Garota Existencialista

Once upon a time, Channel 9 in New York featured the Million DollarMovie, which ran one movie all day long for a full day, a programming technique that has been copied by modern cable and satellite TV's in their endless repeats of movies and shows.

But in the early 70's, before the invention of the VCR, Channel 9 was a film student's dream in that he or she could watch a movie over and over for one day and really study it.

Beat Girl arrived on Channel 9, a few years after its run in British and, presumably, American theaters. I watched about eight hours of Beat Girl, in the generous, endless loop provided by Channel 9. This movie fascinated the 13-yr.-old me who had never encountered such rebellion and hostility on the part of a school-aged daughter towards her father, who has returned from a trip with a step mother for whom the daughter is unprepared.

At 13, rebellious, unhappy, and edgy, I needed a "bad-girl" paradigm, and this movie supplied me with her. I loved the heroine and despised anyone who would stand in her way. She left such an impression on me that I have been fascinated by "bad girls" ever since.

However, the film is so bad -- or good, depending on your point of view of gritty, early 60s "To Sir, With Love" England -- that you might want to stick around to see what happens to this sullen chick who's accompanied by some stoner boys to some bad jazz music. Or not: this is one low budget film with fairly terrible acting but there is a gritty earnestness to this film.

Look for Oliver Reed, John McHenery, and Adam Faith in secondary roles. As in all of 50/60 flicks. look for a moral -- but look for the moments of rebellion, too. And dig that crazy music.

Here's an odd little number. The title suggests that this is one of those 50's JD films focusing on "beatniks". There were any number of films like this in America, none of which gave an especially accurate depiction of the "Beat Generation" (as represented by individuals like Jack Kerouac, Alan Ginsberg, and William Burroughs). Well, this is a kind of British version of one of those, and it turns out that lines like, "I'm over and out dadd-i-o," manage to sound even more ridiculous when delivered in a crisp British accent.

But aside from hanging out in coffee houses and dancing to jazz-style music, there's nothing particularly "beat" about the characters in this movie. Rather than a wild rebel, the lead girl (Gillian Hills) is more of a childish, bratty daddy's girl who is less than thrilled when her globe-trotting architect father brings home a much younger new bride from France. When she finds out her new stepmother was once acquainted with a stripper who works across the street from a coffee shop where she and her friends hang out, the younger girl decides to expose the French woman, but instead she gets HERSELF mixed up with the slimy owner of the strip club (played by Christopher Lee). By modern standards, of course, this is not very racy (even compared to similar movies in late 60's and 70's like "Daddy, Darling" and "So Young, So Lovely, So Vicious" where jealous teenage girls deal with unwanted stepmothers by seducing them into lesbian affairs!). But it was no doubt quite risqué for its time.

It's odd to see Christopher Lee in a role like this since he had just hit it big with "The Curse of Frankenstein" and "Horror of Dracula", but those were still pretty disreputable items back then too. And he's good as always. Gillian Hill was kind of like the British Tuesday Weld in that she managed to play a teenager for about fifteen years. Her most famous role though was as one of a pair of young models who shag David Hemmings rotten in "Blow Up". She's not bad either. And in the supporting cast are a young Oliver Reed and Shirley Ann Field, who later appeared together as brother and sister delinquents in the interesting Hammer sci-fi film "These Are the Damned". This is certainly worth seeing.

BEAT GIRL is another film to explore the then-popular craze for Beatnik culture. Like THE PARTY'S OVER, it features Oliver Reed strutting his stuff in various dated dance scenes, and is interspersed with dialogue which sounds incredibly cheesy thanks to the way in which it has dated.

Unlike THE PARTY'S OVER, it's an attempt to provoke censors and audiences with plenty of 'sensation' drama, as in the American quickies. One of the main characters is a former stripper and indeed striptease sequences play a big part in the proceedings; one particular exotic dancer, all the way from Hawaii, perhaps one of the most explicit teases I've ever seen despite the lack of nudity. It must have been incredible for audiences back in 1960.

BEAT GIRL is actually a pretty decent little story. The youthful - and extremely attractive - Gillian Hills plays the girl who discovers her dad's new flame used to be a stripper, while at the same time she immerses herself in Beatnik culture. Most of the film is shot and set around a club in which Nigel Green and Christopher Lee play various sleazy characters. There's plenty of music here too, some of it courtesy of pop sensation Adam Faith, and despite the dating of the cultural material, it's never less than an engrossing - and surprisingly sexy - piece of film-making.

Architect Paul Linden has been travelling away in Europe for over three months and returns with new, much younger French wife Nicole in tow. Nicole's first challenge is Paul's sixteen year old daughter Jennifer, who is going through a typically teenage difficult period of being rebellious as she discovers her new sexuality and has places where her and her friends can hang out away from adults and squares. When Nicole starts trying to get to know her better, Jennifer reacts by digging for dirt on her stepmother.

This film got a rare screening on BBC4 recently so I watched it out of retro-curiosity. For my money Beat Girl turned out to be a surprising good film, partly because I was watching it on its own terms. What I mean by this is that I quickly accepted that this was not going to be a sharp examination of teenage alienation but rather a bit of an exploitative b-movie of rebellion, beatniks, stripping and jive music. In this area it works really well and is actually one of the better "troubled youth" b-movies that I've seen. Sadly this is not because it gets the adult characters right – because where it matters, it doesn't. The parents are clunky authority figures and Nicole is little more than a plot device.

No, where Beat Girl works is in creating an enjoyable sense of grimy rebellion and sass that is what these films is supposed to be all about. The locations and music are a large part of this because it does give the film an authentic feel to be in seedy strip-clubs and laidback coffee houses, while the music is roundly cool and of the period. One of the main things that the film is worth seeing for is a wonderful turn from Gillian Hills in her debut film role. She is sexy with genuine fire behind her eyes and a great attitude – I'm not really into bad girls but I fell in love right here! Only marginally sexier is dancer Pascaline who does a strip so hot that I had to check two things: the first being that this was made in 1960, the second being my watch, to confirm that, yes, BBC4 were screening it before the watershed! Anyway, back on Hills, she is great and drives the film with her harsh and convincing teenage girl. Alongside her Adam and Farrar are a bit clunky while her various peers seem quite clichéd and dated in a way that Hills' fire prevents. Lee has a real sleazy menace and there are appearances from Reed and Faith to increase the "oh look its" count. Overall Beat Girl is a dated and slightly trashy rebellious teen b-movie. In terms of message and plot it is not great but it is worth a look due to the cool points that the locations, direction, music and very hot Hills give it.

David Farrar has just remarried to Noëlle Adam. His beatnik daughter Gillian Hills doesn't like him or his values or his new wife. She prefers hanging out in coffee houses with her friends Adam Faith, Shirley Anne Field and Oliver Reed ... dancing to John Barry music and talking wacky jive talk. When she discovers that her new stepmom has a connection to a stripper, she becomes involved with strip club owner Christopher Lee. Although this film's depiction of beatnik culture is far from accurate (Adam Faith sings for his friends quite a bit and his faux rockabilly songs don't exactly sound like beatnik fair) it is delightfully over the top and has an amazing cast for such junky fare. I really kind of loved it.