Even though Give Us the Moon ends up going exactly where I expected it to go, the film’s not predictable at all. It opens with Peter Graves’s post-war layabout. He was a war hero, his father (Frank Cellier) is a rich hotelier, he wants to do nothing with his life except enjoy it. Through coincidence, he meets a woman (Margaret Lockwood) who similarly wants to do nothing with her life except enjoy it–this idea of being idle following the war never gets a lot of attention, but many of the film’s characters share the thought–so Give Us the Moon will inevitably be a romantic comedy.

I mean, Lockwood’s got an assortment of fellow layabouts who provide wonderful support and she’s got an adorable, if troublesome little sister (a fantastic Jean Simmons). It’s got all the pieces for romantic comedy, only director Guest takes it in an entirely different direction. Eventually. Graves and Lockwood have immediate chemistry, which their characters recognize in one of the script’s most efficient moves, and for a while Moon stays on its predictable course.

Until Guest deviates, sort of demoting Graves from his position as protagonist, then even demoting Lockwood as his replacement. Instead, the film becomes this wonderful situational comedy involving all her sidekicks, led by Vic Oliver. Oliver’s a con artist, whether he’s trying to get a pound off would-be saviors or getting into a hotel suite, and he’s an absolute delight. The film introduces him, brings him back, starts lingering more on him and then realizes he’s the one to follow. Well, him and Simmons. She’s got a phenomenal arc, even managing to stay relevant when she’s off-screen for some of her character’s best action.

Graves is a charming lead; Lockwood gets some great material towards the beginning before joining the supporting ranks. Cellier’s good as Graves’s disappointed father and there’s wonderful support from everyone, especially Roland Culver, Eliot Makeham and Gibb McLaughlin. Guest’s direction is solid–though filming restraints are a little obvious (although it’s set after the war, Moon was made during it)–and it’s all technically fine. Maybe Phil Grindrod’s photography could be a little better, but it all works out.

It’s a delightful comedy, full of marvelous performances. It’s simultaneously fortunate and unfortunate Graves and Lockwood don’t have a better story arc. It’d be nice to have seen more of them, especially in the second half, but the film doesn’t really need them. There’s so much good stuff going on anyway; Guest’s wrangling of it all is most impressive.

★★★

CREDITS

Directed by Val Guest; screenplay by Guest, Caryl Brahms, S.J. Simon and Howard Irving Young, based on a novel by Brahms and Simon; director of photography, Phil Grindrod; edited by R.E. Dearing; music by Bob Busby; produced by Edward Black; released by General Film Distributors.

Starring Peter Graves (Peter Pyke), Margaret Lockwood (Nina), Vic Oliver (Sascha), Jean Simmons (Heidi), Frank Cellier (Mr. Pyke), Roland Culver (Ferdinand), Max Bacon (Jacobus), Iris Lang (Tania), George Relph (Otto), Gibb McLaughlin (Marcel) and Eliot Makeham (Dumka).