La cousine d'Amérique

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.

I saw this film in glorious Cinemascope and color at the Palace Theatre when it first opened in 1957, and was already enchanted with the dancing charms of Vera-Ellen, certainly one of, if not the best dancers in Hollywood history. No, she didn't sing (always dubbed, although early stage recordings display a fun dancer's voice), and her acting relied heavily on her charm and good looks, but when she danced, watch out!

The film is a slight vehicle for the charms of Vera-Ellen and Tony Martin, star baritone of various MGM films of the 40s and 50s (and as Robert Osborne points out on TCM, you expect this to be an MGM film, but it's one of the few Allied Artists musicals of the period), complete with songs written by composer Nicholas Brodszky (Love Me Or Leave Me). At least it's not studio-bound; it was filmed in 1956 at the dazzling Edinburgh Festival, as well as other beautiful Scotland locales.

You will long to see the original Cinemascope print, but all that seems to exist is a pan and scan version. Better than nothing, and it is the only chance to see the film, which TCM just began showing in the past year, after it had been seemingly lost for the past 20-odd years. But now we need a proper print in the original Scope on DVD. Come on, Warner Archives, you've released every grade B and C film known and unknown, give a little TLC to LET'S BE HAPPY.

I like a lot of the older movies, including B movies and less than stellar musicals. While this one had the Scottish scenery going for it, that's about all as far as I am concerned. Tried to go it, but just couldn't. Too many "ouchies." Vera-Ellen, while good in other things, was a bit painful to watch in this. Same for Tony Martin. The redhead was, to me, hard on the eyes and nerves. The lord character was lackluster.

Surprised at the comments of other reviewers that Cyd Charise should have had the female lead. Good grief. Get some proportion. While Tony Martin was married to Cyd Charise, there is a huge difference in their movie presence and draw. They don't cast parts to be cutesy.

Ms. Charise played and co-starred with major stars in top films. Mr. Martin never did. There's no comparison. This was way too low a production for Ms. Charise. While Mr. Martin enjoyed success as a recording artist, a strong actor, he wasn't. I didn't even care for his singing in this. Forget the acting, on anyone's part.

Definitely give this one a pass - as in pass up. Good performances can override a bad script/plot. That didn't happen here.