Jugendliebe - Drei Tage Ferien...

Based on a play it is no too stagebound.Frank Cellier for once does not play a villain.The only real problem is who on earth would have a crush on Derek Farr.Only a lovstruck 18 year old.

Based on a play. A group assembles in the run-down country cottage owned by one couple. Their son's mousy would-be girlfriend takes on his glamorous 'latest', a haggard clothes horse with a ridiculous 40s hairdo. She asks her hostess if the family dresses for dinner. No, she says, because we don't have it. We have supper - something, and cheese and biscuits. As the mother goes out, the girlfriend mutters "cheese and biscuits". Sounds like nothing, but it's a very funny moment. Everyone is somewhat obsessed by food, but it was just post-war, and shortages and rationing ruled people's lives. No wonder Dad and friend Adrian go poaching salmon, which gives Adrian courage to propose to the lady he admires. Plus there's the ghastly village hall concert and antics of obnoxious rich party-goers. Everyone acts their socks off, including the wasps at the picnic. The salmon just has to play dead. By the way, it ends happily.

For anyone born in the UK before about 1935 (as I was) this movie will bring back memories of austerity, such as very few cars and very little food and primitive plumbing. We all had to make do with what we had; the top rate of income tax was around 95%. Nevertheless the middle classes had those delicious cut-glass English accents; "thanks" was pronounced "thenks". The lower classes such as the old poacher, spoke their lines in broad accents and were usually considered to be comic characters.

That has all changed now. This movie is good entertainment but also of value to the social historians. It is the way the British coped with the rigors of victory after WW II, i.e. paying off the huge loans owed to the USA while trying to become a socialist society.

Another effortlessly charming ensemble British comedy about a deliciously erudite group of middle-class city slickers whose blissfully bucolic sojourn in their politely ramshackle country abode very soon impolitely turns into a splendidly silly series of splendiferous larks, pratfalls, misadventures, and wonderfully barbed badinage! 'Quiet Weekend' is thankfully never twee, wholesomely funny, undeniably edifying fare, being divinely nostalgic fun, no less crisply satisfying than a freshly cut cucumber sandwich, frequently frothier than a barrel of ginger beer, feisty familial intrigues, burgeoning love affairs, petty jealousies, rain-drenched picnics, and pulse-pounding bouts of midnight Salmon poaching, 'Quiet Weekend' is a far from sedate affair, an enormously good-natured, decidedly classy comedy that is bound to revivify one's flagging spirits like the bracing mustard-infused baths so blithely prescribed by the likeable Royd family's preternaturally capable matriarch Mildred Royd (Marjorie Fielding).

The occasional attractive outdoor scenes simply throw into even sharper relief just how tinny and studio-bound the rest of this trivial sequel to 'Quiet Wedding' is as the cast just stand around and talk. And talk. And Talk.

Two unexpected bits of casting are worth remarking upon though. Frank Cellier takes a break from representing cold-hearted capitalism to play a rather jolly and romantic old cove for once. While it also preserves for posterity in her stage role the bright-eyed and bushy-tailed young Barbara White who after only a handful of other film roles married Keiron Moore (who murdered her in 'Mine Own Executioner') and was lost to films forever.