Jessie Matthews has the name part, which she created on the stage. The screen adaptation and dialog is, for picture purposes, a better story than the stage version. It is more definite and coherent. Benn Levy and Lorenz Hart wrote the original musical for C. B. Cochran.
In 1909 (this is the plot) Harriet Green is London’s pet singing comedienne, making her farewell appearance at the old Tivoli prior to her marriage to a marquis. That night the father of her child, whom she believed to be dead, turns up and demands blackmail. She places the baby girl in the charge of a faithful maid and disappears.
Twenty-five years later the daughter seeks a job in the chorus and is recognized by the mother’s old understudy, now the widow of an ancient lord. Daughter is foisted on the public as the original Harriet Green and starred in an elaborate musical. This gives scope for Edwardian and modern costuming and ample advantage is taken of the opportunities.
It is the astonishingly competent performances by the principals that is most impressive. They embrace, in addition to Matthews, Sonnie Hale and Ivor McLaren, Betty Balfour and Barry MacKay, all good.