Production
The film was made through British Film-Makers, a short lived production scheme that operated in Britain in the early 1950s as a co operative venture between the Rank Organisation and the National Film Finance Corporation (NFFC), whereby Rank would provide 70% of finance and the rest came from the NFFC. [5] [6]
Patrick Macnee wrote in his memoirs that he auditioned for the male lead, and Pat Jackson wanted him rather than Anthony Steel, but Macnee had a few alcoholic drinks to calm his nerves and did a poor audition. [7]
The film was shot at Pinewood Studios near London. The film's sets were designed by the art director Alex Vetchinsky. The film was a rare comedy role for Steel, who made it immediately prior to shooting The Planter's Wife (1952). It involved Roc returning to London after two years in Paris, where she lived with her French husband. She and Steel had an affair during the making of the movie which resulted in Roc having Steel's baby. [8] [9]
It was the only comedy Steel made while a star. [10]
Pat Jackson later said "It ought to have been a good film, it had a certain charm, the story had a certain charm. I think I just did it badly, I directed badly, I don't know what it was, it just didn't work. It was my fault and that was it; it was as simple as that...It needed great lightness of touch, which I didn't get... It was all in the script, the script was charming. I think James and I wrote a nice script and he was a great help and a wonderful man, James. But no. I botched it." [11]
Reception
Box office
According to internal Rank documentation, the film's box office performance was "average" with billings of £121,000. [1]
Critical
Variety wrote, "the plot is slender enough, but the script resorts to anunnecessary degree of padding to keep the story moving. It’s mainly played, however, in a light key, with a few chuckles and odd moments of pathos. Film has been smoothly directed, and Patricia Roc and Anthony Steel play husband and wife roles in frothy style." [12]
The Monthly Film Bulletin described it as "a double disappointment from the director of White Corridors ; the poverty-stricken material apart, its staging is uncharacteristically flabby, with none of the polish and professionalism of its predecessor." [13]
Filmink thought the film "starts out interestingly... but spins off into weird, dull subplots about work. [14]
In British Sound Films: The Studio Years 1928–1959 David Quinlan rated the film as "mediocre", writing: "Occasionally funny comedy hasn't sufficient comic situations or invention in script." [15]
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