Ânsia de Ser Mulher

The first problem with this film is that Sylvia Simms does not look or act like a 16 year old and Anna Neagle is about 10 years too old for her part.The second is that the fact that the film doesn't really acknowledge that teenagers as a group had arrived.Everything about this film is old fashioned.You think of all the American films coming out at this time with Dean,Presley etc and this film feels like it was made in the thirties.

After two films with Errol Flynn, the acting producing husband and wife team of Anna Neagle and Herbert Wilcox decided to try a film with a more modern theme. Not that musical comedy star Neagle was about to rock and roll, but she could play the mother of a daughter who was into that crazy new beat.

Teenage Bad Girl starts with Anna's daughter Sylvia Syms being a good girl. Syms is the oldest of two daughters to Neagle and she's pretty happy especially since she has a new man in her life, Norman Wooland. But Syms has met up with a new boy, a bad boy played by Kenneth Haigh who intrigues and excites her.

Pretty soon she's spending all her time with him to the exclusion of family, school, other friends and Syms has Neagle properly worried. It all ends in a senseless tragedy.

Teenage Bad Girl was no better or worse than some of the teen themed dramas that were starting to flood the market as the age of rock and roll dawned on this side of the pond. I'm sure it made some good money for the Wilcox/Neagle team although it certainly wasn't a typical Anna Neagle product. She and Wilcox would be leaving the big screen shortly and concentrating on British television.

I am appalled at the sensationalist title of ' Teenage Bad Girl ' and its original British title is so much better. In fact the film is much better than I expected watching it by chance on a television channel. The cast is excellent, and Anna Neagle gives a very good performance indeed worrying about her daughter who has quite simply met and fallen for a wayward young man who is psychologically disturbed. Sylvia Sims and Kenneth Haigh ( the original Jimmy Porter in John Osborne's ' Look Back in Anger ' and should have been chosen for the film role in Tony Richardson's version of the groundbreaking play ) play the lovers and because of a fatal turning of events land in a terrible situation. No spoilers but the frightening scene of this situation reminded me of Pushkin's ' The Queen of Spades. ' And as a the film's soundtrack uses Tchaikovsky's music ( not too well, but not too bad either ) I thought of the Opera of the composer based on the Pushkin story. As for the film as film I am not an admirer of Herbert Wilcox but this was much better than the rest of his work. It gives a portrait of 1950's life and it rings true, except for a few critical scenes towards the end when it becomes preachy. It is much better than most films of the time that dealt with teenagers in trouble and out of their depth in coming to terms with adult judgements and demands. Watch it if you can. It is not the trash that publicity showed it to be and has a cast at its best who give their best. Highly recommended.

