I wanted to but couldn't!

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

It’s sentimental, ridiculously long and only occasionally funny

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

An Ealing Studio comedy in 1953, about a annual vintage car rally from London to Brighton and back in two days on a sunny weekend, which is the most exciting activity for lawyer Alan(Gregson) and his best friend Ambrose (More), but for ladies, Alan's wife Wendy (Sheridan) and Ambrose's new date Rosalind (Kendall), they are less psyched, a gesture of support means they cannot renege their full participation.Genevieve, a 1904 Darracq, is Alan's beloved treasure, doesn't function too well en route, slapstick antics and lively squabbles are befitting companies between him and the apathetic Wendy, while Ambrose's harmless teasing of Genevieve (driving his equally unstable 1905 Spyker with the grand Rosalind) comes as handy and formulaic. During their short stay in Brighton, Alan and Wendy scrape in a crummy hotel room (Joyce Grenfell is the high point as the proprietress in a cameo appearance), and there is long-lasting jealousy simmering in Alan's heart, since it is Ambrose, who introduced Wendy to him, he is quite sulky to see Wendy intimately dances with Ambrose, and is intrigued by Rosalind to know what exactly had happened between them before their 3-years-old marriage, especially once Wendy was Ambrose's date in the annual rally. As expected, the topic turns sour quickly, on their way back to London, Alan and Ambrose have a wager on 100 pounds to be the first to reach Westminster Bridge. So the second half is a comical contest, the two teams encounter malfunctions of the cars, patrol officers, road accidents, uninvited interlopers, even skulduggery and a strategic lie to buy their time. At the same time, the hiccup is soft-pedaled among the jovial hullabaloo, we never have another chance to know the history between Wendy and Ambrose. But in the very end, if a man is willing to give up his most treasured thing for a woman, she is the real winner. The quartet performers are sterling and enjoyable, John Gregson brings about a touch of suaveness which reminiscent of James Stewart and Sheridan is a dexterous player exemplifies what a perfect wife should be, they are the immaculate pair on screen; More is outstanding in his carefree mannerism while Kendall neatly nails the face-contorting trumpet mimicking and it is not an easy piece of cake for trophy girlfriends.GENEVIEVE is a light-hearted laughter-generator full of beans, its relatable skits encapsulate Britain's national spirit and character with intuitive zest, at least for its native audience, it is the all-time guilty pleasure.

What surprises me is the amount of adult humor in this British film that would never have been allowed in American features of the time. Consider the unmarrieds, Ambrose and Rosalind, going away for weekends, or Wendy's rather pressing engagement with a nature call, or the not-so-veiled allusions to sexual activity. None of these were allowed in Production Code America as policed by the Legion of Decency who could turn out boycotts on a dime, while Hollywood's studios quaked in fear. Congrats to the Brits for treating adults like adults, even if it was 60-years ago.It is, of course, a delightful movie, with just enough grit to keep things from getting sappy. I loved seeing those picturesque country lanes I hope are still there. Happily, filming in color turned out to be a real plus. However, it occurred to me about halfway through that neither of the two guys, Ambrose or Alan, was particularly likable, rather unusual I would think for a commercial film. Alan, of course, does win wife Wendy's and our respect with his noble gesture toward the old man. But otherwise, the two guys appear defined by their rather small-minded obsession with outracing the other.Nonetheless, the race is a lot of fun, as the two girls look on in bewilderment at the boys' madcap antics. Likely, the real stars, however, are the two wonderful vintage crates that belch fumes and leak fluid, but somehow sputter along. At the same time, that solo harmonica is perfect eccentric accompaniment. Hard to believe the filmmakers could take such a slender premise, small cast, and do it so well. But they do, so don't miss it.

This is one of those films I can just watch time and time again, as indeed we did this evening. It must be 25 years since I first saw Genevieve as an kid; I daren't guess how many times I've seen it since. But every time it still works its magic.It's a comedy, but a gentle one - there's a few real belly laughs to be had, but mostly I'm left with a beatific smile of pure pleasure throughout. The one exception is the scene where dear old Arthur Wontner stops the McKims to admire Genevieve at a crucial point in proceedings; that scene has me welling up with tears every time.The script from William Rose is perfectly judged and paced, and there's enough detail in there to reward multiple viewings. It's quite risqué for 1953, but done in a splendidly subtle way that can only be described as a forgotten art. And as usual, I shall be whistling Larry Adler's magnificent score for days after viewing.I laughed, I cried, I loved the old cars. What more could you ask from a movie? Quite possibly the closest thing to perfection you're likely to see in a movie - and it didn't need special CGI effects and a cast of thousands, just four extremely talented actors, a few old cars and the glorious post-war English countryside.11 out of 10. No, 12! 13!

Beyond the marvelous cars, the jokes and banter between the couples and the quirky soundtrack, it's the moment of genuine and somewhat surprising kindness of the lead actor in the story which really sets this gentle comedy apart. Without Allan's reaction to the old gentleman who admires his car, the movie would otherwise be a one note comedy with jokes and rather nice scenery. The poignancy of the gesture however, allows Allan to quietly and magnificently overcome his obsessiveness, which though amusing at times is also wearing. This, along with the beauty of the English countryside, a component as important as the characters themselves, makes this movie an absolute charmer. The final shot replete with damp mist and fog added the ultimate British ambiance to its delightful conclusion.