Secrets of a Windmill Girl

1966
1h 26m

ÉVALUATION IMDb

MA NOTE

Pauline Collins in Secrets of a Windmill Girl (1966)

Ajouter une intrigue dans votre langueExploitation film about the tragic life of a Windmill girl called Pat Lord, a fictional dancer in London's real-life historical striptease nightclub and nudie film theater, the (in)famous Wi... Tout lireExploitation film about the tragic life of a Windmill girl called Pat Lord, a fictional dancer in London's real-life historical striptease nightclub and nudie film theater, the (in)famous Windmill Theatre.Exploitation film about the tragic life of a Windmill girl called Pat Lord, a fictional dancer in London's real-life historical striptease nightclub and nudie film theater, the (in)famous Windmill Theatre.

Voir l’information sur la production à IMDbPro

ÉVALUATION IMDb

5,0/10

MA NOTE

Voir l’information sur la production à IMDbPro

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Anecdotes
Much of the footage of the Windmill dancers in rehearsal was originally shot for Primitive London (1965), but not used.

Gaffes
Harry Fowler's character is shown as 'Harry' in the credits, but in the film he is called 'Larry' twice, once commenting with a female that both their names start with the letter 'L'

Bandes originales
The Windmill Girls
Sung by Valerie Mitchell

Commentaires des utilisateurs5

Commentaire

Commentaire en vedette

6/10

Modest beginnings ; great ends.

The distinguishing feature of this film (1966), historically unseen, is that it opened The Windill Theatre as a cinema after its famous and legendary history as a live entertainment house. A modest film was required but 'wit da quality' as best as it could be decided upon to be made. To this end a classy little piece of ass was found in the cast of "Passion Flower Hotel" a musical at the Prince of Wales Theatre and the entire enterprise was set upon. While 'ísnt this terrible....!' may very well be the subtext partout it is not to deride director Arnold Miller's charming barrow boy's patriotic effort. The atmosphere created by Arnold in the theatrical sense is precisely that found by Jacques Rivette in the pocket theatre scenes in "Celine et Julie Vont en Bateau" (1974) and , indeed, can he have scrupulously avoided making recognition of a debt to Jean-Luc in the opening sequence of two young people, 'morts', in the front seat of their crashed sports car? ("Le Mépris" 1963). Mystery and marbles!