The Wild Affair

A movie which starts strong, with the fiancée of a man who had a bachelor party saying she's entitled to one too, and daring to wonder what's so great about being a virgin anyway. She stares into her mirror and sees an inner alter ego who speaks to her, encouraging her to put on a sexy dress and boots for the office Christmas party, which also happens to be her last day. The conventional path for a woman at the time was to quit her job upon getting married, and this 20-year-old seems to want to have a little fun or a 'wild affair' before setting down to a humdrum domestic life. There's something liberated in the sentiment, as well as in the diversity of casting Nancy Kwan in the lead role.

Unfortunately, the film is also practically an HR training video for inappropriate or illegal office behavior. We have to calibrate ourselves to the 1960's of course, but that doesn't make it much easier to see Kwan told by one of her superiors that she's hypocritical to think a model posing in the nude isn't her cup of tea, because after all, she wears half cup bras, revealing dresses, and alluring perfume, so clearly she wants the attention of the men around her. The big boss (Terry-Thomas) then calls her in to his office to give her a bigger bonus than what the others will receive, all while running his hands over her, telling her that her "sails are in fine trim", and reminiscing over her four years in the office, starting from back when she was 16. (I love Terry-Thomas but ugh). Kwan handles herself well, but it's a recurring theme - every man she encounters comes on to her, some creepier than others, and Kwan is tempted, goaded on by her alter ego. Things get a little crazy in the office when she spends her bonus on large amounts of booze, and co-workers are soon making out and dancing around wildly. One of them, a man whose wife is actually in the delivery room of a hospital at the time, tells her that she has a reputation for having a lot in the window, but nothing in the shop, in other words, that she's a tease.

And that's the trouble, of course. The film is a comedy, so all of these things said or done are viewed with an underlying acceptance, just the wacky situations women needed to navigate their way through at work until they settled down and got married. The film also never really takes advantage of the alter ego either; we don't see it take control of situations to seduce someone, as she never really has any sort of power. That would have pushed the film in a more dramatic or empowering direction, when it really just wants to be a titillating comedy. Even if I chalk up all the problematic behavior as being part of the period, or maybe even look at this as an interesting window into it, the plot just doesn't progress in interesting ways.

Still, with that said, it's not an awful way to spend an hour and a half. Kwan is delightful, and her light playfulness is engaging. There are amusing moments, such as when a drunk stranger gets into the phone booth with her fiancé and the pair carry on a polite British conversation. I also liked seeing silent star Bessie Love in the role of her mother at age 65. My favorite character, though, was the cleaning lady (Gladys Morgan) who reminds her that the old were young once too, saying "You're like a lot of your young sort. You think you invented all this sex business. And we older people, we know nothing about it, I suppose?" Watch this one for her, and for Nancy Kwan.

Nancy Kwan is to be married in a few days, whereupon she will become a housewife. She's a good girl in the early phases of the Swinging Sixties, and she wonders what she is missing.

It's a pleasant and, in the end, rather normative effort, mostly distinguished for its efforts to make a real star of Miss Kwan (who is still alive and working), with lots of cinematic leering efforts of the men to get in a one-night stand with the lovely actress while the getting is good. In the end it is pleasant, if not particularly distinguished.

Some of the casting is rather interesting, with Bessie Love playing Miss Kwan's mother, Bud Flanagan as the building's door man, and Terry-Thomas as her boss -- sans mustache and gap-toothed grin.

I am ashamed to admit that the work of the lovely Nancy Kwan had previously passed me by, but after seeing this delightful film I will check out her other films

This had all the necessary ingredients of a good easy watching distraction. Nancy was delightful in the main part, naturally charming, easy on the eye and with great expression and timing She was ably supported by a number of British stalwarts; including a slightly subdued Terry Thomas, Jimmy Logan and even a cameo from Frank Thornton But it's Betty Marsden who steals the show with a beautiful and touching performance.

Great scenes of a swinging sixties London and I just about old enough to remember this kind of Christmas party! ( which we're always a mixture of fun and sadness, as perfectly illustrated in this film )

Thoroughly recommended viewing.

