This film may be more famous as "the one where George Formby punches Hitler", but that reputation arguably conceals a more complex narrative than Come on George (1939), while also revisiting most of the basic concepts seen in Formby's Ealing films to date: mistaken identity, unconvincing romantic couple, ukulele numbers, and broad slapstick.

Back to more traditional Formby fare here, with a tale of mistaken identity, innocent farcical characters, an underwritten female foil, and a mix of broad verbal and physical comedy.

Okay, so I was a bit quick to say that all Formby films were the same. There are obvious similarities between them, but in Turned Out Nice Again the move away from a wartime police/saboteur plot and back to a (presumably pre-war) domestic setting actually revitalises a lot of the Formby shtick.

The first in a mini-marathon of George Formby's Ealing films to banish the January blues... Reviewing George Formby films is a tricky business, not ...