B.G. Bruno, a rich bachelor, the head of a successful greeting-card company in Scotland, is essentially a kind man but respectable to the point of stodginess and extreme stuffiness. An ... See full summary »
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B.G. Bruno, a rich bachelor, the head of a successful greeting-card company in Scotland, is essentially a kind man but respectable to the point of stodginess and extreme stuffiness. An American troupe visiting Edinburgh wants to produce a musical in town but has trouble getting backers. Bruno meets several of the leading ladies of the show; through a misunderstanding he doesn't correct they think that he's a newspaper reporter. He falls in love with one of the women, who reciprocates; he grows more lively and friendly, to the surprise of his employees. After a series of mishaps and comic incidents comes a happy ending: a successful show and true love. Written by
Mark. Gooley <firstname.lastname@example.org>
The failure of the original copyright holder to renew the film's copyright resulted in it falling into public domain, meaning that virtually anyone could duplicate and sell a VHS/DVD copy of the film. Therefore, many of the versions of this film available on the market are either severely (and usually badly) edited and/or of extremely poor quality, having been duped from second- or third-generation (or more) copies of the film. See more »
[Talking on the phone]
I've told you a hundred times, I do not want to speak to the bank! What do I have to do, tell you in Scotch!
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As a lightweight British post-war comedy, it's fine. David Niven's really charming, Vera-Ellen's trying like crazy. As a musical, it's very odd. There's nearly no 'musical' in it, and when you finally get to the two on-stage numbers near the end, you'll be glad. There's one long imitation Gene Kelly odyssey piece about a little girl in a big city that's strangely small and mean and bad. It looks like it should at the start, but I'd swear there wasn't any choreography design per se, just the general idea of a Kelly avant-garde set. Large scope, small stage, and the routines are so disjointed, you'll wonder how dancers learned the sequences. But as a comedy, it's quite adequate. Vera-Ellen mostly shines as she usually does though it looks like a bit of a struggle to hold onto the lead position. Fortunately for her, pretty soon she'll get a boost from David Niven. He's really the reason you'd want to see this movie, he just couldn't be more forthright, very plainly happy to be there. Caesar Romero's miscast but he's also obviously happy to be working. Both those big presences, Niven's nuanced, Romero's steamrolling, make this a piece of film worth keeping. And of course, as always, the number one attraction is how Vera-Ellen wore the clothes!
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