Girly (Vanessa Howard), a fetching but evil-minded schoolgirl, shares a dark hobby with her oddball household: she lures unsuspecting men to their mansion on the outskirts of London, then engages them in "games" that inevitably end in their deaths. The horrific family project runs smoothly until Girly brings home a new friend (Michael Bryant) who's operating under his own set of rules. Soon, he turns the entire household upside-down.
Allegedly, "the film is a dark and playful allegory of the breakdown of the nuclear family of the 1950s as a result of the free love movement of the 1960s." How exactly this critique came about is unknown to me. I guess I didn't see any such thing in the story, but I did not personally ask the writer what his motivation was.
The film was admirably handled, lead by director Freddie Francis, known for his work with Amicus and Hammer. If you're going to make a memorable British horror film, these are the studios you want and the man you want to do it.
What I found interesting was the unusual use of sexual seduction: is the woman an adult or a child? Clearly, she is in her early twenties. But her mindset is that of a child. Are her seductions of a woman or a child? This ambiguity makes what could be simple a risqué sexual liaison into a potential taboo.
Absolutely under-appreciated and unknown film that deserves a Renaissance. Please, please, please do yourself a favor and rent this from Netflix.
