All the Right Noises

This is a late 60's/early 70's example of British "kitchen-sink realism" that began in the late 50's with films like "Saturday Night, Sunday Morning" and really continues up into the present day with the films of Mike Leigh and Ken Loach. Strangely, the late 60's/early 70's Swinging London era was an especially fertile period for these films, even though many of them--"Up the Junction", "Deep End", "I Start Counting"--were so provincial and working-class British, you'd never guess that anything extraordinary was happening in London at the time.

For whatever reason (perhaps there was a law?) every appealing young Brit actress of that era seemed to have to make at least one movie where she has a romance with a man old enough to be her father. Judy Geeson got stuck with Rod Steiger in "Three Into Two won't Go" and her younger sister Sally Geeson REALLY got stuck with Norman Wisdom (the UK's answer to Jerry Lewis) in "What's Good for the Goose". Susan George got romantically paired with the somewhat older Michael York in "The Strange Affair" and the much older Charles Bronson in "Twinky". Haley Mills avoided this IN MOVIES, but in real-life married her much older director Roy Boulting. And art actually imitated life for Jane Birkin as she went to France to have an on-screen AND off-screen romance with middle-aged French singer Serg Gainsbourg in "Slogan". This movie was apparently the May-December quota film for Olivia Hussey, the teenage star of Zeffereli's "Romeo and Juliet". It's more believable than most because she's paired with the 30-ish Tom Bell, who's conceivably still youthful and handsome enough to attract the interest of a teenager. And Hussey's character is a very precocious fifteen-going-on-sixteen and from an upper social class. She's an aspiring actress and he's a married theatrical electrician with two kids and an elderly gambling-addict father.

This is one of the most realistic of the British realist films perhaps because nothing really melodramatic ever happens. Unfortunately, that's also makes it rather boring, aside from the excellent performances by leads Hussey and Bell, and to a lesser Judy Carnes as the Bell character's unsuspecting(?)wife. I suppose that might also make it MORE of a male fantasy in that it doesn't necessarily end in divorce, scandal, and a lengthy jail sentence, but there actually isn't much of a sexual element to this either as most of the physical romance occurs off screen. It's not a bad film by any means, but it's one of those films that just kind of is what it is.

After seeing Romeo and Juliet I wanted to see more of Olivia Hussey's work, in this film she is really perfect in this role of Lolita with the youthful beauty, maybe too youg because she plays a 15 years old who has an affair with a man twice her age! So of course the film is from the late 60s / 70s when it was not a big deal. But I admit that apart from this plot of scandalous and forbidden love story, is the wife going to catch them and all, the movie was a little boring.

This film, very much of its time shows London in the early 1970's. Of course now a different world. Note the old fashion Underground ticket machines, and the Black and White Telly in the flat. The location looks very much like Churchill Gardens, Pimlico, with Battersea Power Station in the background. And, plenty of smoking going on, in pubs, and on the tube. The film is strangely sexy in its own way, with the young girl playing along with the much older man, its really a sexual fantasy come true. It is another one of those British low budget film where the low budget adds to rather that take away value. Watch for fun, which is what it is. Good for the BFI for bring to a larger audience on DVD

This is a fairly uneventful 'kitchen sink' drama in which a married man has an affair with a 15-year-old girl. Very much of its time, it is still a surprise to see how his relationship with the young girl is treated so wholesomely as a romance between two very likeable people, while the unsuspecting (?) wife is equally appealing. Personable, funny, charming and generous - even the two young children are lovely - and as a viewer, you don't want anyone to get hurt, which is inevitable considering the man's pretty shocking behaviour.

The affair comes close to being discovered from time to time - whether it does or not, I'm not telling - but there's no huge drama here as every eventuality occurs gently, which is rare for such a usually gritty '70s genre.

The acting is what shines mostly here. Tom Bell is Len, the most flawed character, alongside his dad (Robert Keegan); Judy Carne is Len's wife Joy, a happy and charming actress, and Olivia Hussey plays young Val, whose clear-skinned, wide-eyed appeal is far from the wanton temptress you may expect.

With no real villains to hiss, things could get a little dull from time to time were it not for the characters, but I enjoyed this. My score is 7 out of 10.

For some reason the theme of older man and younger girl seems a perennially popular one in French cinema and is usually done - film and relationship - with charm and some believability. The stories of Colette an influence but not entire explanation. In Gigi, the film based on a Colette story, young Leslie Caron is an engaging ingenue. Her ultimate fate is glossed over however her love interest is the older but attractive and ultimate French charmer, Louis Jourdan, someone who could probably win over any girl's mother in his project. UK films on this topic however tends towards a peculiar mixture of moralising and prurience - exploitation under the guise of exploring social issues.

Here the film entirely lacks charm (other than Olivia Hussey's innate kind) or believablility. Tom Bell, as ever, plays a bluff manly man's man, but is neither charmer nor seducer. Perhaps his appearance was fashionable at the time but the over-long all-round facial hair gives him a slightly furtive appearance - a sort of hair-hoody, slightly suggestive of dirty-mac schoolyard-loiterer. His performance seems low key - as if hoping that few people will notice he's in the cast. Olivia Hussey, having just charmed the world with her youngest sweetest prettiest of Juliets, is an odd choice here - more a dirty mac fantasy than anything remotely believable. In real life a girl of such extraordinary prettiness would have experienced the interest and (usually) tiresome attentions of older men, would thus have well known her attractiveness and chosen someone special, whatever their age, of equal or greater attractiveness either of looks, style, manner, education, sophistication or simply very rich - not an ordinary middle-aged geezer. Putting aside the improbability, the story-line itself is so-so. The casting of Olivia Hussey makes the film ridiculous.