VividSimon Simply Perfect

Exoticalot People are voting emotionally.

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

malcolmgsw This was the last film for both for Tonyartin,often out of tune,and Vera Ellen,out of form.The story is silly,the music mediocre and the dances are dull.This film highlights all that was wrong with a genre that was going extinct.When this film was being made Bill Haley and Elvis were wowing cinema-goers.The leads were playing a style that might have worked in the forties but was becoming passé.Martin was 44 and Vera Ellen was 36 when this film was made which emphasised the problems of the musicals.All the main musical stars,Astaire,Crosby,Kelly,Sinatra were middle aged and would have to turn to dramatic roles to prolong their film careers.Colour and scope do a lot for Edinburgh but little for the stats

marcslope 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.

verna-a 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.

dubyah1 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