an ambitious but ultimately ineffective debut endeavor.

The movie is wonderful and true, an act of love in all its contradictions and complexity

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

As you can see, others - not many others, granted, but others - liked this movie. I'll leave it to you to figure out why. It's true there are some fine comedians here, like Peggy Cass and Norman Fell. But they aren't given anything interesting to do. Cass's character only writes postcards, and with each new city, remarks on how it is spelled in the local language. That's not enough to create a funny character. Fell has no more to work with.The other characters have no more to them, and so no more chance to be funny or interesting.In general, the jokes are lame, and there are the usual ethnic stereotypes. This sort of rapid bus excursion through Europe, which still exists today, could provide all sorts of humor. But you don't get it here.What a shame.-----------------------The one thing I will say for this movie is that, since it was shot in various European locations in the late 1960s, it does give you a chance to see certain tourist sites like Venice as they once existed but now, overrun with tourists, can no longer be seen. Other than that, it seems hard to believe that a major studio like MGM could have released something that looks so underdone.

Many comments here about how this movie is dated, a throw back to the 60's, full of clichés, and that is a decent assessment, up to a point. But if you look on this movie as a love story, one that actually stays true to the notion that impromptu travel allows for romance to blossom (that might go either way), with characters who struggle with the idea of throwing it all in for love, then this little charmer of a film provides an unusual treat.McShane and Pleshette have an amazing chemistry, each of their characters etched strongly. Enjoy their scenes, a flashy English playboy versus a Midwestern American prude, as they tenderly fall in love, providing the anchor for the other predictable travel/nightmare hi-jinks that occur.

While not a laugh-out-loud comedy, "If It's Tuesday, This Must Be Belgium" is a humorous, affectionate take on group travel that will resonate with anyone who has been on a European bus tour. Ian McShane is the British guide for World Wind Tours Number 225, which will sweep through nine countries in eighteen days. McShane's American tourists include such comedic talents as Norman Fell, Marty Ingels, Reva Rose, Peggy Cass, Pamela Britton, and Sandy Baron. Although not well known for comedy, Murray Hamilton, Michael Constantine, and Mildred Natwick are spot-on funny as well and fill out the bus-load of stereotypes. Murray Hamilton stands out as the congenital cynic who was dragged away from his comfy couch for the trip. Hamilton's expressions and delivery capture the feelings of every male who has submitted to his wife's desire for a cultural experience in a foreign land.The photography by Vilis Lapenieks captures the beauty of a Europe that flits by faster than the group can either absorb or appreciate. Strangely enough, only the Marty Ingels character, who is obsessed with photographing beautiful women to inspire jealousy among his male friends back home, appears to carry a camera. Predictably, a romantic liaison develops between tourist Suzanne Pleshette, who is as lovely as ever, and guide McShane. The Pleshette-McShane relationship, however, shines in contrast to the bloodless attraction between teens Hilary Thompson and Luke Halpin, who had better chemistry with dolphins. However, when the movie hits its target, it is engaging and oddly nostalgic, which the wistful title tune by Donovan underscores. For many, a quick glimpse of European wonders is a once in a lifetime experience whose memories must endure, and McShane emphasizes to Pleshette that tourists like her get an enormous return for their money.Unfortunately, younger viewers may not react to the satire and sharp observations, because the film is firmly set in the 1960's. Veterans of World War II are increasingly rare and few make trips back to the battlefields. Hotels no longer monogram their towels for sticky fingered guests. Carnaby Street is no longer a mecca for mod fashion, and inoculations are unnecessary for European trips. However, anyone who has crossed the pond will recognize that Rome will never be a place to rent a car, American franchises abound in European cities, and yodeling is still an acquired taste. "If It's Tuesday, This Must Be Belgium" is a time capsule for those who want to relive or catch a glimpse of European travel before the EU, the euro, and the proliferation of the English language homogenized the continent and stole some of the fun away. With a bit of nostalgia, some talented comedians, and director Mel Stuart's pacing, which is nearly as fast as the tour bus, the film is gentle fun and above average entertainment.

An all-star cast of 1960s comedians embark on a guided tour to see 9 European countries in 18 days. A very attractive "pre-Bob" Suzanne Plechette is the focus of a young tour guide (and the film), who sees the successful American tourist as his ultimate amorous challenge. Through many very funny situations involving the colorful cast, the two leads eventually fall in love. At the end of the trip Suzanne must choose between champagne and caviar in her metropolitan US home or cheese with cheap wine with a sincere, but common man in Europe. What would Leona do?This lighthearted entertainment certainly reflects the times it was filmed in (1969). American tourists had rightfully earned a certain "reputation" regarding their adventures in Europe (including the affairs of American servicemen in WWII). I was put off more by the constant negative remarks from the Suzanne Plechette character. She acted like a total snob and alienated herself from the other tour members (and the audience) with her superior attitude. I think that not even Bob Newhart (as the bumbling psychiatrist) is man enough for this over-the-top emancipated "woman". This major flaw overshadows an otherwise very pleasant film.