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An American businessman visits London and is horrified to discover his nubile teenage daughter has become involved with a gang of thuggish "beatniks". Her involvement leads to wild parties, sex, death and necrophilia.
I'm a big fan of 60's British music and films and this quirky if slight movie marries both in a peppy attempt to show how swinging England got its nickname.
Of course it's dated greatly particularly its attitudes towards sex and by extension women, but it retains a bright playfulness, backed up by enthusiastic acting from its mostly young cast. Mind you Barry Evans and Judy Geeson aren't quite Tom Courteney and Julie Christie, and a lot of the scenes seem pretty meaningless, but driven by Evans' to-camera pieces from the outset and taking in some other tricksy pseudo-surrealistic dream sequences, flashy camera work, a touch of farce here, a touch of orgy there, while it's attractions are a mite thin, at least they're just about present and correct.
The story itself amounts to little more than Evans' trying to get his end away, moving ever steadily up the ladder of the local female population in pursuit of his dream girl Judy Geeson only to learn that she has the same outlook towards men as him, only her dream doesn't stop with him. By the movie's end our fresh-faced hero is just about ready to settle down, bewitched by a beguiling smile from a young Diane Keen, at the age of it seems 18 or 19 at most.
The film is shot in a bright clear fashion, with contemporary pop music prominent in the background - Traffic's title song is ace and gets a few airings throughout. It was funny to see practically all the leads in the popular early 70's sit-com "Doctor at Large" in frame at one point - one almost expected James Robertson-Justice to barge in on the odd scene! There's a mildly surprising frolicsome nude scene between Evans and Geeson near the end, but in truth this is only a little more surprising than seeing Geeson in long trousers just before it - every other female in the film is apparently wearing a mini-skirt.
So then, while being far from the best of the British pop-art cinema of its time, it retains an odd, slightly endearing attraction to the likes of me, who just missed out on being a teen in the 60's. Based on the evidence here, it looks as if it was this generation and not its predecessor that never had it so good (and you can interpret "it" any way you like!)
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