News'' that "for all Gillian Lynne's high-stepping choreography, the film is about as light and as graceful on its feet as an elephant. Only one sequence moves at a rate approximating speed. It is the gay Henley regatta, with Kipps crewing for the Ascot set, slicing the Thames in a racing shell. One longs for the simplicity of the original, when the story, although hardly novel, at least held its own, and when the music, although hardly memorable, was not drummed up into interminable, brassy music hall routines." Charles Champlin of the ''Los Angeles Times'' remarked that "''Half a Sixpence'' at Grauman's Chinese Theatre is, almost uniquely these days, a picture of innocence (or, if you will, simple-mindedness) and for all its flaws there are those who will respond gratefully to this excursion into the primer-story past. My regret is that the machineries of film-making have rendered the lighter-than-air as heavy as lead and have surrendered innocence to technical sophistication. Tommy Steele is a wonder and he gives a dazzling, perfected performance. Yet even his ingratiating charm cannot quite conceal the hard, slow work the film was. ''Half a Sixpence'' is better than none, but it has been devalued." Roger Ebert of the ''Chicago Sun-Times'' felt that "Tommy Steele is just the performer for this sort of schmaltz. He is, in fact, a very good song-and-dance man, the only member of his generation who bears comparison with Gene Kelly and Dan Dailey ... [George Sidney's] timing tends to lag, his sight gags telegraph ahead, and his songs drag." Clifford Terry of the ''Chicago Tribune'' scathingly opined: Pauline Kael described the film as "appalling" and "technically astonishing." ''Variety (magazine), Variety'' said, "The cohesive force is certainly that of Tommy Steele, who takes hold of his part like a terrier and never lets go. His assurance is overwhelming, and he leads the terping with splendid vigor and elan." Channel 4 calls it "undeniably colourful and annoyingly energetic" and adds, "there is plenty of flash, bang and wallop, but very little warmth or soul, the hapless star attempting to carry the film by grinning goonishly throughout. He exudes as much charm as the deckchair he disguises himself as." ''Time Out London'' says, "the film lays on the period charm rather exhaustingly, and the songs ... don't exactly sweep you along."Box office
The movie was the 13th most popular at the UK box office in 1969."The World's Top Twenty Films." Sunday Times [London, England] 27 Sept. 1970: 27. The Sunday Times Digital Archive. accessed 5 Apr. 2014 Sidney says the film was "a real smash" in England but "did less than nothing" in the US "because it was an English picture. The film didn't have anyone in it that anyone in this country knew. Unfortunately Tommy Steele had just made two very bad pictures in this country. We followed those and had nothing to build on with him." Sidney also felt the film's financial prospects were hurt by the popularity of Beatlemania. "That brought in a whole new sound," he said. "Maybe if we had been two or three years earlier with the picture, it might have been more successful with American audiences."Awards and nominations
The film was nominated for the BAFTA Award for Best Costume Design#BAFTA Award for Best Costume Design - Colour, BAFTA Award for Best Costume Design - Colour. Although it lost to ''A Man for All Seasons (1966 film), A Man for All Seasons'', its designers did not go home empty-handed, as they were responsible for the costumes in ''Seasons'' as well.References
Further reading
*External links
* * {{Kipps 1967 films 1967 musical comedy films British musical comedy films Films based on works by H. G. Wells British films based on plays Films directed by George Sidney Paramount Pictures films Films set in Kent Films set in the Victorian era Films about inheritances Films about orphans Films about social class Films based on adaptations Films based on British novels Films based on musicals Films scored by Irwin Kostal Films produced by Charles H. Schneer Films with screenplays by Beverley Cross 1960s English-language films 1960s British films