While this takes place at the Edinburgh Festival which started in 1947, I think it is a production suitable for the Fringe, which was originally a group of eight theater companies rejected by the Festival who set up around the edges. The movie makes it clear this is NOT the highbrow entertainment the Festival had in mind! It's one step above Springtime for Hitler but that's about the best that could be said for it UNTIL the lead quits just short of starvation and Vera-Ellen is put in because of her supposed connections to wealth. Cesar Romero's character reminded me very strongly of the character Walter Abel played in Holiday Inn, the hyperactive promoter.
So how is this different from other movies of its kind? It has Scottish actors playing locals not whimsical characters (the only kilt is on Romero) and a cast of Brits of various stripes. I don't know a lot about the British theater of the time but from the few I looked up I'd say they had an embarrassment of riches in the cast and a British audience back then would have seen something different from what I saw.
It has Vera-Ellen dancing her pretty little toes off. It has suave and smiling David Niven which isn't exactly common for a musical. And it has some acting that is genuine. The leads don't behave in the usual feather-headed way that we are used to in these mixed identity plots. The fellow is enjoying the situation and not a bit upset at the deception. There's no declaration of, "You are the only one who is totally honest with me," and then the tiresome, "How can I ever trust you again?" The gal confesses to him before it is absolutely necessary and she isn't angry with him when she finds out who he is. In short, they act pretty much the same way normal folks might act in a similarly bizarre situation and I found that refreshing.
I looked up how much that check would be in today's money and it was BIG.
Vera-Ellen was so talented, her dancing seemingly so effortless. And that rich deep voice, such a contrast to what one might expect from someone her size--definitely different from her delightfully offbeat roommate's voice.
I would have liked more Edinburgh shots but this was a nation still struggling up out of the pit, still rationing some items, still dealing with destruction. So you get what you get and in that it's more Holyrood than Hollywood. If you want more of Scotland of the period, albeit rural Scotland, I'd suggest I Know Where I'm Going, from 1945. And for a movie showing some good outdoor scenes in England I'd suggest Passport to Pimlico, 1949, or The Titfield Thunderbolt, 1953.
So how is this different from other movies of its kind? It has Scottish actors playing locals not whimsical characters (the only kilt is on Romero) and a cast of Brits of various stripes. I don't know a lot about the British theater of the time but from the few I looked up I'd say they had an embarrassment of riches in the cast and a British audience back then would have seen something different from what I saw.
It has Vera-Ellen dancing her pretty little toes off. It has suave and smiling David Niven which isn't exactly common for a musical. And it has some acting that is genuine. The leads don't behave in the usual feather-headed way that we are used to in these mixed identity plots. The fellow is enjoying the situation and not a bit upset at the deception. There's no declaration of, "You are the only one who is totally honest with me," and then the tiresome, "How can I ever trust you again?" The gal confesses to him before it is absolutely necessary and she isn't angry with him when she finds out who he is. In short, they act pretty much the same way normal folks might act in a similarly bizarre situation and I found that refreshing.
I looked up how much that check would be in today's money and it was BIG.
Vera-Ellen was so talented, her dancing seemingly so effortless. And that rich deep voice, such a contrast to what one might expect from someone her size--definitely different from her delightfully offbeat roommate's voice.
I would have liked more Edinburgh shots but this was a nation still struggling up out of the pit, still rationing some items, still dealing with destruction. So you get what you get and in that it's more Holyrood than Hollywood. If you want more of Scotland of the period, albeit rural Scotland, I'd suggest I Know Where I'm Going, from 1945. And for a movie showing some good outdoor scenes in England I'd suggest Passport to Pimlico, 1949, or The Titfield Thunderbolt, 1953.