Mad Youth

American society dames get a cuffing and a lecture on parenthood from a faux count gigolo in this pre-war cheapie looking to cash in on lurid sensationalism. Disjointed and sloppy most of the way it unintentionally (or indifferently)entertains with titillating moralizing as women of all ages pre-sage this age of narcissism with self centered abandon.

Upper cruster Lucy Morgan (Betty Compson) spends most of her time playing bridge with fellow elites and buying the attention of phony counts from an escort service while ignoring daughter Marian (Mary Ainslee) who throws wild parties while she is absent. Enter Count Dehoven (Willy Castello), gigolo with a conscience and the attention of both mom and daughter. The Count falls heavily for the daughter much to mom's consternation, causing a major rift that sends Marian off to live with her star struck friend who in reality is being held hostage in a bordello, a fate now awaiting Marian. Can she be rescued? Looks like a job for the Count.

This crass high society expose may lack subtlety, second takes and production values of any kind but it does offer some warped incite into the era ( jitterbugging teens, absentee parents) via cautionary tale and the offbeat casting of a suave two bit gigolo as its moral conscience. Battling the hackneyed script and his own limited abilities Willy Costello brings both the unctuous and noble out in his Count DeHoven.

Ainslee's Marian is a bit long in the tooth for a confused teen but silent screen superstar in career free fall Compson is indomitable in a low key Billie Burke sought of style as an incurable romantic and while their scenes together lack smoothness they do confront the heart of the matter.

Mad Youth puts on no airs as it plows its way to its tepid climax but it does score points with its Code challenging moments and fun juxtaposing of the generations; the younger caught up in an energized frenzy at a party (featuring in another bizarre twist a baton twirler in full uniform) while their ever so proper parents battle ennui at bridge tables in another part of town with Ma Morgan attempting to bed the count, forever lying about her age.

Mad Youth may be a bad film but under the right circumstances it can be quite entertaining.

In MAD YOUTH, Marian Morgan (Mary Ainslee) waits for her mother to go out to her bridge game. Then, she invites "the gang" over for a bash. These 25 year old "teens" spend the night "jitterbugging" and playing "strip poker"! Adding to this godless mayhem, a baton-twirling majorette shows up! In a glittery uniform!

Meanwhile, mum's been out with a gigolo known as "The Count". When she brings "The Count" home for a nightcap, he falls for Marian!

Thus, begins Marian's downward spiral into an abyss of mariachi bands, clown-faced matadors, dogs in bull costumes, and human trafficking!

MAD YOUTH is another melodramatic morality tale from yesteryear. While not as deliriously absurd as REEFER MADNESS, it does have its own silly charm. Plus, the dance routines are a hoot!...

How did these movies get past the censors and where were they exhibited since the studios owned all the theaters? Check out the one dance move that surprises.

This is a sleazy little film about "white slavery"--in other words, women forced into prostitution. While the budget was obviously very low and the production values low, this film actually was pretty watchable due to decent writing--as the plot often surprised me and wasn't completely telegraphed (something usual for the genre). Oddly, while the writing isn't bad, portions of the film look like a second-rate talent show, as various acts (some good, some bad) parade through two scenes that are largely irrelevant. In the first one, there are two excellent jitterbug dancers (this makes sense at a "wild party") and a drum major (huh??!?!). Later, it's pretty much the same.

The plot itself concerns a very vain and stupid mother who is too busy running around with male escorts (the real type, not male prostitutes). Her favorite male escort begins dating her daughter on the sly and you assume he's up to no good--especially since she seems pretty "fast". However, where the film goes next and the actual character of this man was very unexpected--making this very low-budget film worth a peek. Aside from a few poor performances and the odd talent show portions, it's a pretty good suspense film about the seamier side of life.

By the way, for an exploitation film, this one does NOT have any nude scenes--the plot is rather adult and there are some women in lingerie but that's really about all.

Nothing really mad going on here at all, of course, apart from the heavy-handed moralizing as delivered by gigolo Count Willy Castello which will have you laughing out loud. And that is the point of these type of films - they are unintentionally hilarious in parts. It's what makes them good entertainment.

The story starts with Betty Compson (Lucy) phoning up for an escort as usual. On this evening she gets Willy Castello and she is not shy in coming forward! She takes him home where they meet up with her daughter Mary Ainslee (Marian). Big mistake. Castello takes a shine to the daughter and they start dating behind the mum's back. Ha ha. This must have happened so many times in real life. Well, the youth party and dance away but there is a new storyline introduced when Ainslee's best friend Betty Atkinson (Helen) absconds from home in response to an advert. The reality is that she has become a prossie and Ainslee unknowingly gets caught up in her plight when she pays her a visit. We need a hero to come and save them.

Meanwhile, Compson ends the film as she started it - by calling up an escort/gigolo to spend her evening with. She really has got life sussed. A good role model.