Nine countries in three weeks, a single bus crowded with over a dozen inexperienced Americans, and a particularly jovial lothario of a tour guide – this is the stage set for If It’s Tuesday, This Must Be Belgium, Mel Stuart’s hilarious cross-country European odyssey that sees cultures clash in the most irreverent way imaginable. Telling the story of Charlie (Ian McShane), an exuberant young British man working for a company that takes visitors on a whirlwind tour of some of Europe’s most famous countries. Along the way, Charlie encounters the several eccentric tourists who make his career choice both frustrating and fully worthwhile – most of all, Samantha (Suzanne Pleshette), a feisty woman in the fashion industry who constantly rebuffs the charismatic guide’s manner offers of a romance that will make her feel more excitement and euphoria than even the most thrilling vacation experience could possibly provide. Her attention is firmly kept on the matter at hand – seeing the sights and sounds of Europe, encountering the diverse cultures and immersing herself in the traditions that they have all watched from afar. However, misadventures tend to ensue – whether it be one of the guests getting on the wrong bus that’s heading in the opposite direction, an over-zealous young man hoping to meet up with some of his long-lost Italian relatives, but accidentally getting forced into an arranged marriage, or the heartwrenching story of a man trying to reconnect with his war-time paramour that he has yearned over for years. All of it converges into three weeks of memorable, and sometimes outright romantic, misadventures throughout Europe.

If It’s Tuesday, This Must Be Belgium is an utter delight of a film – it’s the quintessential comedy that doesn’t rely on anything other than an exuberant sense of humour and a lot of heart in its endeavour to be as entertaining as it possibly can be, without ever attempting to be anything more than it appears to be. Stuart was a filmmaker whose comedic work was often nothing more than thoroughly entertaining, mindless romps that served to enthral and delight without venturing too far into any kind of depth or nuance, while still remaining upbeat and buoyant to the point that they’re simply irresistible, with their shortcomings, whether narrative or stylistic, are overcome but general warmth and humour that allows the film to soar and become such an enduringly quirky, and sometimes even outright brilliant, piece of heartwarming comedy, one that doesn’t take itself all that seriously. Stuart, despite having made some terrific dramas throughout his eclectic career, had always been someone who thrived when making comedy, and like his most well-known film (the iconic Willy Wonka and the Chocolate Factory), If It’s Tuesday, This Must Be Belgium works best when it is at its most cheerful, with the effervescence of the story may eventually make it something of an exercise in predictability, the carefree nature of the story, while not particularly original, works splendidly in the favour of a film that seeks not to enlighten, but rather to give viewers a much-needed burst of light-hearted euphoria that is often missing in comedies that try and make bolder, more impactful statements, while this film just intends to allow us the chance to momentarily have fun – and that makes all the difference.

Ian McShane leads the film, and he’s certainly at his most likeable here – most certainly an actor who was vying to be a major export during the British invasion that was at its peak around this time, If It’s Tuesday, This Must Be Belgium takes full advantage of his rugged charisma and endless wit in constructing a character that would serve as both a shepherd for the sometimes outrageously scatterbrained plot, while still being compelling in his own storyline, which is the cornerstone of the film, at least from the attempts it makes to infuse some coherent flow in an otherwise fragmented narrative that works as a series of vignettes woven together by the main plot. Suzanne Pleshette, an actress who frequently commanded even project she was appearing in, regardless of the size of the role or the screen it was on, takes full advantage of a role that requires very little other than someone to play a feisty woman who is on this trip not only to explore the world but investigate her own quandaries, which manifest in her growing romance with Charlie, shown through her initial defiance and eventual surrender to the desires of her heart. Amongst the supporting cast, If It’s Tuesday, This Must Be Belgium does take some time to establish individual players in its large ensemble, but there are some highlights featured throughout, including Sandy Baron’s foolishly optimistic John Marino, who gets himself into a particularly difficult bind, and Michael Constantine, who brings some emotional gravitas in his role as the heartbroken former soldier who goes on this trip to reconnect with an old flame, only to find that time may heal all wounds, but it doesn’t help with the aching pains of knowing that it progresses, just like our individual growth, and what exists today may not always be there. The ensemble of If It’s Tuesday, This Must Be Belgium is incredibly strong, even when the majority of performers aren’t given all that much to do other than being elements of a wider concept.

There’s really not much to If It’s Tuesday, This Must Be Belgium, as it is blithe, sprightly comedy that moves with a rapid pace – much like the storyline, this film has to traverse many countries and represent their cultures in a satisfying way, where the viewer is getting as much enjoyment from these varying traditions as the characters in the film. You’d not be mistaken for thinking this film was nothing more than a lengthy postcard designed to showcase all of Europe’s finest landscapes, advertising many of the continent’s “greatest hits” in a way that would incite some desire in viewers to visit these places themselves (and even if this was the intention, at least the film presents these cultures with the respect they deserve). However, we shouldn’t disregard that below the rapid pace, there’s an endearing comedy that ventures deep into many different cultures and gives them something of a platform, understandably never being able to focus on any single one of them all that much, but still providing the space for a very American comedy to move beyond the taut geographical boundaries, and instead make an impact from a different perspective. The film may seem like a promotion for a lavish European vacation, with endearing comedy and lovely romance peppered throughout. However, the most significant impact is made when we come to learn exactly how delightfully outrageous this film is – it puts effort into the silliness, in such a way that we never even realize how deeply complex this film actually is. It was a monumental undertaking to make this film, especially since the majority of it was filmed on location. It takes a lot of work to make something look this effortless, and there’s absolutely no doubt that Stuart utilized every possible artistic angle to tell this compelling, if not strangely resonant, story of self-discovery. The film isn’t something to be taken all that seriously, but rather enjoyed as a bit of mindless fun, told with a lot of soul and taking place over some of the most beautiful landscapes in Europe, which all come together to form a truly enjoyable film that will make most viewers yearn for the kind of holiday presented here.