The decade which gave us the First World War seems an unlikely subject for nostalgia. On Moonlight Bay, however, is a film which approaches the 1910s in a sentimental, nostalgic way, trying to persuade us that, whatever was happening on the battlefields of Europe, it was a time of a kinder, gentler America. The film centres upon the Winfield family, prosperous citizens of an unnamed mid-western town, and especially on the romance between their daughter Marjorie and her boyfriend William Sherman.

William is something of a radical, with advanced views about politics and the institution of marriage, but as he is the sort of well-scrubbed middle-class radical who always wears an impeccably-tied bow-tie and calls his girlfriend's father `sir', we know that in the end he will turn out to be a thoroughly respectable young man, eager to do the right thing by Marjorie and his patriotic duty to his country. (The fact that he has the same name as a famous general is perhaps a giveaway). The film deals with America's involvement in World War One in the traditional flagwaving manner; it was made at a time when the Cold War had recently become a hot war in Korea, so there is an obvious political subtext.

Set against this romance is a series of sub-plots involving Marjorie's mischievous younger brother Wesley, a sort of American Just William. Wesley is very well played by a young actor named Billy Gray, and his antics provide the film with its most amusing moments.

The film is a musical, and the songs are pleasant enough, although the tunes are not particularly memorable and the lyrics are clichéd in the best `Moon-in-June' style. The film as a whole, although it has nothing of any depth to say and even the political themes are dealt with rather superficially, makes agreeable entertainment, especially on a wet Sunday afternoon (which is when I saw it on TV). 6/10.

Though it doesn't match the captivating staging of Vincente Minnelli's Meet Me in St Louis as a nostalgic period musical, both this charmer and its sequel By the Light of the Silvery Moon, based on Booth Tarkington's delightful Penrod stories, are very much in the same mold as the Minnelli classic; both films provide ideal vehicles for the multi-talented Doris Day, seen here at her most fetchingly tomboyish with her frequent on-screen partner at the time, Gordon MacRae. Their combined vocal talents bring genuine class to the turn of the (last) century tunes, providing a veritable cornucopia of some of the era's most recognizable standards. The pair create an easy chemistry mercifully free of the self-conscious projection so prevalent in many contemporary "feel-good" movies. Billy Gray, as Day's younger brother in his pre-Father Knows Best days was a likable and unspoiled child performer, who brought terrific comic timing in the delivery of his misplaced energies. Mary Wickes as the no-nonsense maid who acts as a kind of chorus to the action, is another notable scene-stealer, in a film which like so many of the early Doris Day musicals leaves this viewer with a warm glow.

Whether you love Doris Day or not, I do always have, On Moonlight Bay is a delightful film that perfectly showcases Day's talents. I agree it is rather slight in the story, but the result is such a charming and very watchable film you don't really mind. Visually, On Moonlight Bay is very elegant, with a warm and cosy feeling thanks to the beautiful cinematography, while the music is superb. Right now, I am actually humming Moonlight Bay, if a film makes me do that that to me is a good thing. The script is very nice and the direction is competent, while the film moves along at a good pace. The performances are fine. Doris brings a fresh and endearing approach to her tomboyish heroine, while underrated Gordon McRae is dashing and Mary Wickes and Rosemary DeCamp are also likable. All in all, delightful and charming, a must see if you love musicals or Doris Day, if you love both this is perfect. 9/10 Bethany Cox