Ask a Policeman (1939)

Overview

Ask a Policeman is one of the crown jewels of 1930s British comedy and arguably Will Hay’s finest hour. Released in 1939, the film captures the essence of interwar British humour—irreverent, clever, character-driven, and deeply embedded in the quirks of English village life. It also marks the high point of the classic comedic trio of Will Hay, Graham Moffatt, and Moore Marriott, who together brought a chaotic, fast-paced charm to every scene.

This film blends farce with a detective spoof, combining slapstick with witty dialogue, and criminal intrigue with cheerful incompetence. Beneath its seemingly lighthearted surface, it also satirizes authority, bureaucracy, and small-town parochialism, making it as sharp as it is silly.

Plot Summary (Spoiler-Free)

The story follows the bumbling Sergeant Samuel Dudfoot (Will Hay), the long-serving but spectacularly useless police officer in the quiet, crime-free village of Turnbotham Round. Alongside his equally incompetent constables, Albert Brown (Graham Moffatt) and Jerry Harbottle (Moore Marriott), Dudfoot is facing pressure from headquarters: due to the town’s complete lack of crime, the local station may be shut down.

In a desperate attempt to justify their jobs, the trio decide to stage a crime wave, concocting a series of petty offenses to report back to the authorities. But in doing so, they accidentally stumble upon a real smuggling operation on the coast. What follows is a chaotic and hilarious series of mishaps, misunderstandings, and mistaken identities as the policemen find themselves in way over their heads.

Tone and Style

The film is a high-energy mix of slapstick, farce, and British whimsy, but it’s never aimless. The pacing is brisk, the comic timing razor-sharp, and the absurdity is well-measured. It reflects the broader style of director Marcel Varnel, who helmed many of Britain’s best-loved comedies of the 1930s and 40s, including those starring George Formby and The Crazy Gang.

The humour is grounded in character rather than situation, allowing the performers to play to their strengths. There’s also a certain innocence and nostalgia to its vision of rural England—one that, by 1939, was already under threat from modernity and war.

Performances

Will Hay as Sgt. Samuel Dudfoot

Will Hay is the star and heart of the film. Known for his recurring role as a pretentious but incompetent authority figure, Hay is in top form here. Dudfoot is pompous but harmless, a man so committed to the image of his job that he fails to notice the world moving on without him. Hay’s comedic persona—part schoolmaster, part charlatan—works beautifully in this police setting, and his deadpan delivery and exasperated reactions are timeless.

Graham Moffatt as Constable Albert Brown

Moffatt, the cheeky young constable, plays off Hay brilliantly. His constant undermining of Dudfoot’s authority, lazy attitude, and knowing smirk give the film a mischievous edge. He brings youthful energy and comic timing that feels remarkably fresh even today.

Moore Marriott as Harbottle

Marriott, as the eccentric, elderly constable Harbottle, is a master of physical comedy and bizarre expressions. His character, toothless and daft, is often the instigator of unintended chaos. Together, the trio’s chemistry is exceptional—they bicker, blunder, and bumble in a way that feels both rehearsed and organically funny.

Direction and Writing

Director Marcel Varnel handles the comedic rhythm expertly, allowing the jokes space to breathe while keeping the narrative moving. The script, co-written by Val Guest (who would go on to a distinguished directing career himself) and Marriott Edgar, is full of sharp dialogue, double entendres, and memorable one-liners.

Crucially, the film avoids the trap of many early sound comedies—it doesn’t simply rely on gags, but builds a coherent and escalating story that allows for increasingly absurd scenarios. The comic set-pieces—such as the bicycle chase, the haunted house routine, or the smugglers' den scene—are constructed with clear narrative beats and escalating stakes.

Cinematography and Technical Elements

For a low-budget comedy, the film looks quite good. The cinematography, though not flashy, captures the quaint charm of the fictional village and the spooky allure of the coastal moors. There’s even some rudimentary day-for-night shooting and atmospheric location work near the climax that adds a dash of adventure to the proceedings.

Sound design and music are minimal, as was typical for the era, but effective. The real strength lies in the rapid-fire dialogue and physical gags, which are cleanly staged and shot to emphasize timing.

Themes and Subtext

Despite its primary function as a farce, Ask a Policeman touches on a few deeper themes, intentionally or otherwise:

Satire of Authority: The film gently mocks the pretensions of local police and bureaucrats. Hay’s Sergeant Dudfoot is a figure of authority who knows nothing and does even less.

The Illusion of Order: Turnbotham Round is a town so peaceful it has become stagnant. The police exist not to enforce law, but to perform the appearance of maintaining it.

Class and Incompetence: Like many Ealing-adjacent comedies, the film plays with British class hierarchies. Dudfoot's attempts to sound intelligent or official are constantly undercut by his subordinates, poking fun at social pretensions.

Urban vs. Rural Tensions: The film hints at the contrast between sleepy village life and the outside world (represented by smugglers and city authorities), suggesting that the parochial bubble is both cosy and delusional.

Legacy and Influence

Ask a Policeman is considered one of the greatest British comedies of the pre-war era and has had a lasting legacy in British pop culture. The trio of Hay, Moffatt, and Marriott was hugely influential, paving the way for later comedic ensembles like the Carry On team and even inspiring the dynamic of groups like Monty Python.

The film’s gentle mockery of authority, self-deprecating tone, and emphasis on character-based farce would become cornerstones of British comedy for decades.

It has enjoyed regular showings on British television and retains a cult following. Its influence can be felt in later works like Dad’s Army, Hot Fuzz, and The Thin Blue Line, all of which share its mix of small-town absurdity and comedic affection for bumbling civil servants.

Conclusion

Ask a Policeman is a true gem of British cinema—funny, fast-paced, and filled with timeless comic performances. Though it comes from a bygone era, its satire remains strikingly relevant, its characters deeply endearing, and its jokes surprisingly fresh. It’s the kind of film that proves great comedy never ages, only gains charm.

If you're a fan of classic British humour or want a glimpse into the origins of post war British comedy tradition, this is essential viewing.