SPRING IN PARK LANE had been such a success that producer-director Herbert Wilcox and star/wife Anna Neagle reassembled the cast and crew for this similarly named effort. It begins much like IRENE -- Wilcox and Neagle had made the 1940 screen version. Michael Wilding has inherited a dress business and is ready to sell it, until he meets manager/designer Anna, falls in love instantly and decides to help run the business while he pursues her.

There's a lot more comedy in this movie than the previous year's smash success. Wilding mugs outrageously and competitor Peter Graves tries to sing on a couple of occasions. Two dance numbers show up and the whole movie is shot in Best British Technicolor, which is also used to offer a brief fantasy fashion show It also contains Tom Walls last screen performance, as an Irish bobby. In the 1930s he starred in several of the Aldwych farces, transferred from stage to screen. In the 1940s, he moved into major supporting roles. He died a few months after this was released.

Of the six films that Anna Neagle and Michael Wilding made as a team this is the only one in color. Good thing too because for some of the dream sequences and/or musical numbers it was surely necessary.

Maytime In Mayfair finds Wilding a charming but broke aristocrat (apparently Wilding specialized in those roles) who finds he's an inherited a posh dress shop which caters to the aristocracy of which he's one of the poorer members till recently. First instinct is to sell the place, but after meeting Anna Neagle the store manager who runs the places and does some of the designs. Soon enough Wilding has designs on her and that plays into him trying to make a go of the business.

Some nice sequences every bit as good as what was done on this side of the pond with the music, dance, and fashion sequences. Neagle and Wilding have more British charm than you'll see this side of David Niven.

Wilding's rival for the business and Neagle's affections is Peter Graves who is a real snake in the grass, not above a little espionage to steal Neagle's designs. In that he's aided and abetted by Wilding's friend Nicholas Phipps who gets riotously drunk and spills the beans without knowing it.

If you like your British cinema escapist and entertaining than Maytime In Mayfair is for you.

One knows that "Maytime in Mayfair" is going to be a very funny comedy from the crazy credits at the start of the film. Although it's billed as a musical and romance, this is first and foremost a comedy. And a smashing one at that. Anna Neagle and Michael Wilding are the leads as Eileen Grahame (that's, with an "E") and Michael Gore-Brown. They have just a few short dance numbers, and these appear almost as an afterthought in dreams. They are okay, but the film without them would be as good or better as a first rate comedy romance.

The film has a fine supporting cast, especially in Peter Graves as D'Arcy Davenport and Nicholas Phipps as Sir Henry Hazelrigg. One knows right away that there's romance in store for the chemistry between Eileen and Michael. The comedy comes mostly from Michael. Wilding is at his wily best in this rapid-fire witty script. This film has a very good plot and a superb screenplay. If anything, one wonders if Wilding did some ad-libbing with his lines. At times they are so fast and low in volume that's it's difficult to catch all the words.

The setting for most of the film is the posh Mayfair district of London, where Michael has just inherited an exclusive women's dress shop. Actually, it's the top fashion shop in London. Having some connection to title, but being nearly broke, Michael has had to get along lately sponging off his cousin, Sir Henry Hazelrigg. When Michael inherits the dress shop, Henry advises him to sell in order to once again be able to support his easy lifestyle. But, on meeting the shop's beautiful "manageress," Miss Eileen Grahame (with an "E"), Michael instead decides that he and cousin Henry will be partners and continue in the "rag" trade.

The fun starts a little before this, but it gears up at this point. This is a wonderful English comedy. Produced and directed by Neagle's husband, Herbert Wilcox, it's one of several films that Neagle and Wilding made together. This is a sequel to "Spring in Park Lane" of 1948. Although Neagle has top billing and is very good, this is one of several films that shows the comedic abilities of Michael Wilding. His comedy persona and style are similar to those of another Englander who became much more famous on the silver screen after moving to America - Cary Grant. But Wilding had all around talent and could act in drama, mystery and other genres as well.

Others not from England might be interested to know that Mayfair is the most exclusive district in London. It's located on the East side of Hyde Park and North of Buckingham Palace. The Covent Garden district borders it to the East and southeast.

Here are some favorite lines from this film. For more funny dialog, see the Quotes section under this IMDb Web page of the movie.

Michael, as Lady Manbury walks off in a huff, "I mean, I'm so sorry that no one ever insulted you before."

Eileen, "It might interest you to know that her name is Lady Manbury-Logan-Manbury." Michael, "Oh. It may interest you to know that my name is mud."

Lady Leveson, "Won't you sing just one more song for me? Just a little one?" D'Arcy Davenport, "Oh, my voice is so tired. You really must excuse me." Lady Leveson, "Oh, of course. We mustn't overwork that glorious organ of yours, must we?"

Eileen, "Well, I think you'll be more comfortable in the office." Michael, "I don't think so. You see, I'm a little bit scared of meeting the old battle-ax." Eileen, "What old battle-ax?" Michael, "Oh, the manageress." Eileen, "Oh, I see. Oh well, follow me." Michael, "Oh, I suppose it's best to get it over with"

Eileen, referring to D'Arcy, "Extremely good dressmaker." Michael, "Sweeney Todd wasn't a bad barber."

Michael, lunging into a taxi beside Eileen, "Hello. Mind if I share your taxi?" Eileen, "You haven't given me much choice, have you? Where can I drop you?" Michael, "Oh, I don't wanna be dropped." Eileen, "Don't you?" Michael, "No. That's why I'm here." Eileen, "Then you can drop me." Michael, "Oh, that's not a good idea either.

Henry Hazelrigg, "Imagine turning up to ride an elephant in suede shoes."

Michael, "I think you have a friend of mine in cold storage." Inspector Hennessey, "Oh, he's a friend of yours, is he? I had to put him in the cells. It was the only way to stop him from talking. Bring the body in here, officer."

Henry, "A direct descendent of old Clam Chowder, a blabber and a fifth columnist. If this comes out, you know. I shall be ruined."

D'Arcy Davenport, "Eileen. Did my eyes deceive me, or did that fellow actually kiss you?" Eileen, "There's nothing wrong with your eyesight, D'Arcy."