Expresso Bongo

Harvey's performance is akin to Cary Grant in His girl Friday which I term "Cary Grant unleashed" Like Grant, Harvey takes his character and far from overacting rather sets the screen on fire. As for the movie itself,it lags when Harvey is not on the screen and it needs another actress in the Dixie roll who can somehow match Harvey. Dixie drags down the last third of the film. For the legions who deem Harvey's career as a series of zombie-like performances, Bongo turns that opinion on it's ear. Cliff Richard does a good job in his first screen roll. Beware of the current DVD release. It does not have several musical numbers and this greatly mars the movie.

Featuring a veritable 'who's-who' of great actors Laurence Harvey, Eric Pohlman, Susan Hampshire, Sylvia Syms, Martin Miller (in a bunch of throwaway scenes), and many others), this film captures the 'changing of the guard', as it were, as the youth music - the then-burgeoning rock and roll was just being born in the UK. The dialogue - esp. Mr Harvey's - is rat-a-tat fast, like another commenter (rayshaw44) of this film noted, is akin to His Girl Friday's. As for another commenter (LHL12), I have a beautiful print of the filn, and it contains the 'Nausea' sequence, as well as the others mentioned. I'm writing this almost a decade after they wrote their comment (actually a long interesting story of this films butchering), and therefore I don't know if they're aware that a complete version of 'Bongo' isn't that hard to find (though I DO totally understand and commiserate, being a completest myself, I'm a stickler for the 'correct', unadulterated versions of things). To say this is a film by a great master, like a Fellini or a Kubrick, it isn't. But there was a wonderful period in postwar England that the film business percolated (a pun), and many wonderful small films of all varieties were made. This is one of them. It makes me (as one who wasn't yet born) both fond of, as well as a bit misty-eyed, as the homogenous days we are now in leave no room for an individual's voice. I highly recommend Espresso Bongo.

Ignore anything or anybody that denigrates Espresso Bongo. It is loaded with period detail and attitude, is singularly risqué for it's time and sports great music and one of the best scripts about England's Tin Pan Alley, wisecracking and inside, besides an unprecedented performance by Laurence Harvey as you've never seen him, a hustler who recalls Sidney Falco in the "Sweet Smell of Success". Maier Tzelnicker is tremendous as the record company executive who calls it "rock dreck". Yolanda Donlan, Val Guest's wife, plays a "Sweet Bird of Youth" like aging diva Alexandra Del Lago who seduces Cliff Richard, whom many called the Pat Boone of England. See the opening strip number when the girls perform a burlesque version of the "Bonnie, Bonnie Banks of Loch Lomond". It sets the tone for an overlooked gem. A "B" Movie Classic. Enjoy.

Watching any film 50 years after you last saw it is, at any time, a mildly unnerving experience. A film that boasts the dubious title 'Expresso Bongo' and features a not-greatly post-pubescent Cliff Richard should have provided a strong warning that turning back the clock is not always a good idea but, actually, this was a great pleasure. Based on a successful stage musical and set in the heart of the Soho music industry of the late 1950s as it comes to terms with rock and roll , 'Expresso Bongo' retains a salty edge even now. Laurence Harvey plays a chancer who happens to come across a young rocker (Cliff Richard) who he seeks to exploit shamelessly but who then proves more than a match for him. With a sharp, pungent and funny script (by 50s star writer Wolf Mankowitz) and plenty of night location shooting in Soho, the film fizzes along for the most part, resembling 'Sweet Smell of Success', but with songs and a slightly softer edge. The version on this DVD has been shorn of its extrinsic musical numbers (including one sung by old-style musical promoter Maier Tzelniker that I remember well, starting 'When I compare these little bleeders to the chorus from Aida….nausea!') but still has time for the wonderfully cynical 'Shrine on the Second Floor', as Cliff is propelled into religiosity to further his career. Harvey's weaselly good looks are just right and Sylvia Sims is very sexy as his long-suffering stripper girlfriend. Even Cliff acquits himself well, with just the right amount of ambivalence as to his complicity (including being asked, not for the last time, why he has no girlfriend). In a film where everyone is either on the make or being exploited, sometimes at the same time, there is at least one poignant real-life parallel. The distinguished stage actress Hermione Baddelley here plays a veteran street tart. She has a couple of affectionate scenes with Harvey, with whom, despite their age difference, she had a relationship in the early 1950s just as his career was getting under way. Now, Harvey was on a roll and would shortly go to Hollywood on the strength of his next film, 'Man at the Top'.

It's really about a hustler-turned-agent (Laurence Harvey) and how opportunity comes (and passes him by) via his finding (and losing) the kid-with-talent (Cliff Richard). A scene I liked was where the agent and the label exec (Meier Tzelniker) shamelessly discuss their plans for Bongo Herbert's future - i.e., what can he do for them, never mind what he can do for himself.

This might have been a much more memorable movie with a bit more backing and some rewrites. It starts (and ends) by taking us to the cruddier side of London ca. 1960 - strippers, noisy streets, the grime, the neon-lights - all of it filled with the never-was's and the never-will-be's hoping against hope for That One Break. No U.S. movie at the time would ever have thought of this, whereas this U.K. movie did so without any Hollywood-esque qualms about "how will it play in Peoria?"

Strange to think: when this movie, about a young rocker getting started, was released there was a band of Liverpool kids who got a gig in a dive on the Hamburg Reeperbahn ...

One last bit: check out an uncredited kid named Susan Hampshire. She has four lines but she ante-dates Monty Python's "Upper-Class-Twit-of-the-Year" sketch by 10 years - she does it to a t.