Smashing Time

As someone else has said regarding this film 'I could have done with less slapstick and more satire'. Yep. The satire is most definitely there and it's funny but the slapstick is lame warmed over nonsense and should just be fast forwarded through. Redgrave and Tushingham are great fun together and the supporting cast all pitch in nicely, ghastly stereotypes excepted. It's a film I have long been curious about and now that I've seen it I feel as if I've been rewarded with a bright and zippy laugh out loud at times comedy (somewhat of a rare commodity these days) and an affectionate look at what I suppose is now a lost world.

I can't believe Leonard Maltin dissed this picture -- it's a rare gem of trippy brilliance, influential as hell on arbiters of style like "Absolutely Fabulous" and the "Austin Power" series. Lynn Redgrave (!), fresh out of "Georgy Girl", bumbles through looking like a great big blonde lovable cow in a succession of astonishing wigs, while her costar Rita Tushingham (!!) veers back and forth from frumpy/frowny to slapstick/mime to The Face of the 60's. The humor is broad and scatological, but cutting when its satire -- sample song lyric: "I can't sing, but I'm young!!" If you can find it, grab it.

look, if you are looking for deep meaning - or songs that make you want to sing along, then you're looking in the wrong place.

but if you want a kitschy look (i bet even at the time of release!) at the mid-sixties, then look no further! come on! lynn redgrave as a pop-starlet? rita tushingham as a supermodel?? michael york as a photog???? what could be better??? the scenes of lynn belting out her "hit" song are worthy of admission alone! i was also grateful for some of the shots of carnaby street in it's hayday - god, i just wish i were there! this is a movie that mike myers very obviously borrowed from to create austin powers. it has a lot of the same sensibilities.

see the original - maybe skim by most of the songs... but enjoy the ride!

Swinging London produced more good music than film, if you ask me, but this anarchistic comedy falls among the better productions of the era. Writer George Melly (who apparently also appeared in Makaveyev's Sweet Movie) presents a wild series of episodes structured around a marginal narrative. Gum snapping Lynn Redgrave and big-eyed Rita Tushingham relocate from their small rural town to happening London and instantly their life savings get stolen. When they're unable to pay for their slap-up breakfast, Tushingham quickly secures a job washing dishes and just as quickly loses it after an impromptu paint and food fight. Meanwhile, Redgrave has secured jobs as nightclub hostesses. Seedy customer Ian Carmichael picks up Redgrave but Tushingham succeeds in saving her friends' chastity. Trendy fashion photographer Michael York somehow enters the scene by capitalizing off a humiliating picture of Redgrave, then instigating a pie fight at her new workplace (a restaurant that only serves pies, natch). When the girls return to their house, they find it has been destroyed as part of a TV prank and fortuitously receive 10,000 pounds in return. And this is when the story really explodes. Redgrave uses the money to sponsor her career as pop artist, which explodes overnight. There's a brilliant recording studio sequence that takes a hefty stab at prefabricated artistic product: Redgrave's song sounds terrible while recorded but excellent in playback. Concurrent to Redgrave's rise to stardom, awkward Tushingham achieves equal fame as a fashion model for new boyfriend York, and the two friends begin to despise one another. Smashing Time proceeds with a number of parties, destructive humor and a passable conclusion. Throughout the film, non-diagetic narrative songs document the characters' moods. This unusual device and other creative moments, including a dandy so distraught by getting pied that he commits suicide, evidence an adventurous force behind the script. Indeed, director Desmond Davis barely makes his presence felt. Unlike most films driven by the written word, this film's script would allow for a great finished product with any director with an adequate budget. Storytelling, after all, needs act as film's primary purpose and thus occasionally a film such as Smashing Time indicates that the director does not necessarily need to act as a film's primary author. This film also offers a valuable historic treatment of London during a particularly unique phase. Then well-known psych group Tomorrow show up all over the film, possibly as a stab at authenticity but effective if so. Nevertheless, their music does not actually appear in the movie; we're treated instead to a few songs by the undeservedly less famous group Skip Bifferty.

Shortly after seeing this film in 1991 I was offered my 'dream' job and found myself heading down from the north to live in London for the first time. Just like the two girls in this crazy movie.

I loved this when I first saw it. And when I watch it now, it also captures some of the excitement that I felt back in '91.

London is a magical place with a unique feel. I was on a 'high' for the first few months, with a tingle down my spine whenever I walked around famous places. Even now I can't walk down Carnaby Street without visualising Lynn Redgrave skipping down it in the fast-cut musical sequence in Smashing Time. Many of the songs are, to be honest, quite bad. But they are also rather catchy and so stick in the mind.

There are many satirical swipes at the culture of the time. The photographer (Michael York) is David Hemmings in Blow Up. Rita Tushingham is the model Twiggy and Lynn Redgrave is pop star Helen Shapiro. The TV show is Candid Camera.

The '60's slang is also set up. The girls search for a 'switched on' pad and Anna Quayle runs a shop called 'Too Much'. When Rita Tushingham asks if customers won't be put off by the name (in the sense that the goods are 'too' expensive) the true meaning of the phrase is explained to her. The goods are just 'too much' (ie. mind blowing).

John Clive is at his best as the rather camp and slightly Jewish owner of Sweeney Todd's pie restaurant. The pie fight itself is well executed with some neat comic touches, such as the 'queen' who shoots himself when his fashionable suit is hit by a flying pie.

Indeed, Smashing Time is something of a gay cult classic. Murray Melvin appears as a gay character (as he did a few years earlier in A Taste of Honey, again with Rita Tushingham).

Other familar faces of the period include Arthur Mullard, Irene Handl and Ian Carmichael and there are interesting glimpses of locations as they were 30 years ago -- including the railway station at St. Pancras.

This is definitely a film you will want to watch again and again. You'll never tire of the musical and comic set pieces.

Unfortunately it is very rarely shown on TV in Britain. I haven't seen it on terrestrial TV since 1991 and it is not currently available on either video or DVD in the UK.

G.