Beat Girl

I was a bit disappointed by this film. Some may see the young star as bravely standing up against the cruel older generation, but personally I just found her annoying.

One previous review talks about how her father was completely unable to accept his wife having been a stripper. His initial inability to accept this is only a brief passing stage, and he does accept his wife. After this scene they both work

together to find his daughter, who is allowing herself to be seduced by a sleazy strip-joint owner (Christopher Lee acting extremely well).

My main disappointment with this film is that it isn't as laughable as the cover suggests. There is a small amount of risible dialog, but not enough.

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.

First and foremost, who is Gillian Hills? And second, why didn't she become a major star? After looking for this film for some time, I finally got a chance to check it out the other night. As JD films go, it wasn't a classic, yet it wasn't a clunker either. However, what compelled me to write a review of the film was the sexy young star of the film, Gillian Hills. Going by her bio, she was born in 1946, making her all of fourteen when she made Beat Girl. Well, this has got to be the sexiest fourteen year old ever! Brooke Shields, Jodie Foster, Sue Lyons, even Tuesday Weld can't hold a candle to Ms. Hills. Her performance is the glue which holds the bare thread plot together. Gillian plays Jennifer Linden, spoiled, rich teenager who, along with her beatnik friends, rebel against British society and it's rigid rules and traditions. If one thinks that Jennifer is being led astray by her friends, think again. If anything, it's Jennifer who is leading her friends down the dark and tawdry path. Jennifer is no one's puppet, and proves this in a game of "Chicken" on a railroad track. When her father brings home a much younger Parisian wife Nicole (Noelle Adams), Jennifer makes the woman's life a living hell. She tries to turn her father against Nicole when she finds out that the woman once danced as a stripper in Paris. Jennifer's scheme quickly turns against her and soon she finds herself being manipulated and lusted after by the sleazy strip club owner (played by the always villainous Christopher Lee). The ending to the film was a disappointment, wrapped up rather conveniently despite the fact a murder is committed. Still, Gillian Hills is a vamp on par with some of the best the screen has ever offered. I would assume that maybe it's her resemblance to Brigitte Bardot that may have stymied her career. I would love to see a film of her as an adult, and see if she still possessed that smoldering sexuality she displayed as a teen.

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.