Who will remember Hattie Jacques and Dandy Nichols standing in for a chorus line when Arthur Lucan sings 'I Lift Up My Finger And I Say Tweet Tweet' in Mother Riley Meets the Vampire; the dash of Broadway that Ray Bolger brings to his 'Once In Love With Amy' in Where's Charley?; the touching reunion of old chums from underneath the arches of bygone years Bud Flanagan and Chesney Allen in Here Comes the Sun; the flickering pages of Arthur Sullivan's final diary entry ('I am sorry to leave such a lovely day') in The Story of Gilbert and Sullivan; Jean Kent glowingly photographed by Harry Waxman as she looks from an upstairs window into the street in Trottie True; Carol Raye and Peter Graves jogging through the English countryside singing their spring song, and Raye's scintillating dance routine with Jack Billings, in Spring Song; Sid Field skipping around his photographer's studio in London Town; John Baxter celebrating the down and outs of London in Judgment Deferred; Fred Emney tickling the ivories and dusting the keyboard and modeling sensational beach-wear in Fun at St. Fanny's; Billy Fury braving murky weather on Yarmouth quay while contemplating the difficulties of love in I've Gotta Horse; duettists Anne Ziegler and Webster. Booth in a rocky seascape of 'Magical Moonlight' in The Laughing Lady …