A few years ago, I bought several $1 DVD's that contained two movies each. One of them had Three Broadway Girls (an alternate title for The Greeks Had a Word for Them) and this one, Happy Go Lovely. It's basically a backstage musical comedy that takes place in Scotland and concerns mistaken identity involving one of the dancers hitching a ride from a millionaire's limousine. Vera-Ellen is that dancer and-wow, what legs! Ceasar Romero is her producer who takes a chance on her after the original leading lady leaves because he thinks she's dating the millionaire whose car I just mentioned. And David Niven is that rich guy who, when looking for Vera-Ellen, is mistaken for a reporter who's supposed to interview her but gets stalled by Romero. What I've just mentioned may be confusing but (mostly) makes sense if you're willing to check your brain while watching this charmingly screwball comedy with wonderful musical numbers as performed by the exquisite Ms. Vera-Ellen. Romero can be a bit frantic here but Niven becomes hilariously bemused throughout. The print I saw was actually pretty good considering its age and the fact that it's in public domain. And Vera-Ellen does pretty well with her lines since she's not really an actress. So on that note, I highly recommend Happy Go Lovely for movie buffs who love old-fashioned musical comedies.
31 Reviews
David Niven and Cast Charming in Love Story / Musical
clark-928 March 2001
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.
David Niven is especially good at being David Niven! Ceasar Romero does well, if a little extreme, in his role.
Vera-Ellen Musical Vehicle That Rises Above The Norm.
stuartgreenuk17 January 2016
As a huge fan of both Gene Kelly and Danny Kaye from a young age, it was something of a no-brainer for me when I came across this film on one of those public domain movie channels on my old Roku box, and saw that it starred the wonderful Vera-Ellen. Ellen was a co-star of Danny Kaye's in many of his movies, and was of course the unforgettable 'Miss Turnstiles' in Gene Kelly's all-time great 'On The Town.' With that kind of pedigree I am surprised that Vera-Ellen didn't star in more movies, and upon seeing this lovely little film musical, that feeling of surprise has only been strengthened.
Okay, so the plot isn't anything new; dance troupe struggle to get the finance needed to put on their show, and the film's budget is minuscule in comparison to the mega M-G-M Musicals of the period, but don't let either of those two things put you off. Vera-Ellen sparkles as small time singer and dancer 'Janet Jones' while David Niven is wonderfully engaging as the somewhat stiff and reserved B.G Bruno, the successful businessman who comes in to the life of Ellen's character through a misunderstanding.
It's predictable fair, but its two leads make Happy Go Lovely a much better film that it should, and otherwise would have been without them. A thoroughly charming, innocent and enjoyable film.
Okay, so the plot isn't anything new; dance troupe struggle to get the finance needed to put on their show, and the film's budget is minuscule in comparison to the mega M-G-M Musicals of the period, but don't let either of those two things put you off. Vera-Ellen sparkles as small time singer and dancer 'Janet Jones' while David Niven is wonderfully engaging as the somewhat stiff and reserved B.G Bruno, the successful businessman who comes in to the life of Ellen's character through a misunderstanding.
It's predictable fair, but its two leads make Happy Go Lovely a much better film that it should, and otherwise would have been without them. A thoroughly charming, innocent and enjoyable film.
Charming British Musical
jbd1225 September 2000
Charming, little British musical much superior to those glossy MGM musicals of the same period. Although David Niven is top billed, this is Vera-Ellens film all the way. She is dazzling in several dance numbers that range from ballet, tap & modern dance - a very versatile dancer!! DVD quality is good - crystal print, lush & brilliant color, and nice sets - check out that gorgeous stain glass door!! Sound is a bit scratchy. This is my favorite Vera Ellen film - she was never lovelier.
Very nice comedy, strangely poor musical
imdb-80067 November 2010
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!
I liked the film but liked it far less when there was all that dancing....
planktonrules1 November 2015
I understand that musicals and dancing were very popular back in the day. However, in the case of "Happy Go Lovely", the film really worked well and was a lovely comedy but every time they had dance numbers, the tempo of the film slowed to a crawl. It's a shame, but really think eliminating the production numbers or cutting back on them would have helped the film.
