Beat Girl

This film is notable for two early appearances: John Barry's (James Bond) first film score and an early role for Oliver Reed as a teenage reveller. In some ways reminiscent of a pubescent La Dolce Vita, the film succeeds for one reason alone - Gillian Hills makes a truly seductive and formidable she-devil in the form of Jennifer.

Yes, the film is dripping in kitsch value, but one can't help but be absorbed the atmosphere, from the milk bar to the cave party, where English Elvis wannabe Adam Faith curls his lip to the drumming of an upturned guitar. Although before my time, I'm sure life in 1960 was never quite this with it, daddy-o.

It's not the greatest film ever made, but the wonderfully sleazy theme by Barry sets the tone nicely, and it rates as one of the best teenage exploitation movies to come out of the UK.

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.

Beat Girl, known as Wild for Kicks in the U.S., was another entry in the juvenile delinquent sub-genre started by the likes of High School Hell Cats and Teenage-Age Crime Wave, which took a look at the 'troubled' youth of the post-World War II generation when rock 'n' roll was moulding the clean-cut teenagers into misanthropic tearaways. Directed by Edmond T. Greville, Beat Girl is far too silly and melodramatic to leave any lasting impact, but there is a joy to be had with watching a bunch of pretty 1960's teenagers mope and complain in what would likely be classed as acceptable rebellious behaviour nowadays, and to see Swinging 60's London in all its glory.

The story concerns Jennifer (Gillian Hills), the 'beat girl' of the title, and her struggle to accept a new addition to the household. Her rich and rather liberal father Paul (Black Narcissus' David Farrar) dotes on his young, beautiful daughter, but remains concerned about her late night partying and dead-beat friends. Her behaviour takes a downturn when he brings home his new young and gorgeous French wife Nichole (Noelle Adam), who Jennifer takes an instant disliking to, as most children of divorce do. Nichole makes all the effort to bond with her new step-daughter, but Jennifer would rather be hanging out at the local jazz dive with her friends (including real-life musician and teen idol Adam Faith). After a chance encounter reveals Nichole's past life, Jennifer becomes intent on revealing the big secret to her work-obsessed father.

My main issue with Beat Girl is that it isn't totally clear whose side we're meant to be on. On one hand, the parents are shown as forward-thinking and modern while the youngsters (including a baby- faced Oliver Reed) squabble on a dusty floor over a half-drunk bottle of gin. On the other, the apparently misguided youth act out for good reason, and ultimately pose no actual threat ("Fighting's for squares, man!"). The film improves when it dabbles in the sleazy side of London, particularly as Jennifer's curiosity over strip joint Les Girls leads to shady club owner Kenny (Christopher Lee) trying to recruit the jailbait as one of his main attractions, which also leads to the sight of some surprisingly revealing routines. This is exploitation after all, and there's a wonderful sense of grime in these moments. Ultimately, Beat Girl suffers from long periods of off-putting melodrama and silly dancing, but there is a tremendous raunchiness to the film also.

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.