A gold-digger hopes to land a rich husband in Trinidad, but gets mixed up with a beach boy and voodoo.A gold-digger hopes to land a rich husband in Trinidad, but gets mixed up with a beach boy and voodoo.A gold-digger hopes to land a rich husband in Trinidad, but gets mixed up with a beach boy and voodoo.
Irving Bacon
- First Reporter
- (uncredited)
Juliette Ball
- Black Native
- (uncredited)
Harry Barris
- Master of Ceremonies
- (uncredited)
Brooks Benedict
- Nightclub Patron
- (uncredited)
Hillary Brooke
- Wife
- (uncredited)
Ralph Brooks
- Nightclub Patron
- (uncredited)
Gene Cale
- Dancer at the 'Fuddy Duddy'
- (uncredited)
Ben Carter
- Joe Brown
- (uncredited)
Storyline
Did you know
- TriviaOne of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since; its earliest documented telecast took place in Seattle Thursday 25 December 1958 on KIRO (Channel 7); it first aired in Phoenix Saturday 25 July 1959 on KVAR (Channel 12); at this time, color broadcasting was in its infancy, limited to only a small number of high rated programs, primarily on NBC and NBC affiliated stations, so these movie showings were all still in black-and-white. Viewers were not offered the opportunity to see these movies in their original Technicolor until several years later.
- Quotes
Pete Hamilton: With your charm and my conniving, there's nothing to worry about.
- ConnectionsFeatured in Crimes and Misdemeanors (1989)
Featured review
Enjoyable only as an artifact, Paramount's Technicolor musical "Happy Go Lucky" is a film I'd never heard of, despite a terrific cast. Obviously a flop, it still has failed to attract residual film buff attention, now a YouTube freebie.
The movie is pleasant enough, with a Norman Panama/Melvin Frank script, plenty of songs and a completely escapist atmosphere for audiences weary of WW II, but it doesn't connect. At first, with its tropical island setting and cutesy humor it seemed to have endless camp appeal, but no Carmen Miranda to put it over the top.
Instead, Mary Martin and Betty Hutton are appealing in nothing roles, while DIck Powell and Eddie Bracken sweat their way through assignments beneath their dignity. One interesting element has several Black performers cast in decent-sized supporting parts and treated respectfully, rather than only subservient bit parts. But they are not American roles, but instead Caribbean characters.
One odd touch, the Calypso song here "If You Wanna Be Happy for the Rest of Your Life..." (a/k/a "Ugly Woman") falls flat, yet given a different beat, became a Number One novelty hit in 1963 performed by Jimmy Soul. And Jimmy McHugh's "Let's Get Lost" performed by Mary Martin subsequently became a jazz standard after being introduced here, ultimately used as the title for the Chet Baker 1988 docu.
The movie is pleasant enough, with a Norman Panama/Melvin Frank script, plenty of songs and a completely escapist atmosphere for audiences weary of WW II, but it doesn't connect. At first, with its tropical island setting and cutesy humor it seemed to have endless camp appeal, but no Carmen Miranda to put it over the top.
Instead, Mary Martin and Betty Hutton are appealing in nothing roles, while DIck Powell and Eddie Bracken sweat their way through assignments beneath their dignity. One interesting element has several Black performers cast in decent-sized supporting parts and treated respectfully, rather than only subservient bit parts. But they are not American roles, but instead Caribbean characters.
One odd touch, the Calypso song here "If You Wanna Be Happy for the Rest of Your Life..." (a/k/a "Ugly Woman") falls flat, yet given a different beat, became a Number One novelty hit in 1963 performed by Jimmy Soul. And Jimmy McHugh's "Let's Get Lost" performed by Mary Martin subsequently became a jazz standard after being introduced here, ultimately used as the title for the Chet Baker 1988 docu.
Details
- Runtime1 hour 21 minutes
- Aspect ratio
- 1.37 : 1
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