The story is set in Edinburgh, which is a bit odd since it's about an American stage production and its leader, Mr. Frost (Caesar Romero). He's in a bind because the production has run out of money and the creditors are threatening to close them down before they can even open. Later, when he and others mistakenly think one of the chorus girls is a rich man's girlfriend, Frost kisses up to Janet Jones (Vera-Ellen) and gives her the lead...hoping to make her rich 'boyfriend', Mr. Bruno happy. The hope, of course, is that Bruno will then agree to finance the show. Here's where the film gets interesting, Janet actually does meet Bruno (David Niven) but thinks he's a reporter. And when she asks him to pretend to be Bruno, he agrees! What's next, apart from a lot of dull dancing? See the film.
I'd give this one a seven. Without all the dancing, I'd probably give it an 8. But the comedy is sparkling and fun and the rest is filler...to much at times.
The story is set in Edinburgh, which is a bit odd since it's about an American stage production and its leader, Mr. Frost (Caesar Romero). He's in a bind because the production has run out of money and the creditors are threatening to close them down before they can even open. Later, when he and others mistakenly think one of the chorus girls is a rich man's girlfriend, Frost kisses up to Janet Jones (Vera-Ellen) and gives her the lead...hoping to make her rich 'boyfriend', Mr. Bruno happy. The hope, of course, is that Bruno will then agree to finance the show. Here's where the film gets interesting, Janet actually does meet Bruno (David Niven) but thinks he's a reporter. And when she asks him to pretend to be Bruno, he agrees! What's next, apart from a lot of dull dancing? See the film.
I'd give this one a seven. Without all the dancing, I'd probably give it an 8. But the comedy is sparkling and fun and the rest is filler...to much at times.
a bit of fun
skiddoo1 July 2010
Warning: Spoilers
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.
Unusual musical
JohnHowardReid12 March 2016
Warning: Spoilers
Actually, I'd give this one: 7.5! It's a really unusual musical comedy as the story and the comedy are both actually far more interesting and entertaining than the musical numbers -- thanks not only to the expert writing of Val Guest, but some fine acting from David Niven, Vera- Ellen, Bobby Howes, Diane Hart and company. I thought the dance numbers were a bit strained -- particularly the street number which ran far too long and way out-stayed its welcome. I watched this one on the Hollywood Comedy Legends disc. The opening reels were just a little blurry, but the rest of the film was really beautiful. It's an absolute must-have for all Niven, Vera-Ellen, Diane Hart and Bobby Howes fans, and Sandra Dorne is in there kicking too!
An enjoyable time watching
jacob-chiong21 July 2008
I find this movie very enjoyable. The plot is simple and easily digestible, the humour is light and clean, and because the storyline involving mistaken identity is quite common, I find myself looking forward to how this movie flesh this story out. Turns out to be very nice. The performance of the female lead is admirable; her portrayal of an innocent, naive girl trying to fabricate some white lies to David's sophisticated role was very charming. I also find Vera's dancing very, very well done. I find myself drawn to her toes as she pranced about the stage effortlessly and flawlessly.
For those who have had enough of profanity-filled movies of today, you will enjoy this movie thoroughly.
For those who have had enough of profanity-filled movies of today, you will enjoy this movie thoroughly.
42nd Street meets Brigadoon meets Wall Street, metaphorically.
mark.waltz7 January 2023
Warning: Spoilers
While there are some plot devices in this musical that are absolutely unbelievable (for example David Niven going from staid, lifeless multi-millionaire businessman to lively romantic man about town without blinking an eye), it is a charming independent British movie with lots to admire. Vera-Ellen gives perhaps her liveliest performance playing an American chorus girl working abroad in Scotland in a stage musical which is about to fold because of the financial issues of its producer Cesar Romero. Her landlady is demanding back rent, and a fashion designer sits outside her bedroom door all night waiting for payment.
However, she has a temperament and quits her show in frustration after an argument with Romero, but for some reason he begins to believe that she's the girlfriend of a millionaire businessman whom nobody's ever seen. Niven, playing the elusive millionaire, is unaware that his chauffeur had picked her up earlier and taking her to the theater and that's how someone mistakenly believes they are involved. Niven, finding out about the deception, pretends to be reporter to get close to her and eventually begins to pose as himself in an effort to find out more about her. The show must go on, and she fears that he might go to jail when she learns that he's given Romero a check signed in his real identity, and of course there's more mayhem before the predictable conclusion.
