Eileen Hannay (Dinah Sheridan) is the singing star of an Irish operatic society but gives up to marry Terry O'Keefe (John Bentley) who, we soon discover, is something of a ne'er-do-well. Unbeknown to Eileen, Terry had been involved with Carole Wells, another singer in the society who had loaned him some money. Peeved at him now marrying Eileen she tells him to pay up, take up again with her or suffer the consequences. Meanwhile Terry and Eileen return to her late parent's run down estate in Donegal to start married life but thanks to Terry's intolerance of the local Romany's (Eileen's mother was a gypsy), his fondness for drink and pressure from Carole, things start to fall apart.
I could best describe this film as a very modest drama-cum-musical with a dollop of schmaltz here and there, particularly in scenes featuring the boy Paddy. In other words the hackneyed plot has a bit of everything in it yet probably appealed to a 1940s audience. With an operatic society and gypsy encampment featured, there are excuses for musical interludes of an Irish flavour but they don't blend in well with the action, rather they appear to be there just to prolong the film.
This was John Bentley's first film and he went on to become a stalwart of many a British second feature films particularly in the 1950s and often on the side of the law so it's unusual to see him play the 'baddie'. Dinah Sheridan was already a veteran of some dozen films by this time and she gives a competent if unspectacular performance but she does look lovely. We do, thankfully get some light relief in the form of Moore Marriot who seems to be reprising his popular character Harbottle from the Will Hay films albeit with an Irish accent.
All in all, a film of its time with curiosity value only.
I could best describe this film as a very modest drama-cum-musical with a dollop of schmaltz here and there, particularly in scenes featuring the boy Paddy. In other words the hackneyed plot has a bit of everything in it yet probably appealed to a 1940s audience. With an operatic society and gypsy encampment featured, there are excuses for musical interludes of an Irish flavour but they don't blend in well with the action, rather they appear to be there just to prolong the film.
This was John Bentley's first film and he went on to become a stalwart of many a British second feature films particularly in the 1950s and often on the side of the law so it's unusual to see him play the 'baddie'. Dinah Sheridan was already a veteran of some dozen films by this time and she gives a competent if unspectacular performance but she does look lovely. We do, thankfully get some light relief in the form of Moore Marriot who seems to be reprising his popular character Harbottle from the Will Hay films albeit with an Irish accent.
All in all, a film of its time with curiosity value only.