Siete días de amor

It's not as good as the previous "The Young Ones", there is no Robert Morley here, and the music is less first rate. Still it's fabulous entertainment in gorgeous colours and wonderful musical numbers including many outstanding dance sequences. Laurie Peters is a good match for Cliff Richard, and the story is excellent too: a bunch of lads working in a garage decide to leave the dreariness of the climate in England to go for a holiday south, and for that purpose they refashion a London double-decker as a camping bus with kitchen and facilities and go off through all Europe with Athens for a destination. On the way they collect passengers, especially girls, and in France a whole troupe of mime actors join the party and effect marvellous entertainment. There are many ingenious innovations in this film, and the high level of good humour never slackens. The only crooks are some intruders from America headed by Laurie Peters' dreadful mother, but even she is ultimately converted by Cliff Richard. He is no great actor, but he is a fabulous artist, and whenever he performs, he dominates everything. It's a vein of wild good houmour throughout, which can even be viewed with positive digestion and delight more than once. Forget the superficiality, and concentrate on the colours, the entertainment and the consistently wonderful good mood.

It truly is incredible to think a film so good was made so long ago. Incredibly clever scenes were created with such limited special effects available, and the camera quality is watchable. The politics have not stood the test of time. From the border line kidnapping of women that attracts them to the men, to the lack of any pocs that aren't maids, there are serious 'room for improvements'. Although this does not really excuse the behaviour, I do think it's important to remember the period this was made in and not criticize the entire film for that. The songs may be the best bit, but after you watch it they will not leave your conscious mind for at least a month - you have been warned. With such and array of happy and sad songs, it may have one of the best musical numbers of that decade. All in all, it's a great film that everyone should watch at least once in their life.

Summer Holiday finds British pop sensation Cliff Richard cast as a London bus driver who along with three of his mates take a London double-decker bus to Europe and outfit it as a sleep in. If it's successful they want to get a franchise for a fleet of them. Nice entrepreneurship if nothing else. His mates just happen to be the members of the band who back him up.

There are so many numbers in this film that it would qualify as a full blown musical very much along the lines of what Colonel Tom Parker was arranging for Elvis Presley to star in. Personally after seeing two of Richard's films I think he's stylistically more like Ricky Nelson or Frankie Avalon. But the film is an Elvis type musical with a British twist.

Richard's a pleasant enough singer, but Presley beats him as an actor by light years. In his second film the very serious Expresso Bongo, Richard had his best role as essentially playing himself.

The budding entrepreneurs pick up Lauri Peters who was a performer herself and running away from her domineering mother Madge Ryan. If I had a mother like Ryan I'd run away too. Ryan chews two or three sofa beds in her performance, one of the most outrageously overacted I've ever seen. Second to her is Ron Moody who plays a French mime whom the boys pick up while making their trip from France to Athens. The presence of these two people show that like Presley in the USA, Cliff Richard's managers are making sure he gets good support in his films.

In the late fifties and early sixties Cliff Richard was widely regarded, at least in Britain itself, as our answer to Elvis Presley. Both were handsome, dark-haired rock-and-rollers who also ventured into acting, generally in lighthearted musicals designed to showcase their music. There was, however, one major difference. In the early part of his career Elvis was a surprisingly controversial figure whose overt sexuality meant that he was widely denounced in the media and from the pulpit as a degenerate influence on the nation's youth. Nobody ever denounced Cliff; even before he publicly came out as a born-again Christian in 1964 he was widely regarded as a wholesome, clean-cut young man who appealed not just to Britain's youth but also to their parents. (And, in my case, even to my grandmother who ranked "Congratulations" as her all-time favourite pop song).

"Summer Holiday" was one of a number of musical comedies from this period starring Cliff and his backing group, The Shadows. Cliff plays Don, one of four young London Transport bus mechanics who persuade their employers to lend them a double-decker bus which they convert into a holiday caravan. They set off for the continent, originally intending to holiday somewhere in the South of France. They change their plans, however, when they meet a trio of young female singers who are trying to make their way to a gig in Athens. Realising that the girls' clapped-out old car will never make it that far, the boys chivalrously agree to change their plans and to take the girls to Greece. They are also joined by a teenaged American boy named Bobby.

Five boys and three girls seems a rather uneasy recipe for a romantic comedy, even if Don seems uninterested in love and romance, declaring in song his intention to remain a "bachelor boy until my dying day". The odds are evened, however, when Bobby (real name Barbara) is revealed to be a girl in disguise. It turns out that Barbara is a successful pop singer who is running away from her overbearing mother, and this revelation is enough to make Don rethink his commitment to lifelong bachelorhood. The film then follows the four boys and four girls on their journey from France to Greece, via Switzerland, Austria and Yugoslavia, singing appropriate songs at each stop. 1960s Yugoslavia would, on the evidence of this film, seem to have been a rather primitive place, a backward peasant society which had not changed much since the 1360s.

The music is mostly cheerful sixties Britpop, although there are occasional ventures into other genres. "Bachelor Boy" shows the influence of folk music, "Really Waltzing" is a parody of Viennese operetta and "Foot Tapper" the sort of instrumental number in which The Shadows specialised. In "Let Us Take You for a Ride" the lyricist achieved the difficult feat of turning a report on the mechanical condition of a motor-car into a witty number. "The Next Time" is a wistful ballad which, like "Foot Tapper" and the title song, got to number one in the British charts, although today it is less well known than "Bachelor Boy" which was released as its B-side.

The film was a major hit in Britain, grossing more at the British box office than any other film of 1963 except the Bond film "From Russia with Love". It was not, however, a success in America, partly because it opened there two days after the Kennedy assassination but also because the "British Invasion" of American pop culture did not really start until the following year. That invasion was very much spearheaded by the Beatles, and Cliff, along with the other leading figures of the pre-Beatles British rock scene, was never really part of it. Even after 1964 he only had one big American hit, "Living Doll".

Today, "Summer Holiday" might seem to be of historical interest only except for those old enough to remember Cliff Richard in his heyday, for whom it will also have nostalgic value. I must admit that I am not quite old enough to fall into this group, but even so I found a lot to enjoy in it; it is good-natured, tuneful and often amusing. Quite honestly, I found that it stands up better today than do a lot of those Elvis musicals from around the same period. 7/10

Summer Holiday has the distinction of being the first film I saw on TV which I had previously seen during its first run at the cinema. That little black and white TV picture wasn't half as good as the big widescreen colourful film at the cinema.

But the film was always fun. Naive fun, to be sure, but fun nevertheless. An undemanding plot carries just enough dramatic tension to hold together the travelogue across Europe, the leads perform adequately, and the songs contain several classics (The Next Time is one of the all-time great ballads, and the Parthenon setting does it spectacular justice).

Cliff's movies were, for the most part, entertaining, and an important part of a career where he has always tended to keep moving. A shame that his most recent move has been providing free holiday accommodation for Teflon Tony and Cruella.