While the songs are rather generic and the dances similar to basically every Hollywood movie musical of the time, the film itself is colorful and fun and fast moving. Romero gets to be very silly and vain, and Niven of course is dashing and romantic. But it's Vera-Ellen who walks off with the film, obviously dubbed in her singing but dancing beautifully, and there are some charming and funny supporting performances by the ensemble as well, character actors whose names are not as familiar as their faces. I have to call this a film I found much more enjoyable watching years after the first time seeing it on the late late show, the colorful print in very good condition for being in the public domain.
However, she has a temperament and quits her show in frustration after an argument with Romero, but for some reason he begins to believe that she's the girlfriend of a millionaire businessman whom nobody's ever seen. Niven, playing the elusive millionaire, is unaware that his chauffeur had picked her up earlier and taking her to the theater and that's how someone mistakenly believes they are involved. Niven, finding out about the deception, pretends to be reporter to get close to her and eventually begins to pose as himself in an effort to find out more about her. The show must go on, and she fears that he might go to jail when she learns that he's given Romero a check signed in his real identity, and of course there's more mayhem before the predictable conclusion.
While the songs are rather generic and the dances similar to basically every Hollywood movie musical of the time, the film itself is colorful and fun and fast moving. Romero gets to be very silly and vain, and Niven of course is dashing and romantic. But it's Vera-Ellen who walks off with the film, obviously dubbed in her singing but dancing beautifully, and there are some charming and funny supporting performances by the ensemble as well, character actors whose names are not as familiar as their faces. I have to call this a film I found much more enjoyable watching years after the first time seeing it on the late late show, the colorful print in very good condition for being in the public domain.
Getting By With Charm
bkoganbing7 April 2006
I don't think any player in Hollywood history lasted as long as David Niven did given most of the weak films he had to carry by dint of his incredible charm. He could act, got an Oscar for it, but most of the material he did was as light as one ply of two ply tissue paper.
Happy Go Lovely is a case in point. It's a musical and for the most part you'll remember Vera-Ellen's dancing. You'll remember that they are in Scot's costume as the film is set in Edinburgh during their festival. But if you can recall a single song from it you must have a photographic memory.
The plot is light. Vera-Ellen is the American lead in a musical that apparently is getting its out of town tryout in Edinburgh. She starts in the chorus and runs late one day. She gets a lift from the chauffeur of a millionaire greeting card king. Everybody now assumes she's the main squeeze of the millionaire. Doors open up as they've never opened before.
The millionaire is David Niven and he goes along with it and the various situations that are engendered by the mistake. Cesar Romero has some good moments here as the frantic producer of this musical.
In the end though Happy Go Lovely is light and harmless fluff which David Niven did so much of and got so tired of.
Happy Go Lovely is a case in point. It's a musical and for the most part you'll remember Vera-Ellen's dancing. You'll remember that they are in Scot's costume as the film is set in Edinburgh during their festival. But if you can recall a single song from it you must have a photographic memory.
The plot is light. Vera-Ellen is the American lead in a musical that apparently is getting its out of town tryout in Edinburgh. She starts in the chorus and runs late one day. She gets a lift from the chauffeur of a millionaire greeting card king. Everybody now assumes she's the main squeeze of the millionaire. Doors open up as they've never opened before.
The millionaire is David Niven and he goes along with it and the various situations that are engendered by the mistake. Cesar Romero has some good moments here as the frantic producer of this musical.
In the end though Happy Go Lovely is light and harmless fluff which David Niven did so much of and got so tired of.
Great movie to watch when you're having a crappy day
rooprect22 March 2007
I was having just about the worst day of my life. Then I stumbled on this cute film, watched it, and now I'm ready to go out & kiss a streetlamp.
I have to admit, I only watched it for 2 reasons: VERA-ELLEN'S LEGS. But it's really so much more. The plot is actually quite clever and creatively woven. It's almost like a Shakespearean comedy with all of its delightful misunderstandings. And of course there's also... VERA-ELLEN'S LEGS.
The only unfortunate aspect of this film is that the version I purchased (the "100 Family Classics" collection by Mill Creek Entertainment) doesn't have the best video quality, and I've heard the same about the Alpha release. The brightness and contrast are a bit too high, so a lot of the scenes seem bleached out especially when Vera is dancing in a white dress. But I suppose you can fiddle with the controls of your TV set to compensate. I can only imagine how it looked on the big screen back in '51. The stage sets, costumes & colours are otherwise dazzling & delightfully creepy--sort of in a "Cabinet of Dr. Caligari" vein.