From the mid-1950s comes this story of a widowed mother finding herself powerless as her teenage daughter gradually goes 'off the rails' after falling in with the wrong crowd, yet watched from a modern perspective it seems somewhat flawed in its attempts at moralising. Anna Neagle plays the mother, Valerie Carr, who works in lowly position in women's magazines. Supposedly having to save up for weeks to buy her eldest daughter a new dress, she nevertheless seems well kitted out herself and lives in a big posh house with two daughters and an aunt. Sylvia Syms plays the elder child, the 17-year-old Jan, and for some reason that is never properly explained she is in attendance at an elegant party at the exclusive Savoy Hotel, where she instantly falls for another attendee named Tony (Kenneth Haigh) who admits he finds it all rather staid and tells the impressionable teenager all about a livelier dance called 'jive', and later that evening teaches her the movements out on the veranda. It is the start of a romance and the pair start meeting regularly, with Tony taking Jan to funfairs, speedway races and teaching her to drive his Bentley on quiet country roads. Valerie, meanwhile, is unexpectedly given a promotion to the position of fiction editor of a new magazine for teenagers, through which she meets Hugh Manning (Norman Wooland), who writes novels for young adults. Hugh is attracted to Val from the beginning, and when he hears she is unattached he begins to woo her. As events develop, Val becomes increasingly disapproving of Jan's frequenting of nightclubs and of Tony's influence over her. She wants Jan to instead hook-up with straight-laced farmboy Mark. However, Jan rebels more and more against her mother's interference. When she finds out that Tony isn't as wealthy as he claims, that he has only borrowed the Bentley and that he is in debt, she is no less attracted to him, but her loyalty to him eventually results in her being arrested by the police, bringing great shame on herself and her family. Although the film is engaging and tells an interesting story, it has two fundemantal problems. The first is that it totally misunderstands youth culture and the second is that it can't seem to make its mind up whether the viewer is supposed to dislike the character of Tony or sympathise with him. The combination of the two severely impairs its depiction of a youth's slide into bad character and ultimately leaves one questioning the behaviour of the mother. A lot of the things that 'the wrong crowd' are doing in this film are, in fact, perfectly innocent and suggest some paranoia on the part of the writers and producers towards the changing culture of the times. The worst things that 'bad boy' Tony does in this film are that he encourages Jan to smoke and drink, he teaches her to drive, he gatecrashes parties, he lies about his wealth (but later comes clean), he engages in fisticuffs if some drunken lout makes a move on his girl, and, when driven to absolute desperation, he steals money. On the plus side he is shown to generally care for Jan, and he is well mannered and well dressed. There's no suggestion he's pressuring her into sex. Compare this with the behaviour of the mother, Valerie, who can clear off to New York for a few days without a thought for her daughters, who can enjoy her own romance (with a man who smokes, no less), who chastises her daughter for borrowing one of her dresses and for using a taxi cab, who locks her daughter in her bedroom and who denies her access to her own savings. She even lets the younger daughter stay unchaperoned on the farm with Mark. The attempts to portray youth culture frequently make the viewer cringe. For a start, the film only has the one 'hip' music track (the ironically named "Get With It"), which is played repetitively, as though it's the only number the live musicians in the nightclub know how to perform. "What's the meaning of that look on your face?" the aunt asks Jan as she's demonstrating the jive to her. "Oh, that's getting into the MOOD!" comes the excited reply. When Val tells her boss that she finds the idea of her promotion "Absolutely blissful", she has to explain this strange new teenage expression to him. Even the opening titles and theme tune would have you think you are going to be sitting through some romantic period costume drama rather than an insight into the modern problem of juvenile delinquency. Edmond Greville's "Beat Girl", released in 1960, which explores some similar ideas, gets so many things right that this film gets wrong. In spite of the fragile quality of the material, Sylvia Syms performs her role well and it's little wonder she was destined for better things, and very soon, too. It's remarkable to think that just two years later she'd be starring in the exemplary "Ice Cold In Alex".

One of a whole slew of movies made as the '50's kicked off for the second half, to cash in on/play catch-up with the rapidly emerging youth culture. By the time 'My Teenage Daughter' hit the big screen in the summer of 1956, no self respecting Ted was blathering on about 'jive'. The tidal wave of rock 'n' roll which had swept across the United States, initially with Bill Haley and the Comets, but more importantly, Elvis, was now taking Britain by storm.

Hanging around fashionable bars, Kenneth Haigh tries to act the hipster, but looks like he's in the middle of a dry run for 'Man at the Top'. Introducing respectable teenager Sylvia Syms to his world of black coffee, cigarettes, fast cars and late night parties, she seamlessly transforms from intellectual prude to intellectual rude girl, by-passing the optional acne along the way.

Syms' journalist mother (Anna Neagle) is the perfect candidate for a key role in the launch of a new magazine, aimed at 14 -18 year old readers. The brainchild of super cool, visionary editor, ....Wilfrid Hyde-White.....who no doubt endured numerous sleepless nights and endless days of brainstorming before deciding to call his new creation....'Teenage'.... WOW!

Neagle's affinity with the younger generation receives a severe jolt, several evenings later, when Syms sends shock waves of such magnitude through the family home that structural damage to the building was inevitable, by announcing her intention to attend a party, at.... HALF PAST NINE!

Haigh and Syms soon catch the attention of the boys in blue, hitting the front page of the evening paper, along with the shock of England losing three quick wickets, following a rain delay. Is Syms discovering to her cost, that despite Haigh's swanky car and hip friends, there's a lot less to him than meets the eye?

One dimensional doesn't even come close to capturing the contrived portrayal of Syms' delinquency by numbers fall from grace. Whilst the recurrent trendy song, 'Get With it' by The Ken -Tones owes more to The Andrews Sisters than rock 'n' roll.

Memorable, largely as Sylvia Syms ' screen debut and for offering a youthful fling to Julia Lockwood, Wanda Ventham and Arthur Mullard, seen briefly as a bouncer, all familiar faces on British T. V. from the 1960's and beyond.