Clevercell Very disappointing...

Claysaba Excellent, Without a doubt!!

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

JohnHowardReid Don't Take It To Heart! is a most enjoyable outing. Greene is pleasant enough as the hero, Patricia Medina (using her charming natural voice instead of that mid-Atlantic accent she adopted for her Hollywood films) makes a spirited heroine. But the real joys of the film lie in that wonderful gallery of British eccentrics that participate in the main plot and help prop up the secondary romance. Some of my favorites are Claude Dampier as an obliging cretin, Edward Rigby as a gladly ill-used servant who has the film's keynote speech and trips a shuffling fantastic through endless halls to answer the telephone, Moore Marriott who is more subdued than his usual totally irascible but gladly plays up to the not overbright Loopy, Alfred Drayton as the rights-conscious Pike, Ronald Squire as a typically imbecilic figure of the landed gentry who mistakes "Auld Lang Syne" for the national anthem, Harry Fowler who is so young here but just as cheeky, and of course Brefni O'Rorke who can dance such a treat when the credits are down.Expectedly, Dell's direction is as imaginative as his script is sprightly. In the opening scenes it seems as if the camera is almost constantly on the move. The special effects are likewise faultless. And the sets, doubtless made over from a real castle, are as impressively vast as picturesque. Eric Cross, later to work with Dell on The Dark Man, provides his usual superlative camerawork.

johndunbar-580-920543 For someone who knows so little about British films, I was delighted to learn more by watching it in the only place one might find it these days: You Tube. It's British humour and therefore one has to be awake to get the full benefit. The British routinely poke fun at themselves, especially their Xenophobia. When a passenger on a bus learns that the driver who drove so badly was a 'foreginer' and 'French' to boot, she simply replied "so there you are". I found the whole thing a delicious and at times an hysterically funny film. Add to that the inimitable British skill at character depiction and a cast of terrific actors to act them out and the result is quite impressive. It's also interesting to note the date of production (1944), Like the Americans, the Brits didn't make film about the War during it; they both preferred to laugh their way to Victory as much as possible. These great film greatly helped relieve the enormous personal stress of those enduring that horror. As Eleanor Roosevelt (if I remember correctly the author) said about the war on the home front: "keep 'em laffing "

Kittyman This picture deserves more publicity. It is a charming British comedy with a great sense of goofiness that the Brits used to do so well.In it, our hero Richard Greene displays the wonderful charm we remember so well from his subsequent "Robin Hood" TV series. As the reluctant Lord (who secretly yearns for commoner vices), Brefni O'Rorke is delightfully wise, subtle, and droll. Even Ivor Barnard, in his brief cameo, is memorable as a French refugee bus driver. (Apparently, he apprenticed in a Parisian taxi.) And scattered throughout the film are many funny bits (such as rival lawyers continually attempting to one-up each other with earlier and more obscure citations.) Indeed, my only disappointment was over the ghost's role. More could have been done with him. Since sheep have a crucial role in the picture, for example, perhaps, as a sight gag, a ghostly encounter might have turned some black ones white. Also, the ghost's fate should somehow have been intertwined with that of the obnoxious plaintiff, who, after the trial, just seems to abruptly disappear, as if forgotten.

m0rphy For regular readers of Imdb, please read my comments of "They Met In The Dark (1944), the correct year, as to why I was attracted to this film starring Patricia Medina.If you read my other critiques you will soon notice that I am a great admirer of the actress Jennifer Jones (now long retired since "The Towering Inferno" (1974)); the obvious connection being that she made 4 films with Joseph Cotton who married our own Patricia Medina.Once again I came across another 1940s film in St.Albans town hall, (Hertfordshire) U.K., which had been hired for a video/book sale and which film I had never seen on UK tv.My theory is that modern tv companies are mostly in thrall to the teen & twenty market because of their high disposable income which attracts advertisers who effectivly finance most tv networks (except the dear old BBC of course) which means films such as this rarely get air time.Modern audiences are generally only interested in "the now" and not in films made in 1944, which even for me is 2 years before I was born.Funny that, because when I was 12 in 1958, I was attracted to Fred Astaire & Ginger Rogers 1930s musicals but history is evidently in the genes of me my wife and son.Nevertheless I have continued to build up my video collection of classic 1940s films which you don't see on tv today and I often play them since despite the multiplicity of tv channels seen today, there is often so much transient rubbish on and even the old movie channels don't seem to have discovered some of the cracking films I have collected from this era.Well, that's the preamble.The present film was a Two Cities production made in 1944 produced by Sidney Box for General Film Distributors (a forerunner of the J. Arthur Rank Organisation) and directed by Jeffrey Dell.For someone like me who saw Richard Greene playing "Robin Hood" in the 1950s ATV childrens' tv serial, it was an added attraction to see Richard playing another role 10 years or so before he filmed this series.I remarked to my wife that the way he brilliantly organised the locals in defiance of the rich "baddy", must have weighed heavily on his c.v. when auditioning for his most famous tv role 10 years hence.If any readers have the book, "Laid Back In Hollywood", the 1998 biography by Patricia Medina, turn to page 24 and you will see a still from "Don't take It To Heart". Patricia does not say much about this film, only rather enigmatically that "...the title could have been giving a message to the audience or to us".Her humourous caption to the photograph below reads, "My parents assured me that there was no incest in our family - so why do I appear to be in love with my look alike?".They did marry for a while but evidently it was more like a brother/sister relationship and they had an amicable divorce before the great love of her life, years later - Joseph Cotton.In this film Patricia's famous vivid dark eyes are very evident.Again turn to page 59 of her biography to see a photograph which she describes as "painful" and which was published in an Italian newspaper the day after with the caption "Gli Occhi" - the eyes.I was relieved she lasted through to the end of the film.This is as much of the plot as I will state: An impecunious earl lives at his stately home " Chaunduyt Court" and disguises himself as a tour guide as he needs the tips left by tourists to live on.It is set during WWII in England and one day a German bomber drops a bomb which releases a 400 year old ghost ancestor of the earl.It also uncovers a manuscript which draws the attention of a young lawyer, Peter Hayward (Richard Greene).He is even more attracted to the photograph of the beautiful earl's daughter Mary, (Patricia Medina).Unfortunatly Mary is betrothed to one of the many "Buckets" who have inter-bred for centuries in the village.She has only met him once but he is now returning back from the war.Evidentally he does not meet the aspirations of Mary's snobby aunt.There is a lot of humour with this name "Bucket" as viewers of "Keeping Up Appearances" with Patricia Routledge will have seen, as to how this name is correctly pronounced.The ghost gives the right pronunciation!A local millionaire with no compassion is trying to block the villagers ancient right to graze their animals on his ground in defiance of common law precedent.Our hero, Peter, organizes an animal demonstration to pubicise the villagers' case.Eventually it comes to a court of law to determine the legal rights and the manuscript is the star exhibit for the defence as it gives clear rights of grazing on the land used for this purpose but now owned by the implacable millionaire.He hires a lawyer to debate ancient common law precendents and again Peter wins the argument going back to the Danish King, Ethelred The Unready!Where his case falls down is whether the 400 year old signature is genuine.It is here I will cease as a spoiler would ruin the fun for any reader who wants to track down this video.Mine is marketed by " British Classics Collection" (comedy).Any UK viewers of my generation who saw the early 1960s comedy tv series, "The Rag Trade" will smile when they see Esma Cannon doing her usual comic "daffy" act.This is a gentle comedy with a few twists and turns to keep you amused and interested.I rated it 7/10.