As far as the romance goes, this is just perfect. Not sappy, not contrived, not melodramatic. Just 100% ahhhhhh. Too bad, you poor schmucks, your miserable lives will never be as charming as this. Har har har. Wait, what am I laughing at? My life sucks just as bad as yours. Oh hell. Time to watch this movie again.
I have to admit, I only watched it for 2 reasons: VERA-ELLEN'S LEGS. But it's really so much more. The plot is actually quite clever and creatively woven. It's almost like a Shakespearean comedy with all of its delightful misunderstandings. And of course there's also... VERA-ELLEN'S LEGS.
The only unfortunate aspect of this film is that the version I purchased (the "100 Family Classics" collection by Mill Creek Entertainment) doesn't have the best video quality, and I've heard the same about the Alpha release. The brightness and contrast are a bit too high, so a lot of the scenes seem bleached out especially when Vera is dancing in a white dress. But I suppose you can fiddle with the controls of your TV set to compensate. I can only imagine how it looked on the big screen back in '51. The stage sets, costumes & colours are otherwise dazzling & delightfully creepy--sort of in a "Cabinet of Dr. Caligari" vein.
As far as the romance goes, this is just perfect. Not sappy, not contrived, not melodramatic. Just 100% ahhhhhh. Too bad, you poor schmucks, your miserable lives will never be as charming as this. Har har har. Wait, what am I laughing at? My life sucks just as bad as yours. Oh hell. Time to watch this movie again.
cute, but the musical itself should have closed immediately
blanche-216 June 2015
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.
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.
Bobby Howes should have sued.
F Gwynplaine MacIntyre29 May 2005
The oddly-named Vera-Ellen was to movie dancing what Sonja Henie was to movie ice-skating: blonde, girlish, always delightful to watch, but not an especially good actress and usually lumbered with weak material. When I watch Vera-Ellen's sexy apache dance with Gene Kelly in 'Words and Music', I can't help noticing that her blouse (yellow with narrow red horizontal stripes) seems to be made out of the South Vietnam flag. For some reason, the very American Vera-Ellen starred in *two* musicals (made several years apart) set in Edinburgh, a city not noted for its tap-dancers: 'Let's Be Happy' and 'Happy Go Lovely'.
In the latter, Cesar Romero plays an American impresario who for some reason is staging a musical in Edinburgh. There's a vague attempt to link this show to the Edinburgh Festival, which is nonsense: the Festival is not a showcase for splashy leg-shows. We also see a couple of stock shots of the Royal Mile: apart from a few Highland accents, there's absolutely no attempt to convey Scottish atmosphere in this movie. The funniest gag occurs at the very beginning, when we learn that the title of Romero's show is 'Frolics to You': this is a cheeky pun that Britons will get and Yanks won't.
Vera-Ellen is, as usual, cute and appealing and an impressive dancer, but the very few musical numbers in this movie are boring and bad. The plot -- mistaken identity between magnate David Niven and reporter Gordon Jackson -- is brainless, though no more so than the plots of several dozen Hollywood musicals. Romero is less annoying than usual here, probably because (for once) he isn't required to convince us that he's interested in bedding the heroine.
The single biggest offence of this movie is its misuse of Bobby Howes. The father of Sally Ann Howes was a major star of West End stage musicals; his wistful rendition of "She's My Lovely" was a big hit in Britain in 1937. Here, he shows up in several scenes as Romero's dogsbody but never has a chance to participate in a musical number, nor even any real comedy. It's absolutely criminal that this movie -- with a title containing the word 'Lovely', sure to evoke Howes's greatest hit -- would cast a major British musical star but give him nothing to do!
The delightful character actress Ambrosine Phillpotts (whom I worked with once) shines in one restaurant sequence, and there's a glimpse of the doomed beauty Kay Kendall. As Vera-Ellen's confidante, somebody named Diane Hart speaks in one of the most annoying voices I've ever heard: it sounds like an attempt to imitate Joan Greenwood and Glynis Johns both at the same go, but doesn't match either. Val Guest has a story credit, but this movie doesn't come up to the quality of his brilliant comedies. The colour photography is wretched, though I realise that postwar Britain could not afford Hollywood's process work. 'Happy Go Lovely' is at utmost best a pleasant time-waster, with 'waster' being the operative word. I'll rate this movie just 4 out of 10.
