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Complete credited cast:
The Vicar of Bray
Hugh Miller ...
K. Hamilton Price ...
Felix Aylmer ...
Earl of Brendon
Margaret Vines ...
Lady Norah Brendon
Garry Marsh ...
Sir Richard Melross
Dennis Melross
Martin Walker ...
Sir Patrick Condon
Eve Gray ...
Meg Clancy
Kitty Kirwan ...
Fred O'Donovan ...
Tim Connor


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Drama | History





Release Date:

9 May 1937 (UK)  »

Company Credits

Production Co:

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Technical Specs


Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?


The film is based on the satirical 18th century poem, The Vicar of Bray, who changes his religion and allegiance to suit whichever monarch comes to power and thus always retains his position. The chorus of the poem is: "And this is truth I will maintain until my dying day, Sir, For whatsoever King shall reign I will be Vicar of Bray, Sir!" See more »


Prince Charles' lover is an actress, at a period when women were banned from legitimate theater. See more »


Irish Jigs
De Wolfe Music Ltd
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User Reviews

A mixed bag
17 March 2006 | by (London, England) – See all my reviews

The Vicar of Bray is one of those completely forgotten British films of the late Thirties that doesn't even turn up on TV anymore. A star vehicle for Stanley Holloway, it feels like one of those plays that tours the provinces forever without ever leaving a trace in anyone's memory. The fact that every other scene begins with a caption telling us its another X years later and the Civil War or the Restoration happened while they were changing the scenery only enhances the feeling. It's full of twee Oirishness set in a mythical Emerald Isle where everyone loves the English king and Cromwell doesn't do too much damage, with Holloway's vicar managing to keep his position despite the shifts in power and patronage as both the monarchy and the Roundheads rise and fall by the strength of his wits and wisecracks. Holloway's singing voice is a bit more problematic than his Oirish accent, especially since this is a musical (and a very static one at that: the camera rarely moves for fear of revealing how small the sets really are), but if he gives up on the low notes the chorus is always there to unenthusiastically repeat every word while he catches his breath.

The rest of the performances are variable, to put it politely: perennial chubby cad Garry Marsh is fine in a rare sympathetic role, Esmond Knight veers from promising to pantomime but Margaret Vines is just painful as the romantic lead, with a bizarre vocal delivery that doesn't so much throw her lines away as chuck some of them onto the floor and scrape them off her shoes. Still, it's a brisk hour-and-a-bit that has a certain appeal even if you can't quite figure out what exactly it is.

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