This is the latest film I’ve caught on BFI’s Flipside DVD and Blu-ray series investigating 1960s ‘under the radar’ films and it is really interesting. As ‘interesting’ suggests it’s the film’s position in history that makes it worth seeing rather than its intrinsic merits. The date on the print is 1963 but it was two years before it was released, because of problems with the BBFC, and then it was hacked so much that the director and producers had their name taken off the credits. The BFI have restored the original and although some scenes are pretty scratched it generally looks good; some of the cinematography, by Larry Pizer, is striking. Of course the rating has changed: from the original adults-only X to 12. I wonder if it had been submitted for certification a few years later whether it would have encountered the same problems as the nudity is all indirect, unlike in say Blow-Up (UK-US-Italy, 1967). Probably, like the banned until 1968 The Wild One (US, 1954), the lack of moral condemnation of the ‘beatniks’, at the end of the film, worked against it. Apparently the version that was released does have a change of focus at the end. That said, there’s no doubt the film is condemning the youngsters, just not enough for the moral arbiters who probably believed ‘weak’ minded young people would want to be like the nihilistic wastrels.
The film features Oliver Reed, who unsurprisingly out-charismas most in the film, as Moise the conflicted ‘beatnik’ and was directed by Guy Hamilton who went on to make Goldfinger (1964) and three other Bond movies.
It’s not just the changes in censorship that makes the film interesting. The representation of young people (the ‘beatniks’) at a time when London hadn’t quite yet started swinging is fascinating. It’s clear that screenwriter Marc Behm (b. 1925) absolutely hates them as they are shown to be a particularly unpleasant bunch of hedonists; the conclusion of the film urges them to ‘grow up’. A Hard Day’s Night (1964), often thought of as the precursor to the Swinging Sixties films, hadn’t been released (Behm scripted the later Beatles film, Help!, 1965) but it’s clear that the bohemian lifestyle that became emblematic of the ’60s was already annoying fogies, such as the 38 year old Behm. By the time the film was released it would be hopelessly out of touch with the zeitgeist of British cinema that was. in its youth pics at least, celebrating young people; though often in a reactionary way – see Here We Round the Mulberry Bush (1968).
Apart from its fogeyness, the other disappointing aspect of the film is the narrative structure of the script. It has a quite good conceit, involving retelling of an event, that could have been at the centre of the film. But the meandering opening fails to gain the narrative drive that would help the audience to care about what happened. My overall impression, however, is the middle aged resentment at young people supposedly enjoying the hedonistic lifestyle that had not been available to them in their youth.