In the latter, Cesar Romero plays an American impresario who for some reason is staging a musical in Edinburgh. There's a vague attempt to link this show to the Edinburgh Festival, which is nonsense: the Festival is not a showcase for splashy leg-shows. We also see a couple of stock shots of the Royal Mile: apart from a few Highland accents, there's absolutely no attempt to convey Scottish atmosphere in this movie. The funniest gag occurs at the very beginning, when we learn that the title of Romero's show is 'Frolics to You': this is a cheeky pun that Britons will get and Yanks won't.
Vera-Ellen is, as usual, cute and appealing and an impressive dancer, but the very few musical numbers in this movie are boring and bad. The plot -- mistaken identity between magnate David Niven and reporter Gordon Jackson -- is brainless, though no more so than the plots of several dozen Hollywood musicals. Romero is less annoying than usual here, probably because (for once) he isn't required to convince us that he's interested in bedding the heroine.
The single biggest offence of this movie is its misuse of Bobby Howes. The father of Sally Ann Howes was a major star of West End stage musicals; his wistful rendition of "She's My Lovely" was a big hit in Britain in 1937. Here, he shows up in several scenes as Romero's dogsbody but never has a chance to participate in a musical number, nor even any real comedy. It's absolutely criminal that this movie -- with a title containing the word 'Lovely', sure to evoke Howes's greatest hit -- would cast a major British musical star but give him nothing to do!
The delightful character actress Ambrosine Phillpotts (whom I worked with once) shines in one restaurant sequence, and there's a glimpse of the doomed beauty Kay Kendall. As Vera-Ellen's confidante, somebody named Diane Hart speaks in one of the most annoying voices I've ever heard: it sounds like an attempt to imitate Joan Greenwood and Glynis Johns both at the same go, but doesn't match either. Val Guest has a story credit, but this movie doesn't come up to the quality of his brilliant comedies. The colour photography is wretched, though I realise that postwar Britain could not afford Hollywood's process work. 'Happy Go Lovely' is at utmost best a pleasant time-waster, with 'waster' being the operative word. I'll rate this movie just 4 out of 10.
Happy Go Lovely Legs.
Hotwok20137 July 2016
For my money Vera-Ellen was the best all-round female dancer from Hollywood's golden era. There were better tap-dancers such as Eleanor Powell or Ann Miller, but Vera-Ellen was extremely good at all types of dance including balletic movement. She also had just about the most beautiful pair of legs I have ever seen & they are wonderfully show-cased in this movie. Rooprect in his review says there are two reasons for watching this movie, "VERA-ELLEN'S LEGS". For the ladies there are two handsome, suave & sophisticated men, David Niven & Cesar Romero, but Vera-Ellen's legs are reason enough for me! In his review of "Happy Go Lovely", jacob chiong says the plot is "simple & easily digestible, the humour is light & clean". That very succinctly sums it all up, really!.
Vera-Ellen Stands Out in a Mediocre British Musical
mike4812820 May 2015
Warning: Spoilers
The most amazing dancer: tiny waist and perfect unbelievable legs and figure. A ballerina and tap dancer "extraordinaire". Not quite "full-figured" but otherwise quite adorable. The too few dance numbers spoil the show. There are only about four. The first one is intentionally terrible to show why the "star" is quitting. The showpiece British version of a "Guys and Dolls" or "Broadway-type" number is too pretentious and falls flat. The other numbers are better but still unmemorable. She does a good job considering the limited material she has to work with. Like Fred Astaire, she can make a hat-rack look good as a dance partner. Cute story with two really good actors in their prime: Cesar Romero and David Niven as two fish-out-of-water: An "uncouth" American producer and a Scottish greeting card millionaire who pretends not to be himself! At least it's in color and it's certainly a Vera-Ellen vehicle. Her singing is only fair and it might be dubbed in. I enjoyed it in spite of it's own shortcomings, and you will too. Color is a bit "off" at times and the sound is a "brassy" optical track.
stop the bagpipes!
ksf-214 January 2021
A troop of girls (VeraEllen and Diane Hart) heads to edinburgh to put on a show. so many obstacles to overcome. Bills, traffic, a mean, stubborn stage manager (Cesar Romero). the usual misunderstandings. mistaken identities. and of course there will be a showdown when it all blows up! it's scotland, so gotta have bagpipes. it's all light and fluffy. and not to be taken seriously. David Niven is the stuffy millionaire, who learns a thing or two along the way. it kind of goes on and on. a show within a show film. directed by Bruce Humberstone. directed a bunch of the Charlie Chan films.
