Director: FREDERICK WILSON. Screenplay: Diana Morgan. Based on the 1930 novel by Eric Linklater. Photography: George Stretton. Film editor: Peter Bezencenet. Music composed by Clifton Parker, played by the Royal Philharmonic Orchestra conducted by Muir Mathieson. Song, "Half a World Away" by John Leighton and Colin Forster. Production designer: Douglas Daniels. Associate art director: Roy Oxley. Set decorator: Denys Pewitt. Camera operators: Bill Allan, Arthur Ibbetson. Special effects: Francis Carver, John Gow. Set continuity: Connie Willis. Dresses: Eve Betts Ltd. Wardrobe: Monty Berman Ltd. Transparency photography: Kenneth Danvers. Transparency projection: Charles Staffel. Production planner: John Defries. Frame supervisor: Geoffrey Woodward. Assistant producer: Ralph Nunn-May. Production manager: Denis Holt. Assistant director: Jack Martin. Sound editor: Len Trumm. Sound recording: Charles Knott, Gordon K. McCallum. Western Electric Sound System. Producer: Donald B. Wilson.Copyright 1949 by Aquila Film Productions Ltd. Presented by J. Arthur Rank. Released in the U.K. through General Film Distributors: 8 August 1949. Never released theatrically in the U.S.A. but available to television stations through Walter Reade. Australian release scheduled through British Empire Films but never released. 79 minutes.SYNOPSIS: In spite of the fact that direction is rather ragged, this adaptation of Eric Linklater's delightful novel is really good fun.PRINCIPAL MIRACLE: Great special effects, but unless you're an expert you won't notice them-which is the way special effects should be.COMMENT: I enjoyed Linklater's novel, but I found this movie version a little disappointing. Playing, direction and writing tend towards knockabout slapstick rather than sparkling wit, and tend to embrace conventionalities rather than try anything too fresh and original. Nonetheless, it's a very pleasant - if highly forgettable - experience for those unacquainted with the far richer and infinitely brighter entertainment provided by the book. Fortunately many of Linklater's characters-a gorgeously bizarre bunch-are preserved to a fair degree, and the players are absolutely entrancing. True, the director has obviously encouraged Joyce Grenfell to over-adorn her characterization, but the principals, as noted above, are a delight. Barbara Murray makes a lovely Nelly Bly, whilst John McLaren is suitably charming as an American collector and Roddy Hughes adds to the fun as a wonderfully frazzled desk clerk.

The more they stay the same. This is an entertaining film if you're fine with the dubious morality of 'the upper class' . Everyone but the thickie policeman and barman are ex Oxbridge and forgive each other the most heinous crimes -- kidnapping and the theft of priceless jewellery because turning them over to the police wight cause a scene. The production is full of inept hotel residents drafted in at the last moment when there are clearly two dozen professional actors in all the minor roles.Wooing 101: Grab the girl, ignore her cries of 'no, no' and force kisses on her. Seconds later she'll be in love with you and won't press charges. Is this where Donnie Trump got his technique from?

Enjoyable romp about an Oxford poet, Saturday Keith, who after complaining about the dreadful food, beer, and accommodations at an ancient country village inn/pub, befriends a lady at the next table whose husband has just bought her the inn. She makes Saturday the new manager, and soon the "Downy Pelican" is a huge success, full of an assortment of characters including an American collector, a Professor/critic who wrote a bad review of Saturday's book of verses, the critic's attractive daughter, Saturday's ditsy mother, a maid who likes to snoop around the rooms, and a bartender who collects cigarette cards and has invented what he calls a "Blue Cocktail". This is the kind of place where the guests like to indulge in such things as gossip, bridge, games of croquet on the lawn, and lots of drinks in the pub including an old English concoction, a spiced whiskey drink called "Lamb's Wool".This film is enjoyable, silly fun where the charming old inn is really the star of the whole thing - the kind of place I would love to visit! It is mostly a comedy, but includes a thrown-in mystery involving the "Essex room", the seemingly required car chase scene near the end, and, of course, a romance between Saturday and the attractive daughter. Light, quite entertaining fare - well worth seeing.

This isn't a comedy/thriller, it's a romantic comedy that all of a sudden realises it's meant to be a thriller at approximately 15 minutes to go. It's all set in a hotel in England, owned by Saturday Keith ("he's one of 7 boys, all named after the days of the week!") and its other main players are the various guests that happen to be staying there in one particular week. Reminded me a little of Separate Tables. Now, nothing is explained too well, so halfway through the film you're apt to be thinking "huh? why is so and so doing that?" well never fear because just when it gets thrilling (kidnapping, car chase and all!) near the end, everyone all of a sudden feels the need to explain their story, and almost no one is what they seem. It only runs for about an hour and 10-15 minutes, and even if it's confusing and unexplained for the most part, it still holds your attention (I guess because you're wondering what the heck is meant to be going on), and I found myself really enjoying it. The comedy is splendid, and Joyce Grenfell plays her part to a tee. The romance is sweet, and while some scenes seem a bit ridiculous, it's never tacky or silly. Overall, 9 out of 10. I would have given it a 10 if they'd made things a bit more clear earlier on, and also explained the deal with the play/show/production/thing a little better!