Ceticultsot Beautiful, moving film.

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Donald Seymour This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

glofau Happy Go Lovely is an appealing British-American co-production starring David Niven, Vera-Ellen, and Cesar Romero, directed by American Bruce Humberstone.The story is a light-as-air romantic comedy about a young American dancer, Janet Jones (Vera-Ellen), who is made the star of a 2nd-rate musical show because her producer-boss (Cesar Romero) mistakenly believes that she has become the mistress/fiancée of Scotland's wealthiest man, greeting-card-mogul B.G. Bruno (David Niven), despite the reality that Janet and B.G. have never actually met. The ensuing story allows David Niven to shine in one of his few truly ingratiating romantic leads, ably abetted by the delightful Vera-Ellen.I love this film. I love Bruce Humberstone comedies. Many of his contemporaries (including movie star Maureen O'Hara) claimed that Humberstone didn't know much about movie making, dubbing him "Lucky Stumblebum" because he kept accidentally making hit movie after hit movie. Humberstone must have had incredible instincts; while none of his films are truly great, none of them are truly terrible, either. And many of them are quite memorable! Humberstone clearly had natural talent.Humberstone films lack an auteur's vision, originality and inspiration, yes. BUT -- and this is a big BUT -- Humberstone had great instincts for creampuff comedy. His taste level was questionable, but I think that's part of his charm. Humberstone's comedies are always fun to watch, enlivened by musical numbers which mystify* as well as entertain.* Mystify because... while they are very smoothly integrated into any given show in terms of pacing, Humberstone musical numbers are also shockingly haphazard, the product of random ideas generated by the talent surrounding each production. This gives the numbers an enlivening spark of kitsch and unexpectedness which amuses intellectuals like me. The numbers vary wildly in quality, but that's part of their pleasure. And the music is produced by some very capable professionals who were also responsible for music of many of the greatest British films of this period.I don't know quite WHY this film is one of my favorite movies of all time. The story is preposterous, but nothing about the film is realistic so that doesn't matter. The film is never boring, but it's not riveting either. Yet, Happy Go Lovely IS a very soothing film to watch... maybe that's why I watch it so much. There is very little tension. Nothing mean or truly unhappy ever happens. The characters have issues and problems, but they're all basically decent human beings. The dark side of life is only hinted at, never exposed. And who doesn't like a good Cinderella story? Especially with David Niven smiling like that, while Vera-Ellen dances up a storm...After a hard day's work, with all of life's stresses and miseries, there is something so life-affirming and refreshing in taking a dip into a kind, happy bubble-bath of musical romance and loveliness, played by movie stars who simply exude charm. Escapism!

blanche-2 Vera-Ellen, David Niven, and Cesar Romero star in "Happy Go Lovely," a 1951 British musical.It's a backstage musical about a show being done in Scotland, the money problems of the director/producer (Romero), and plenty of mistaken identity all around.The story is light and cute, and pretty Vera-Ellen dances beautifully. My problem with this film is the actual musical. It looked lousy, with hackneyed dance routines for the chorus, and the music was forgettable. If it had a few numbers like the musical in "Band Wagon," it would have knocked the film up a few levels and the copyright might have been renewed.Thanks to the cast of Vera-Ellen, Romero, and David Niven, it is quite pleasant. Hard to see graceful and lovely Vera-Ellen without thinking of her sad life, plagued by anorexia, arthritis, and the loss of a child. She was a gentle presence on the screen with beautiful dance ability.

skiddoo 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.

clark-9 David Niven et al are charming in this tale involving the confused identity of Niven's character. The love story and humor were more interesting to me than the musical aspects which seemed rather weak except for Vera-Ellen's dancing talent. Depending on your interest, you can fast-forward these scenes. The confused identity situations seemed more natural and less contrived than most movies and certainly were better than today's TV situation comedies.David Niven is especially good at being David Niven! Ceasar Romero does well, if a little extreme, in his role.