Winning Creampuff Musical Comedy
glofau17 June 2017
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!
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!
Harmless fluff but the plot is old hat...
Doylenf27 April 2007
Any movie that gives me a chance to watch VERA-ELLEN dance is worth giving it a view, in my opinion--so I watched this little musical comedy pairing her with charming David NIVEN. It's the old mistaken identity theme played to the hilt by a cast that includes CESAR ROMERO as a harried musical producer with financial woes.
Unfortunately, a clumsily staged opening Scottish number gets the musical off to a bad start with a distinct lack of charm and bad staging. The backers don't seem too enthusiastic about giving Romero a chance to go on with his show--and it's understandable. "Half of you dance as if you're flat footed," he tells the dancers.
When his star walks out, he has no other choice but to turn to VERA-ELLEN...get the picture? Especially after rumors link her with a millionaire in Scotland (David NIVEN) who might provide the right financial backing for Romero's show.
The story is obviously a showcase for VERA-ELLEN and on that level it's a bit of a disappointment. She's pert, pretty and knows how to dance. But poor David NIVEN, as the millionaire, has to wait a good half-hour before he even makes an appearance. He ambles through his role with professional ease, but it's a trifle and he knows it.
Unfortunately, the concentration on a backstage plot doesn't pay off. It's tiresome stuff and the musical numbers are banal, none of the songs making a lasting impression.
Given that it's played as a musical comedy, perhaps that's why the color is a little more garish than usual for a British film.
Summing up: At your own risk. Not a bit of inspiration in any of Vera-Ellen's musical numbers.
Unfortunately, a clumsily staged opening Scottish number gets the musical off to a bad start with a distinct lack of charm and bad staging. The backers don't seem too enthusiastic about giving Romero a chance to go on with his show--and it's understandable. "Half of you dance as if you're flat footed," he tells the dancers.
When his star walks out, he has no other choice but to turn to VERA-ELLEN...get the picture? Especially after rumors link her with a millionaire in Scotland (David NIVEN) who might provide the right financial backing for Romero's show.
The story is obviously a showcase for VERA-ELLEN and on that level it's a bit of a disappointment. She's pert, pretty and knows how to dance. But poor David NIVEN, as the millionaire, has to wait a good half-hour before he even makes an appearance. He ambles through his role with professional ease, but it's a trifle and he knows it.
Unfortunately, the concentration on a backstage plot doesn't pay off. It's tiresome stuff and the musical numbers are banal, none of the songs making a lasting impression.
Given that it's played as a musical comedy, perhaps that's why the color is a little more garish than usual for a British film.
Summing up: At your own risk. Not a bit of inspiration in any of Vera-Ellen's musical numbers.
quite charming
rlundahl928 January 2005
endearing tale........ voted ten against all averages for my age and sex... not all that much comedy (compared to a i almost wet myself movie) although funny enough. not a fan of musicals at all so probably a little too much for me, but they do give you time to grab a drink or soda without missing anything important. maybe a fifties version of when harry met sally? Ahab no not really but if that is in your top ten like it is mine you will like this movie. really it just leaves you with a warm fuzzy feeling, reminding you of what romance could and should be like, something to shoot for. my summary describes it best in very few words..... quite charming
Frolics to You
JamesHitchcock2 March 2019
Vera-Ellen's cinema career followed a similar path to that of her contemporary Jane Russell. Both women were born in the same year, 1921, and both emerged as major stars in the early fifties when they were in their thirties. Like most thirty-something sex symbols their time at the top was a short one, and both retired from the movies before they turned forty. Their screen personas, however, were rather different. Although Russell in her private life was quiet, conservative and deeply religious, she was normally portrayed on screen as a sultry, seductive sex bomb, whereas Vera-Ellen was more the "girl next door" type. Of the two Russell had a rather greater range as an actress; most of Vera-Ellen's films were cheerful song-and-dance musicals. Her Wikipedia biography accounts for her early retirement in terms of a "decline of the film musical in the late fifties", but as this was the period which saw the likes of "The King and I", "South Pacific" and "Gigi", this supposed decline seems to have gone unnoticed in Hollywood. It seems more likely that (like Russell, who reinvented herself as a singer) Vera realised that being a forty-something sex symbol is a difficult trick to bring off.
