The Boy Friend

"The Boy Friend" is an exciting adaptation of Sandy Wilson's stage-born play which Ken Russell has elevated into the status of a grand musical.Although Mr. Russell's excesses have worked/failed in other productions (I still adore "The Music Lovers", this one has a complete menu that satisfies this viewer. Top-notch cast (Twiggy, Tommy Tune and others and elevates the viewer into a three world dimmension: the actual show, the backstage goings on and Mr. Russe's projection into the Busby Berekely world of film going. Visuals are splendid. JuST A WONDERFUL FILM!!

As hilarious today as it was in 1971, this much loved comedy is probably to musicals what Blazing Saddles is to westerns. I know that might sound odd but the analogy describes how much of a very funny send up of Busby Berkeley musicals and wobbly British seaside theatre this film really is. I saw the longer 139 min version in a 1997 reissue in Australia, and it actually is not as tidy as the shorter 109 min version originally released, It is too excessive and impromptu (cast laughing etc) whereas the shorter version does work better. However it does allow for 2 more songs and some extras in the dance numbers that you will want to see... Twiggy is gorgeous, the art direction superb and the end result hilarious and charming. Interestingly it was made because MGM fumbled the possibility of a straight stage reworking with Julie Andrews (she made Thoroughly Modern Millie instead), and by 1968 the world went to hell in the Vietnam war and street riots. The Boyfriend has aged well, and so has Twiggy. Alert viewers will see some of the same clothes previously in Women In Love because Shirley Russell used to buy the real 1920s garments from London markets and used them in several films her husband made. BRIGHT YOUNG THINGS is a good 2003 equivalent in art direction and style.

Russell's homage to the twenties has aged better than most of his films because the tone is so right. The orchestration is period-perfect, and the costumes (by Russell's then-wife, Shirley) are astounding. Likewise the amazing sets echo the designs of Clarice Cliff, Lucy Atwell and a host of others. Twiggy is that rare star, a model who made a great transition to film, and she's supported by a Who's Who cast of English performers, especially bad girl Antonia Ellis, who went on to star in the British stage version of 'Chicago'. To cap it all, the film works on three distinct levels, the backstage musical, the onstage drama and the fantasy version. Some lines have even become catchphrases. Sandy Wilson, the original show's author, wrote a sequel called 'Divorce Me, Darling', which parodied the thirties. Some prints are shown without the 'Woodland Pastoral' dance sequence.

Interesting how the user reviews have shifted from the first entries which mostly HATE this film through to the current ones which mostly seem to LOVE it. That's some kind of cultural progress and sophistication at least.... Personally it's one of my favorite Russell films and I especially love the brilliant orchestrations by Peter Maxwell Davies. BOYFRIEND will reportedly be screened in Sept. by the American Cinematheque in Los Angeles. Russell has been in LA over the past month and I recently saw him at a screening of WOMEN IN LOVE and THE MUSIC LOVERS at the Aero in Santa Monica. Richard Chamberlain was also at the MUSIC LOVERS screening. So can't wait to see THE BOYFRIEND on the big WIDE screen again at last. I seem to remember that at the original first-run screening in NYC the fantasy sequences were all in stereo. Hope they manage to get that print at the Cinematheque.

This film has never looked or sounded better than on the newly-released blu ray. Twiggy makes an enchanting screen debut in a totally unique contribution to the musical. The slim story tells of a run down theater troupe putting on a production of THE BOY FRIEND. Assistant Stage Manager Polly Brown (Twiggy) has to go on in place of the injured star (A marvelous, unbilled Glenda Jackson). This means Polly will have to play love scenes with a leading man she has had a mad crush on. (Christopher Gable). The house is near empty, and the star won't be missed too much, but wait! A Mr. DeThrill has arrived to scout out the performance! This gives director Ken Russell the chance to show us some stunning dream numbers which pay homage to early Hollywood musicals like SHOW OF SHOWS, (1929), FLYING DOWN TO RIO, (1933), and in particular, the work of Busby Berkeley. This is a totally unique show, but one that is worth warming up to.