5.2/10
49
5 user

C'mon, Let's Live a Little (1967)

Standard boy-girl malt shoppe doings, with a free speech on campus sub-plot dropped in.

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Cast

Cast overview, first billed only:
Bobby Vee ...
Jesse Crawford
...
Judy Grant
Eddie Hodges ...
Eddie Stewart
Suzie Kaye ...
Bee Bee Vendemeer
...
Mrs. Fitts
John Ireland ...
Rego (as John Ireland Jr.)
Mark Evans ...
Tim Grant
...
John W. Grant
Jill Banner ...
Wendy
...
Melinda
Joy Tobin ...
Joy
Frank Alesia ...
Balta
...
The Beard
Don Crawford ...
Jeb Crawford
Tiger Joe Marsh ...
Spuko
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Storyline

Standard boy-girl malt shoppe doings, with a free speech on campus sub-plot dropped in.

Plot Summary | Add Synopsis

Plot Keywords:

teenager | See All (1) »

Taglines:

Let's Sing! Let's Rock! Let's Make The Scene!

Genres:

Comedy | Musical

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Details

Country:

Language:

Release Date:

3 March 1967 (USA)  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Soundtracks

Back-Talk
Written by Don Crawford
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User Reviews

 
"American corn"; utterly horrible must-see; portends today's "retro" US society
11 August 2005 | by (x x x) – See all my reviews

This corny 1967 film could yet earn itself a serious camp following. I stumbled onto seeing it and thought it must date from the late '50s. Boy was I wrong. It was shocking that someone in Hollywood actually made something like this in 1967. It comes off like they were still trying to save "mainstream" (read white) American youth from the dangers of soul and r&b music and such. Much in this movie seems to fit in well with today's full throttle attempts to throw (not turn) back the clock. Jackie De Shannon, Bobby Vee (whom I don't remember except the name), and also singer Kim Carnes who made this one film appearance. As an American in and from the Upper South I did not find that this film offends the South. It offends everyone in it. Actually one has to brace oneself for its backasswards gender attitudes expressed by some of the guys. Without giving everything away I'm left guessing that (stereotypically) the tail-end of this film (the cinematic equivalent of "the back of the bus") seems to advocate nonverbally the existence of Equal Opportunity Corniness. Some critics have dismissed this poor film as a bomb. They're right. But there's much more to it than that which makes it worth seeing. ... a jaw-dropping, side-splitting, cautionary reality check on today's societal resurrection of the whitebread past.


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