Life Begins at 17

Sixth-billed Luana Anders (with her sharp, angular face and inquisitive, old lady-eyes) is the central focus of this would-be teenage tragedy, wherein a handsome Ivy Leaguer from a wealthy family attempts to get closer to the local beauty queen by dating her "ugly duckling" younger sister. Anders appears to be a prime future candidate for the psychiatrist's couch; initially withdrawn and artistic, she begins to bloom after her first date, but when things don't go her way she schemes on the side like a mischievous schizo. Second-feature from Columbia Pictures entertains in its fashion, though common sense doesn't prevail. When Anders tells her suburban folks she's expecting a child, the otherwise-sensible adults don't even take her to the family doctor. Who would believe a delusional teenager? Interesting for its depiction of parent-child relationships circa 1958, and the dialogue is surprisingly free of coyness. ** from ****

teenager universe presented in realistic manner. love as axis of fight between expectations, family and need of attention of a young girl. and the atmosphere of "50's as perfect scene for a drama who has its tension and beauty and sparkles of dialogue. one of tries to understand a not comfortable age, it has the sin to ignore the adults. theirs reactions are not credible and that impose to Luana Anders to save entire story. Mark Damon does a decent role because the good - almost noble -intentions of his character are source of confusion for viewer. but the rules are the rules and Life Begins at 17 is far to be Rebel without cause. so, a nice film. and that could be enough because the flavor of period has the gift to save each delicate situation.

If it happens that Life Begins at 17 even faintly resembles the domestic and social values it depicts, then this seemingly harmless teen pic has to be reckoned one of the most horrifying documents of the Fifties. Deception, parental neglect, and emotional blackmail are at the heart of a story that has frat brat Damon pretending to be interested in Anders in order to get her gorgeous sister to fall for him. Once she learns of his deceit, Anders retaliates in a bizarre and unexpected way.

While this is obviously an exploitation picture, there are domestic scenes that sensitively capture the strained parent/child relationships. Particularly moving is the scene between Mark Damon and his father, in which Damon expresses betrayal from his father for not believing him. Damon is superb in this scene, bringing an emotional depth rare in a picture of this sort.

Don't get the impression that this is a good movie. It's not. But it's a fascinating document of its era - one that could generate hours of discussion on its sociological implications.