"Happy Go Lovely", which provided Vera-Ellen with one of her earliest starring roles, is that rare thing, a British screen musical made in the Hollywood style. An American song-and-dance troupe are performing at the Edinburgh festival, the idea of making them American being to allow the producers to import a couple of Hollywood stars and thus increase the film's appeal in the US market. (Besides Vera-Ellen, Cesar Romero also stars). A rumour starts that Janet Jones, one of the chorus girls, is the girlfriend of B. G. Bruno, a successful greetings-card manufacturer and the wealthiest man in Scotland. Because the producer, Jack Frost, is in desperate financial straits, he makes Janet the star of the show, hoping that Bruno will invest in it. (The show has the rather suggestive title "Frolics to You", but the British censors obviously felt that the concealed double entendre was too innocent to object to. The American censors may have been unaware of the fact that "frolics" rhymes with a vulgar British slang expression).
In reality, Bruno and Janet do not know one another, although she comes to his attention when he receives a bill from the theatre's dressmaker. Going to investigate, he eventually meets her and, this being a romantic comedy, the two end up falling in love, although owing to another misunderstanding she initially believes that he is Paul Tracy, a showbiz journalist who was due to interview her. Bruno might be the wealthiest man in Scotland, but David Niven (despite his own Scottish heritage) plays him with an English accent rather than a Scottish one, possibly another concession to the US market, which has always had difficulties with British regional accents.
Vera-Ellen was a talented dancer and makes a sweet heroine, but Niven tends to stroll through the movie without putting in too much effort (as he often could). The songs are all instantly forgettable and the choreography of the dance numbers lacks sparkle when compared with American films of this period. There is perhaps a reason why the British cinema did not make many musicals. Our transatlantic cousins could generally do this sort of thing better than us, even when we shipped in Hollywood stars. 5/10
"Happy Go Lovely", which provided Vera-Ellen with one of her earliest starring roles, is that rare thing, a British screen musical made in the Hollywood style. An American song-and-dance troupe are performing at the Edinburgh festival, the idea of making them American being to allow the producers to import a couple of Hollywood stars and thus increase the film's appeal in the US market. (Besides Vera-Ellen, Cesar Romero also stars). A rumour starts that Janet Jones, one of the chorus girls, is the girlfriend of B. G. Bruno, a successful greetings-card manufacturer and the wealthiest man in Scotland. Because the producer, Jack Frost, is in desperate financial straits, he makes Janet the star of the show, hoping that Bruno will invest in it. (The show has the rather suggestive title "Frolics to You", but the British censors obviously felt that the concealed double entendre was too innocent to object to. The American censors may have been unaware of the fact that "frolics" rhymes with a vulgar British slang expression).
In reality, Bruno and Janet do not know one another, although she comes to his attention when he receives a bill from the theatre's dressmaker. Going to investigate, he eventually meets her and, this being a romantic comedy, the two end up falling in love, although owing to another misunderstanding she initially believes that he is Paul Tracy, a showbiz journalist who was due to interview her. Bruno might be the wealthiest man in Scotland, but David Niven (despite his own Scottish heritage) plays him with an English accent rather than a Scottish one, possibly another concession to the US market, which has always had difficulties with British regional accents.
Vera-Ellen was a talented dancer and makes a sweet heroine, but Niven tends to stroll through the movie without putting in too much effort (as he often could). The songs are all instantly forgettable and the choreography of the dance numbers lacks sparkle when compared with American films of this period. There is perhaps a reason why the British cinema did not make many musicals. Our transatlantic cousins could generally do this sort of thing better than us, even when we shipped in Hollywood stars. 5/10
Extremely sweet and funny
HotToastyRag15 February 2018
When a stuffed shirt millionaire gets mistaken for a penniless reporter, it's a comical delight in Happy Go Lovely. The beautiful Vera-Ellen is a dancer in a theater troupe, headed by the always hilarious Cesar Romero, but they don't have any money to put on their show. By chance, Vera-Ellen gets a ride to a rehearsal from David Niven's chauffeur, and Cesar thinks she's intimately involved with millionaire Niven himself! Naturally, with one of his leading ladies dating a rich man, Cesar plans to exploit him and get backing for the show. When does the meet-cute tagline come in? You'll have to keep watching to find out.
Happy Go Lovely is absolutely delightful, but as cute as the premise is, it wouldn't have risen above B-movie stature without the talent of its three leads. David Niven is pure comic genius, and paired against Cesar Romero, the battle of the frazzled is hilarious to watch. And, as I always say, it's a great bonus to watch two beautiful people fall in love with each other. The Niv is as handsome and studly as ever, and Vera-Ellen gets to show off her beautiful figure and incredible legs. She sings and dances, and her cuteness rubs off on Niv's character, letting his sweetness shine through as the movie continues.