This long-forgotten film has fortunately been resurrected on DVD and is very amusing to see now, giving us so many glimpses of what things used to be like in that faraway age when people tried to throw what was then considered a wild party. It stars Nancy Kwan, wearing dresses specifically designed for her by Mary Quant and with a hair cut personally invented for her by Vidal Sassoon. Nancy Kwan was a pretty and vivacious half-Chinese Hong Kong girl who had caused a big stir amongst audiences not long before by being 'discovered' and starring in two big hit films, THE WORLD OF SUZIE WONG (1960) and FLOWER DRUM SONG (1961). She was particularly popular in America in the sixties, where she was enthusiastically regarded as a breath of fresh air with an alluringly exotic tang. People thought then that she looked very Chinese, but in retrospect, we can see that she looks only vaguely Chinese, as we have seen so many more of them by now. Three years into her new career, she starred in this film in order to show that she could be an excellent comedienne. She carries it off very well, and readily dominates the screen with her personality. Apart from Kwan, the finest performance in the film is by Betty Marsden, as Mavis, who is spectacularly effective in her supporting role. Marsden was one of the best British character actresses of her time, and she died in 1998. The famous Bessie Love plays Kwan's mother. Love appeared in 246 films during her career, commencing in 1915, and continuing for the next 68 years. She was a true veteran of the silent screen from its very beginnings and she knew and worked with all the legendary creative figures who created the American movie industry. One particularly interesting appearance in the film is by Frank Thornton, an assiduous wine salesmen looking younger but playing exactly the same character as he was later to appear in the TV series ARE YOU BEING SERVED? (1972-1985), which was one of the most hilarious and best loved TV comedy series ever made in Britain. It is fascinating to see Thornton honing that same punctilious persona nine years previously, and doing an excellent job of it too. (Those interested in the origins and history of ARE YOU BEING SERVED?, please note.) I wanted to obtain this DVD because I am interested in the films of director John Krish, and this was one of his early works which no one had seen for decades. I used to know him slightly in the late sixties when he lived in the Vale of Health in Hampstead. I attended the premiere of his film DECLINE AND FALL (1968, from the Waugh novel, see my forthcoming review) at that big cinema in Lower Regent Street which used to be called the Paramount, or perhaps then it had even an earlier name. John was a very nice bloke, and highly talented. I never understood why he did not become a famous director, and remained semi-obscure. He does a good job of directing this 'comic romp', as it would have been called in those days. Terry Thomas has a supporting role, but got star billing because of his fame at that time. He gurns and grimaces but has little else to do. He helped draw the punters into the cinema though. Victor Spinetti has a good part and does well, and Frank Finlay excels as an obstinate drunk who invades a phone booth and accosts someone else who is making a call, and tries to get him to join him for a drink. He does this completely straight, which makes it even funnier. The excellent cinematography was by Arthur Ibbetson, assisted by his trusty operator Paul Wilson. They had a considerable challenge filming most of the story in a very cramped studio set, and I don't know how they managed to squeeze in with their camera sometimes, especially in the scenes where people have passed out on top of one another in heaps at the party, so that even the actors were tripping over them. John Krish wrote the screenplay, from a novel by William Sanson called THE LAST HOURS OF SANDRA LEE. Sanson was a very prolific writer, who died in 1976, and who does not appear to be much remembered today. One of his novels was called PROUST, though whether it was about Marcel Proust or not I cannot say. An article about Sanson appeared in the London INDEPENDENT in 2008 informing us that 'William Sanson was once described as London's closest equivalent to Franz Kafka. He wrote in hallucinatory detail … it made his stories hauntingly memorable.' This story is however a comedy, though a satirical one. It might not appeal much to contemporary tastes, but this film met the temper of its time and is very funny when seen in temporal perspective. So much in it which seems unbelievable today was perfectly accurate to what things were like then. Many of the film's characters, now extinct as species, were exactly like that at the time. Yes, such people really existed, though you can hardly believe it now. The film is a real time warp for the manners and mores of 1963 London, shot just months before it became 'Swinging London' (that happened in the autumn of 1963), and released in December, not long after a group of youngsters called the Beatles blew traditional England right out of the water.

The only thing of note in this very unfunny outdated comedy is that this is the last film appearance of Bud Flanagan.