Boobirt Stylish but barely mediocre overall

Claysaba Excellent, Without a doubt!!

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

malcolmgsw I was fortunate enough to be at the FBI Southbank when Jessie appeared with Michael Balcon at a Guardian lecture and talked a bout how Victor Sa ville gave her the confidence T9 face thé camera.Gros is one of the greatest thirties musicales.To thé American reviewer who claimed that any MGM musical such as Dancing Lady were better than this,i would say that they didn't make a memorable musical till Wizard of oz.Most of the rest suffering from elephantitis.

wmschoell Okay, you take a fish-faced actress with a really awful voice and not that much acting ability, give her just one halfway decent song to sing, build a stupid plot around her that lacks not just a believable quality but any kind of charm or humor, and what have you got? Something that isn't even as entertaining as one of those mediocre Republic or Monogram musicals with Gale Storm or Phil Regan, both of whom sang better, and certainly looked better, than Jessie Matthews. There are about a zillion movie musicals better than this one. As for musicals by Rodgers and Hart, just about anything they did is a zillion times better than "Evergreen."

arfdawg-1 Harriet Green, a beloved and radiant music hall star of the Edwardian era, has a guilty secret: She has a baby daughter, born out of wedlock.Harriet leaves her public and flees to South Africa to raise her daughter quietly. The years pass, and now her daughter, Harriet Hawkes, returns to London as a young show-biz hopeful. Tommy, a wily publicity man, knowing that young Harriet is a dead ringer for her famous mother, convinces a theater producer to star her in a new revue as none other than the original Harriet Green, miraculously untouched by old age. The ruse works too well: Now the public believes Harriet is a well- preserved 60-year-old and Tommy is her son. The deception is more than merely inconvenient, because now Harriet and Tommy have secretly fallen in love.Leave it to the Brits to come up with a plot like this. It's entertaining.

bbmtwist I must add to the other raves on this page. This is an utterly charming and delightful film, derived from the London production of a Rodgers and Hart musical. Sadly, only three of their songs are retained, but one is the classic DANCING ON THE CEILING. Five songs by Henry M. Woods and others fill out the score.Matthews is a sheer delight, reminding me of Joan Collins, Julie Andrews, Jane Wyatt and Jennifer Jones, all rolled into one.The plot is cute and its twists and turns are fun. It moves swiftly with marvelous performances and the cinematography, art direction and editing are all top notch.I saw an impeccable print on Turner. Highly recommended to all musical film enthusiasts.The order of songs as they appear in the film:DADDY WOULDN'T BUY ME A BOW WOW (Tabrar) I WOULDN'T LEAVE MY LITTLE WOODEN HUT (Collins/Mellor) A LITTLE SPRINGTIME IN YOUR HEART (Woods) IF I GIVE IN TO YOU (Rodgers/Hart) TINKLE, TINKLE, TINKLE (Woods) DEAR DEAR (Rodgers/Hart) DANCING ON THE CEILING (Rodgers/Hart) OVER MY SHOULDERR (Woods)