Permissive

A cautionary tale of Young women following a decidedly average rock band and giving themselves away whenever they can.. I mean lets start with the rock band, these guys are no Jim Morrison or Marc Bolan types, there are more Worzel Gummage lookers with their nicotine stained fingers, who probably smell like a mixture of sweaty socks and rotting sprouts.. they were incredibly plain dull and nauseating, off stage all they seemed to do was walk around in slow motion or sit staring into space and occasionally get it on with one of the young waifs who are strangely queuing up to be with them, goodness knows how they manage to get it up so to speak as they all seem so lifeless and dreary...

The girls don't really seem to know what they want, clearly the band are not that successful in terms of the films story, hence there is no glamour for them to ride on, just a life of long dark motorways, rusty transit vans, being groped by dirty nicotine stained hands and being used then cast aside... as for the busker/preacher character who was shoe horned into the story, the one who lives 'under the stars maaaaan' god that guy was terrible but luckily the segment with him in is only 15 mins or so and of course it goes without saying for a film about groupie girls there is also a very brief lesbian scene tacked into the film before its downbeat climax... I

I wouldn't say this film was truly abysmal, it was after all made in that late 60s / early 70s period with its styles, fashions and morals so was maybe quite shocking and meant to be a gritty piece of realism but now some 50 years on it all seems rather contrived and an opportunity wasted and traded just to show some skin... here we are now in 2020 so I dare say any of the surviving band members are probably sat in some old peoples home, bald and covered head to toe in nicotine patches staring into space as usual... whilst any of the girls are probably all about size 20 with 4 or 5 broken marriages behind them and lecturing their grand daughters about the perils of sleeping around...

Also bearing in mind its 2020, Netflix, amazon prime, even you tube have pretty much killed off home video / dvd... meaning your choices with this film are to try and track it down online or pay £14.99 or whatever the price is for a BFI blu-ray edition... is it worth it? Probably not, the extras might sway it for some people out there but this isn't worth wasting your money on.. that said if you see it cheap somewhere on your travels there are worse things you could buy!

5/10

Ah, the Seventies. Made at the dawn of the decade where peace and love made way for glam rock, 'Permissive' is a (presumably) deliberately turgid affair. Featuring the character of Suzy (Maggie Stride), the story charts her rapid transition from a shy, duffel-coat-sporting girl to a sexually wiling rock chick every bit as hardened and dowdy as those around her.

Filmed in that very bleak Seventies graininess, often in rainy wintery locations, Lindsay Shonteff's occasionally inspired direction features real-life prog-rock band Forever More in a very unglamorous lifestyle that nonetheless inspires hordes of groupies to travel with them. The manager is a supercilious brutish bully; the rest of the band is clearly played by non-actors whose dialogue is frequently blotted out by the soundtrack. It all seems a decision to portray just about everyone as bored and horny and the lifestyle as passionless but relentless. Only Pogo (Robert Daubigney) seems to provide Suzy with any attention, and his fate determines a darker path for her story and that of her friend Fiona (Gay Singleton).

Forever More is more club band than stadium rockers and the groupies are often a bitchy, possessive lot, the lazily passed around joints doing little to mellow their cattiness. Travelling on the open road certainly has its appeal, but none of them seems to be enjoying it very much. Peace and love seem in short supply here, but 'Permissive' is nevertheless a very interesting snapshot into a lifestyle belying the perceived accompanying glamour. My score is 7 out of 10.

In the development stage the title for this truly dispiriting film was Suzy Superscrew. Better had it been kept for at least it gives you an idea of where the action is heading. Suzy is a duffle-coated runaway, arriving in London to join the groupie scene. Unable to score with the band her groupie friend introduces her to, she hooks up with Pogo an itinerant musician and mad preacher. "Where do you live?' she enquires of him. "Under the stars, the world is my scene, man", he responds. Unfortunately the world isn't listening as he gets mown down by a car shortly afterwards. The subsequent narrative is reduced to what band member or groupie Suzy will wake up with next.

The film, shot in a quasi documentary style and was partly intended as a promotional vehicle for heavy rock band Forever More, which accounts for their music being way up in the mix and sometimes drowning out the dialogue. This same logic explains footage of the band performing being inserted whenever the director runs out of ideas, which is often. On the plus side the relentlessly downbeat tone does provides a telling snapshot of the fag-end of the sixties and a particular sub-culture, while at the same time maintaining a grim synergy: hairy men and ugly women having bad sex together in cheap hotels to a Forever More soundtrack. Just desserts are sometimes delicious.

PERMISSIVE is a surprisingly grim and unworkable film that marks an early milestone in the career of cult director Lindsay Shonteff. The story follows the fortunes of a couple of groupies as they hang around with the dregs of society in the form of a rock band, looking for fame, fortune and love and finding only seediness and squalor instead. It's a grubby little production that seems to go nowhere for its entire running time, instead dawdling around with a presentation of completely unlikeable characters who garner too much screen time. Shonteff shoehorns in some gratuitous nudity, but it's not enough to retain the viewer's interest.

I just watched this as a restored BFI DVD and I'm glad someone took the trouble to bring this film back to public attention.

It has the look of being docu-drama, with nothing glossy, as it tracks a young woman coming to London to join her friend in the big smoke. Dressed in duffel coat and thoroughly unschooled in life, she finds her friend not the perfect protector, though friendly and helpful.

Her friend holds, and guards, the coveted position of band-leader's girlfriend amongst a gaggle of groupies and is well ensconced in the life of swinging London.

There are drugs and sex, all of it mundane and unglamourous. People use the drugs to check their feelings and avoid the hurt and fears they all want to be too cool to have.

There is living on the streets and the drudgery of a band constantly packing up its Ford Transit and moving from one cheap hotel to the next.

But the director uses a great device to imbue scenes with tension and momentum, sneaking us little flash-forwards in the lives of the characters, silent clips of where they will soon be - whether it's having sex on a toilet or dead.

Along the way we see the band playing, and have their music on the soundtrack giving a great authentic feel.

The film isn't about the band though, it's about the women who follow them. What looks like it is starting out as a moralistic tale about women getting abused by callous men in their naiveté, develops into something much more powerful.

The men are pushed into the background and hardly show any initiative. They are pretty much 2-dimensional, unobtrusive and show little in the way of being predators. One guy is painted that way, but is not ruthless and far from the centre of focus and actually does display more to his character.

I have a friend who went to an all-girls school and assures me that, as a man, I would never know how brutal a female pecking order can be. In films, we see it all the time with the core cliché of the beautiful girls who get usurped by the plainer girl who wins the heart of the hero. But it's usually there to show the underdog winning through despite the machinations of the beautiful stereotypes.

I feel this film does something quite rare. It makes women and their relationships the subject of the film, and attempts to make it authentic as well - even rarer.