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Here We Go Round the Mulberry Bush starts out looking like another cheap cash in on the swinging 60s, but the further into the film you get, the more you appreciate its subtleties. Barry Evans is a 17 year old virgin out to get laid, and the film very deftly handles the issues of the Sexual Revolution without pandering or preaching. Judy Geeson is the object of his affection, and though she has a lengthy topless scene she is much more than just a dolly bird. There are some wonderful cameos by Moyra Fraser and Michael Bates (the police inspector in Bedazzled) as Barry's parents, some fascinating footage of Stevenage, one of the idyllic New Towns of the 60s; and overall a marvelous story that mixes elements of Alfie and Billy Liar. Strongly recommended, especially for 60s fans.

This film is a gem of the mid to late 60's but, at times, difficult to watch as the innocence portrayed by it's warm optimism jars with the reality of these times. I grew up in the 60's and saw that era in the fresh-faced tone of the film. 'Mulberry Bush' takes me back to a childhood Neverneverland. Was life so innocent even in those days? I like to think so but I'm pretty sure it wasn't. The problems we face today have always been with us so I am mystified how even in 1968 it was possible to make a film with such a tenuous grip on life's day to day realities. This film is magical escapism. I was eleven in 1968 and the scene of the three friends boisterously mucking around while walking home is poignant to me since that was my childhood. Suspend cynicism when watching it

I just watched this on DVD having not seen it for about 30 years and very much enjoyed it. It's a simple story and although set in the 1960s it's a timeless one. Every guy in the world remembers being that age and how desperate you are to experience the pleasures of women. The film also honestly depicts how the reality of losing your virginity isn't the mind blowing experience you imagined it would be and leaves you feeling a bit odd. Although reminiscent of the 70s sex comedies that followed this film has much more heart and depth.

It's also a perfect time capsule of Britain at a unique point in it's history. It shows the brave new world of 1960s architecture just before it all turned sour. This was to be the way we were going to live with. Everything made from concrete with people interacting in strange urban spaces. Of course we know that it failed miserably but there was a brief moment when it must have felt like a bright new future. The Victorian architecture that we now value depressed the people of the 1960s and reminded them of the past and of the war.

The overall experience of watching this was a strange one. It is very much of the 60s and yet it also feels incredibly modern as if it was made later but set in the 60s. Barry Evans wouldn't have looked out of place in the 80s with his jeans and white shirt. Of course the girls all look fantastic in their mini skirts and sexy boots. I don't know if suburbia was really as liberated as this in the 1960s but it's fun to imagine that it was.

I'm a big fan of 60's British music and films and this quirky if slight movie marries both in a peppy attempt to show how swinging England got its nickname.

Of course it's dated greatly particularly its attitudes towards sex and by extension women, but it retains a bright playfulness, backed up by enthusiastic acting from its mostly young cast. Mind you Barry Evans and Judy Geeson aren't quite Tom Courteney and Julie Christie, and a lot of the scenes seem pretty meaningless, but driven by Evans' to-camera pieces from the outset and taking in some other tricksy pseudo-surrealistic dream sequences, flashy camera work, a touch of farce here, a touch of orgy there, while its attractions are a mite thin, at least they're just about present and correct.

The story itself amounts to little more than Evans' trying to get his end away, moving ever steadily up the ladder of the local female population in pursuit of his dream girl Judy Geeson, to learn that she has the same outlook towards men as him, only her dream doesn't stop with him. By the movie's end our fresh-faced hero is just about ready to settle down, bewitched by a beguiling smile from a young Diane Keen, at the age of it seems 18 or 19 at most.

The film is shot in a bright clear fashion, with contemporary pop music prominent in the background - Traffic's title song is ace and gets a few airings throughout. It was funny to see practically all the leads in the popular early 70's sit-com "Doctor at Large" in frame at one point - one almost expected James Robertson-Justice to barge in on the odd scene! There's a mildly surprising frolicsome nude scene between Evans and Geeson near the end, but in truth this is only a little more surprising than seeing Geeson in long trousers just before it - every other female in the film is apparently wearing a mini-skirt.

So then, while being far from the best of the British pop-art cinema of its time, it retains an odd, slightly endearing attraction to the likes of me, who just missed out on being a teen in the 60's. Based on the evidence here, it looks as if it was this generation and not its predecessor that never had it so good (and you can interpret "it" any way you like!)

I was 16 in 1968.

I read Hunter Davies' original novel when it first came out, and Jamie was me. I couldn't wait for the film.

And I wasn't disappointed. Full of humour, full of great music, full of the things which were real and important to a late 60s teen and, most of all, full of heart.

Current audiences may find it a touch unsophisticated but then, we all thought we were but we weren't!

Barry Evans sadly never really lived up to the promise he showed in this film, and then died far too young. But if this film was his sole epitaph, it's a good one.