In order to sign Rupert to a contract, the production's major investor forces his agent to send private eye Herbert Greenslade to Birmingham to find Louise.

In this respect it is almost about what it is: fun, in under the wire of a deadline for talented young people to sustain an impression of promise, but not yet a completed work that anyone is exactly prepared to stand behind.

The constant injection of burlesque fantasy—Moore appearing as Beethoven, Mozart, Bach and Valentino amongst others—only highlights the paucity of the basic material, while Moore's endless repertoire of funny voices and facial contortions proves no substitute for a closely timed comic performance.

Similarly, the repeated pans, wipes, jump cuts and bizarre montages that mark McGrath's direction prove no substitute for genuine style but merely underline the inadequacies of the script.

Moore basically plays himself, even fronting his real-life jazz trio, and it works enjoyably enough, with Suzy Kendall suitably kooky and charming as the girl he chases.