La ragazza di provincia

I really must come to the defence of "Let's Be Happy"; a near-forgotten little gem. My family and I enjoyed this film twice,on it's initial release,so I'll admit to a certain amount of nostalgia in my review. This was the last time Vera-Ellen appeared on screen;a pity,given her talent and charm. It's not difficult to share her enthusiasm as she travels to Scotland to enjoy her inheritance and while the plot may be considered tame by the many detractors,there is a naive appeal about the way it all unfolds. Robert Flemyng essays a certain Gaelic charm as he escorts the heroine on a guided tour of Scotland (nice location shots too). This was also the last time Tony Martin appeared on screen in a musical. The songs are pleasant and he is in good voice,particularly singing 'One Is A Lonely Number";a lovely,haunting ballad. Three other musicals released in N. Z. in 1957;"Silk Stockings", ''Funny Face" and "Les Girls",may now enjoy a 'cult' following,but,strange as it may seem, they all irritate me in ways that "Let's Be Happy" does not. I'm looking forward to replacing my poor quality video copy with the wide-screen DVD.

N. B. Since writing the above review, I have purchased the fully restored, wide-screen DVD which I will relish watching forever.

Vera-Ellen presumably enjoyed the trip to Britain six years years earlier to make 'Happy-Go-Lovely' since she returned to make a second musical remake in Technicolor of an old British film - also set in Edinburgh - for producer Marcel Hellman, again with a director and male lead imported from Hollywood. (Since she promptly retired upon completing it doesn't suggest she cared much for the final result.)

Only the British supporting cast (including a few authentic Scots) and actual shots of Vera-Ellen in Paris and Edinburgh - as well as the rather drab look of the piece overall - confirm that it was indeed made in Britain since it remains largely studio-bound; while the musical numbers are stagy and look shoe-horned into the film.

The annoying, ever-present incidental music by Nicholas Brodsky is at least the subject of one nice little joke on the soundtrack. While the rare opportunity it furnishes to see Zena Marshall in Technicolor is sadly compromised by the fact that they've made her a harshly made-up brassy redhead on the make.

A minor 50's musical with the unusual backdrop of Edinburgh! Vera-Ellen is the biggest name, if that's any gauge, and she seems to have been cast for the circumference of her cinched waist. Watch her attempting to obey the direction to NOT look in the camera: her eye movements bring to mind Carol Burnett's over-the-top Norah Desmond.

The storyline has a slightly screwball premise so dear to musicals; 'young' Jeannie [Vera-Ellen in her last major role] goes to Europe for a vacation and spends her entire inheritance of $4000; two cads, one a helpful Yankee [Tony Martin, stalwart of lesser musicals and Cyd Charisse's husband] and the other a poor Scottish laird [Robert Flemyng] who believes her to be a million-heiress vie for her affections. An odd jazz-ballet number reminds you it was made in the late 50's. The city of Edinburgh and some stunning gowns co-star. ** out of **** stars

An independent feature made at the very, very end of the movie musical's golden age, and the desperation shows. Vera-Ellen, looking unhealthily slim and not dancing much, is a Vermont lass who inherits enough money to fly to Edinburgh, where she keeps running into Tony Martin and is wooed by impoverished lord Robert Flemyng. Martin, looking beefy and well past his leading-man prime, sings everywhere--at airport customs, in a Scottish dining car, at Vera's Vermont bungalow--and the songs, by Nicholas Brodzky and Paul Francis Webster, are neatly integrated enough but not what you'd call exciting. Nor is Henry Levin's direction, and even the Edinburgh location shooting looks rather skimpy. Wan storytelling, no-name supporting cast, so-so songs… No wonder it didn't do well.

This film wouldn't ever be listed as a major musical, but I found it likable. There are hackneyed elements to the story but it moves along well and good use is made of minor characters. The two stars obviously both have more than a few miles on the clock - Martin has a very lived-in face, and Vera-Ellen could use a botox injection, but they are both agreeable presences. These days (I'd like to think) their age would be acknowledged in a story line which gave them each a second-time around background, but not in those days. The 50's fashions look great on Vera-Ellen and the redhead opposition. The Paris and Edinburgh locations are milked to advantage. I enjoyed the touches of Britishness in the "lord" and the hotel staff. The dances are sometimes slight, but enjoyable. Altogether quite a lot to like, worth sticking with as a pleasant piece of escapism.