Take a Girl Like You

As a Hayley Mills fan I was curious about the pairing of her with Oliver Reed. It's like putting a little lamb with a hungry wolf. Mills comes to town to take a teaching position. She moves into a boarding house run by a local boozy politician and his unhappy wife. She meets Oliver Reed who comes by to visit another young woman who lives in there. He takes Mills out to dinner and back to his place only to discover that she is a virgin. One of the few left. She tells him she wants to wait until she's in love. Reed delivers her back home. He's intrigued but is distracted by other more available women. Reed and Mills have an interesting chemistry, he's intense and slightly dangerous and she's innocent and inexperienced. The ending had a little twist that I found myself rooting against, before arriving at a more conventional finale. Worth a look.

Take a girl like Hayley Mills, Britain's professional virgin for much of her career, and so who better to play the part of Jenny Bunn, the new girl in town who has yet to have her cherry popped. Barely has she got out of the taxi before she's accosted by local lothario Patrick (Oliver Reed), slavering at the chops at the prospect of fresh meat. He's as slimy as slime can be but you wonder if the (male) writers see him this way, or whether they regard him as a kindred spirit. The narrative proceeds along a familiar will-she, won't-she path, with less than hilarious consequences.

You don't really expect Dr Jonathan Miller, Kingsley Amis and George Melly to come up with a feminist tract, but you'd think they would be capable of producing better dialogue rather than the terrible twaddle they peddle here; e.g. "don't blow your cool over Patrick, dinner will be groovy". To add to the grief there's the usual line-up of British 'character actors' hamming it up like mad, turning it into a kind of Carry On Chastity, but without the laughs. The source novel by Amis was written in the 50s but the film, made in 1970, updates this only stylistically. It didn't seem to occur to anyone that this would make it seem even more anachronistic than it was when the story was first published

Not many people seem to like this film and it maybe that Hayley Mills seemed rather young for her age at 24 because of course she had been a child actor. But also the film had been a book by Kingsley Amis ten years earlier and things were changing fast at the time. I still liked it though even if it is rather odd for Mills and Oliver Reed to be thinking of having sex as if they were not quite as young as they thought. Both are very good and even if some of those around her are really strange, like John Bird as a Labour MP and Sheila Hancock seems completely lost, although Rex Harrison's son Noel is rather splendid. Jonathan Miller had previously directed on TV the wonderful Alice in Wonderland (1966) and George Melly had written previously Smashing Time (1967) which would have been more appropriate for the time.

Based on Kingsley Amis's 1960 novel, everything about this travesty is rendered hideously dated by it having actually been made at the wrong end of the sixties during that fleeting era when Hayley Mills & Noel Harrison were considered bankable stars; and well and truly put Jonathan Miller off ever getting involved with the film industry again.

Amis's contempt both for the permissive society and for women in general, alas, comes through loud and clear. And why Oliver Reed is so charmlessly set on bedding the virginal Hayley when the lovely Aimi MacDonald is all over him is one of several uninteresting mysteries the film presents us with, such as how - with the possible exception of Sheila Hancock - such a good cast is ill-used.

Haven't seen this movie since it came out in the 1970s until I bought the DVD recently. Despite what it says on here, the only recognisable location in Slough is the railway station. All the other main location shooting is in my old home town of Staines, Middlesex. The editing is cut about so the views don't appear in sequence - in the opening Jenny's cab turns right out of Thames Street and past the Angel Hotel, she's then seen inside the cab crossing Staines bridge (which would be left from Thames Street)and then arriving at her digs in Kingston Road (right from Thames Street). Oliver Reed lives over the old car showroom (Crimbles?)and later in the film there's a splendid sequence when he is stuck at Pooley Green level crossing in Egham. St.Peter's Church appears, too, along with Matthew Arnold School (as the 'Tech') and the Kingston Road Primary School. A great movie for locals who lived around Staines in the 1960s. And to think the gorgeous Miss Mills was in our town and I never knew!