Oh Mr Porter (1937)

Introduction

Oh, Mr. Porter! (1937) stands as one of the greatest British comedies of the pre-war era and arguably the finest hour of comic legend Will Hay. A masterclass in slapstick, character-driven humour, and quintessentially British absurdity, this film not only cemented Hay's status as a national treasure but also laid groundwork for British comedic sensibilities that would echo through the works of Ealing Studios, the Goons, and even Monty Python.

Directed by Marcel Varnel, a key figure in 1930s and 1940s British comedy, the film showcases Hay at his comedic peak, flanked by his iconic sidekicks Moore Marriott and Graham Moffatt. Together, they form one of cinema’s most enduring comic trios.

Plot Overview

The film centres on the hilariously inept William Porter (Will Hay), a bumbling railway worker who, thanks to family connections, is promoted beyond his capabilities to stationmaster of a sleepy, decrepit outpost in Northern Ireland called Buggleskelly—a location as remote and haunted as its name suggests.

Porter is sent to whip the station into shape but quickly finds himself out of his depth. His only assistance comes from his eccentric and elderly signalman, Harbottle (Moore Marriott), and the cheeky, irreverent young porter, Albert (Graham Moffatt). The station is a chaotic mess, run more like a shed than a functioning part of the railway system.

As the trio stumble through daily operations with hilariously disastrous results, they unwittingly become embroiled in a gun-running operation. Their attempts to bring the criminals to justice culminate in an uproarious night time chase aboard a runaway train, blending farce with genuine tension and excitement.

Performances

Will Hay is the engine that drives Oh, Mr. Porter!—his timing, exasperated expressions, and ability to play the “man who thinks he’s in charge but absolutely isn’t” is second to none. His Porter is pompous but well-meaning, a man utterly unsuited to responsibility, whose incompetence is matched only by his misplaced confidence.

Moore Marriott as Harbottle is a physical comic delight. With his long white beard, faltering speech, and astonishing agility for a man playing someone ancient, he delivers a wonderfully daft performance. His expressions and mannerisms often steal scenes entirely.

Graham Moffatt as Albert is the perfect foil. He’s cocky, street-smart, and forever mocking his superior—offering quips with deadpan delivery that still land decades later. The chemistry among the trio is a large part of the film’s enduring charm.

Together, Hay, Marriott, and Moffatt present a comedic triangle of authority, senility, and youthful insolence—a dynamic that never grows stale.

Direction and Comedy Style

Director Marcel Varnel brings brisk pacing and keen visual comedy to the film. Unlike many comedies of its era, Oh, Mr. Porter! is cinematic in scope, with clever camera setups, action sequences, and physical gags that keep the momentum lively.

The humour is rooted in character and situation rather than one-liners. It ranges from wordplay and gentle absurdity to slapstick and farce. The scenes involving the haunted windmill, the crumbling station, or the final runaway train chase are all impeccably staged, blending chaos with precision.

Importantly, Varnel and Hay strike a delicate tonal balance. While there are moments of genuine tension—particularly during the film’s final third—it never ceases to be funny. Even the villains are played with a knowing touch, never undercutting the humour for the sake of threat.

Themes and Tone

At its heart, Oh, Mr. Porter! is a satire of bureaucracy, authority, and British institutional incompetence. Porter is a classic comic archetype: a man promoted not through merit but through nepotism, thrust into a position he can’t handle, and made to muddle through with smoke, mirrors, and the help (or hindrance) of those around him.

The film pokes fun at everything from class distinctions and officialdom to rural superstitions and outdated systems (both literal and metaphorical). Yet it does so with affection. There’s no bitterness in its critique—just a wry acknowledgment of the quirks of British life.

The setting, a decaying Irish railway station seemingly untouched by modernity, becomes a metaphor for all the crumbling institutions of the interwar period. But it’s also a playground for brilliant comedy.

Cinematography and Production Design

Despite its modest budget, Oh, Mr. Porter! makes excellent use of its locations. The rural settings feel authentic, with atmospheric night sequences that build tension and mystery—particularly around the windmill and railway yard. The train chase finale is expertly handled, combining location footage and model work with thrilling energy.

The production design leans into the dilapidated charm of Buggleskelly station, filled with dusty corners, broken equipment, and overgrown tracks. It’s a perfect physical manifestation of Porter’s ineptitude—and a gift for visual comedy.

Legacy and Influence

Oh, Mr. Porter! was an instant hit in 1937 and remains one of the most celebrated British comedies of all time. It solidified Will Hay’s place in the pantheon of comic greats and established the Hay-Marriott-Moffatt trio as legendary. Their dynamic would inspire countless comedy duos and trios, from Morecambe and Wise to the likes of David Brent and Gareth in The Office.

The film’s enduring influence can be seen in British comedy’s continued affection for authority figures out of their depth, shabby institutions, and clever underlings. Echoes of Porter can be felt in Dad’s Army, Fawlty Towers, and even Wallace and Gromit.

In 2000, Oh, Mr. Porter! was ranked among the top British films by the British Film Institute and regularly appears on lists of the greatest British comedies ever made.

Conclusion

Oh, Mr. Porter! is a comedic gem—a perfect blend of slapstick, satire, and silliness anchored by an unforgettable central performance from Will Hay. Its humour remains surprisingly fresh, its pacing sharp, and its character dynamics eternally entertaining.

For anyone interested in the history of British comedy, this film is not just recommended viewing—it’s essential. It showcases a particular kind of Englishness, one filled with charm, chaos, and quiet anarchy. And most importantly, it’s still very, very funny.