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.