It's not the most well-known backstage musical out there, but it's awfully cute. Unless you actively dislike The Niv or Vera-Ellen-I can't imagine why anyone would-there's no reason why you won't love this darling little romantic comedy. It's sweet, funny, and has plenty of eye candy!
Happy Go Lovely is absolutely delightful, but as cute as the premise is, it wouldn't have risen above B-movie stature without the talent of its three leads. David Niven is pure comic genius, and paired against Cesar Romero, the battle of the frazzled is hilarious to watch. And, as I always say, it's a great bonus to watch two beautiful people fall in love with each other. The Niv is as handsome and studly as ever, and Vera-Ellen gets to show off her beautiful figure and incredible legs. She sings and dances, and her cuteness rubs off on Niv's character, letting his sweetness shine through as the movie continues.
It's not the most well-known backstage musical out there, but it's awfully cute. Unless you actively dislike The Niv or Vera-Ellen-I can't imagine why anyone would-there's no reason why you won't love this darling little romantic comedy. It's sweet, funny, and has plenty of eye candy!
Waste of time and talent
aprilindeecee28 July 2007
Happy Go Lovely is a waste of everybody's time and talent including the audience. The lightness of the old-hat mistaken identity and faux scandal plot lines is eminently forgivable. Very few people watched these movies for their plots. But, they usually had some interesting minor characters involved in subplots -- not here. They usually had interesting choreography and breathtaking dancing and catchy songs. Not Happy Go Lovely. And Vera-Ellen as the female lead played the whole movie as a second banana looking desperately for a star to play off it -- and instead she was called upon to carry the movie, and couldn't do it. The Scottish locale was wasted. Usually automatically ubiquitous droll Scottish whimsy is absent. The photography was pedestrian. The musical numbers were pedestrian. Cesar Romero gives his usual professional performance, chewing up the scenery since no one else was doing his part, in the type of producer role essayed frequently by Walter Abel and Adolph Menjou. David Niven is just fine, and no one could do David Niven like David Niven. At the end of the day, if you adore Niven as I do, it's reason enough to waste 90 minutes on Happy Go Lovely. If not, skip it.
Frolics to You
richardchatten4 October 2019
Producer Marcel Hellman's most determined effort yet to cheer up postwar Britain lavished a Hollywood director, a trio of Hollywood stars, Technicolor and some breaktakingly stagy & vulgar dance numbers upon the usual nonsense (inexplicably set in Edinborough) about mistaken identity which had already done service as 'Paradise for Two' (1937) and would resurface ten years later back in Hollywood as 'Let's Make Love'.
Among the supporting cast it provides the delightful, doll-faced and gurgling-voiced Diana Hart, a rare chance to see Sandra Dorne in Technicolor (in one scene wearing an eye-popping orange dress) a remarkably young and glamorous Ambrosine Philpotts; and stay alert or you'll miss an uncredited Kay Kendall facing away from the camera throughout most of her fleeting appearances as Cesar Romero's secretary.
Among the supporting cast it provides the delightful, doll-faced and gurgling-voiced Diana Hart, a rare chance to see Sandra Dorne in Technicolor (in one scene wearing an eye-popping orange dress) a remarkably young and glamorous Ambrosine Philpotts; and stay alert or you'll miss an uncredited Kay Kendall facing away from the camera throughout most of her fleeting appearances as Cesar Romero's secretary.
Saved by the musical sequences (near the end).
jpstewart-0257820 August 2018
I was 2/3 to3/4 way through watching this, debating on whether to give it 4 or 3 out of ten and with an urge not to watch to the end when a long musical sequence began which captivated me (there had been earlier sequences which hadn't); after that what was supposed to be a comedy got a little bit amusing, so it ends up with a 5/10 score. In addition at the beginning there are brief travelogue shots of 1950 Edinburgh worth seeing. For the rest, there is a good idea for a script but it is only half to a third written; some of the dialogue sequences are actually painful to watch they are so underwritten. Niven is at the worst and also least charming I've seen him for most of it, but I blame that on the script. Vera-Ellen is an adequate actor and very good dancer, and Cesar Romero is better here than in anything else I've seen him in, in that he is not actually playing the exact same character as he usually does; still he is not funny.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
