I am putting on a hat just so I can doff it in tribute to the informed and dedicated curators of the “Classics” that the free streamer Tubi acquires, enterprising film buffs who allow fellow film fans the chance to survey the lesser known works of Hitchcock, Carol Reed, Lupino and Lang and others from the cinema’s star-studded history.

“I Know Where I’m Going!” (1945) is a far less famous film from the famed team of Michael Powell and Emeric Pressburger, filmmakers who gave us almost nothing but classics — “The 49th Parallel” to “The Red Shoes,” with “Black Narcissus” and others — some 24 films spanning decades of one of the great collaborations in cinema history.

“I Know Where I’m Going!” is a whimsical, formulaic and lightly romantic WWII production filmed after the conflict’s outcome was no longer in doubt, a late-war piece set amongst the eccentric locals of Scotland’s Hebrides Islands, who also could see The World War’s end on the horizon.

Its heroine is a headstrong golddigger, our hero a cash-poor member of the landed gentry doing his “bit” in the Royal Navy, and the stakes are decidely lighter and slighter than in the team’s “49th Parallel” or “One of Our Aircraft is Missing.”

Before stumbling across it, I had no idea this one existed. And it’s a delight.

Wendy Hiller of “Pygmalian” stars as Joan Webster, a willful young woman whose taste for the finer things and the good life was formed as a child. When we meet her at 25, her modest banker father (George Carney) is shocked to discover she has a “usual” drink at her favorite nightclub, many of the British Rail porters on the Scotland-bound lines seem to know her by name and that she’s engaged to one of the richest men in Britain.

Robert “Bellinger must be almost as old as I am,” “darling” father sputters of the chemical tycoon she’s picked out to make “my dreams come true.”

Daddy is given the bum’s rush as she’s off to Scotland, to Glasgow and then The Hebrides near the island of Kilora, where Bellinger, we gather, has suffered through the war in style and comfort.

But once she’s reached a tiny port where she can motor over to the island, the weather turns. The wizened ferry skipper (Finlay Currie of “Great Expectations”) won’t be making that passage, no ma’am. The charming Royal Navy officer (Roger Livesey) home on leave offers advice and assistance. It takes some doing for headstrong Joan, her eyes-on-the-prize, to be dissauded from camping out on the foggy, then rainy and windswept dock.

The weather “never stays fine for long in the isles,” the locals say. Aye.

Through the local known as Torquil (Livesey, of “The Life and Death of Col. Blimp”), Joan meets the plucky, self-possessed Catriona (Pamela Brown), whose husband is serving in the Middle East, and assorted local characters who lapse into Gaelic by habit and as a means of not saying what they mean in front of the bride-to-be.

We and she are treated to Scottish eccentricity, bagpipers, dancers, “clans” and the “compromise” of sticking the village phone booth at the base of a noisy waterfall.

Torquil is more than he seems, she learns. And as she prays before bedtime that the weather will break and she can meet her monied destiny at the altar, she fears she might be falling for the broke but noble officer’s chivalry and charm.

“People around here are quite poor, I take it?”

“Not poor. They just don’t have any money.”

The research trip for this picture, shot on locations in Mull, Argyll and Bute, must have been great fun and informative. The screenplay is littered with delightful local lore, curses, family rivalries, Viking legends of the whirlpool offshore and the life. And then there’s the language.

“Rum stuff, this Gaelic.” “May your pulse beat as your heart would wish” and lines just like it pass by like screwball comedy banter.

The golddigging nature of Joan’s nuptials earns raised eyebrows before she starts picking up on all the ways the idle rich are merely an earlier incarnation of the “upper class twits” of Monty Python comedy.

The film is a melodrama, labeled “perfect” in its day for the ways it sets up our reluctant couple, tests and throws them together and bends towards a wholly satisfying finale. The time capsule nature of the locations captured add to its charm, with cinematographer Erwin Hillier (“A Boy Ten Feet Tall”) showing a painter’s eye for black and white composition and a documentarian’s grasp of what made these old “great” houses, ruined castles and seascapes so special.

Livesey makes Torquil a tad forward and Hiller does a fine job of a keeping “appearances” proper as Joan, even as she lets us see the attraction.

The musical “Ceilidh” anniversary scene is a singular delight, with romantic longing, thwarted hopes, tradition and lovely singing taking us into a Scotland that even in the 1940s, was vanishing.

The humor is quirky and droll, with a local retired Col. (Duncan MacKenchie) polishing his falconry skills, but perhaps overreaching when he tries to train a golden eagle, prompting deadpan local shepherds to load their shotguns for an eagle hunt when a bunch of their lambs are lost.

Compared to the gravitas of “The 49th Parallel” and “One of Our Aircraft is Missing,” and the strained metaphors of “A Canterbury Tale,” “I Know Where I’m Going” is downright fluffy, feather light, despite a harrowing peril-at-sea sequence that is as polished as anything from the filming tank/rear projection era in black and white film.

If you haven’t started your own survey of Powell and Pressburger films, “I Know Where I’m Going” is a grand place to start, at least until Tubi brings “The 49th Parallel” back to streaming.

Rating: “approved,” TV-PG

Cast: Wendy Hiller, Roger Livesey, Pamela Brown, Duncan MacKechnie and Finlay Currie.

Credits: Directed by Michael Powell and Emeric Pressburger. An Archers (The Archers) release on Tubi, Amazon, et al.

Running time: 1:32