The Party's Over

This dark and disturbing drama of the '60's is notable for two reasons.The first is the very taboo nature of the storyline.Hardly surprising that it had problems with the British Board of Censors.The second is Oliver Reed's performance has the leader of a group of disillusioned young people,none of whom seemingly have any particular aim in life.These people do not seem to show any emotion or compassionate,even toward each other,something which is very evident in their attitudes towards the deaths of two of their number. I have read somewhere of this film being described as "Oliver Reed meets Necrophia".Watch this film,if you are a fan of Oliver Reed and if you can obtain it,but be prepared to feel depressed afterward.

Somewhere around the middle of the 1950's the teenager became an autonomous commodity in the west, garnering their own, distinctive "movements". In Britain - before The Beatles - the majority of youth identities were extracted from American sub-cultures. In Guy Hamilton's The Party's Over, the youthful group, or gang, are heavily influenced by the beat generation whose poetry and writing confronted political and social change through nihilistic, non-conformist characters and ideologies. Known in popular culture and the media as Beatniks (the "niks" added later in America to codify the group with communist affiliations - the nik was taken from the Sputnik, the Russian satellite that was launched in 1957), Oliver Reed's gang leader, Moise, guides his group through the hedonistic party scene of early 1960's London, opening with a shot of the Albert bridge in the early morning as the partied-out gang mope zombie-like, with Annie Ross's dour theme tune playing on their mournful souls. But what the film seems to focus the majority of its attentions on is the damaging consequences of both group mentality and heavy, prolonged partying. It's a moral tone that both reflects British society.

Along with the iconography of youth gang, with the tribal costuming - contrary to the idea of individuality and non-conformity, it's ironic that these ideas are scuppered by the entourage to the central trend- setting leader, - the film is about the changing political and social setting of Britain. In the still war-torn London of the early 1960's, an American businessman, Carson (Cifford David), has been sent over the Atlantic in search of his fiancée, Melina (Louise Sorel), who has been enveloped by the Chelsea set gang. Carson has been sent over by her father, a rich and powerful businessman himself. The gang, co-ordinated by Moise, send Carson on a cat and mouse chase around London, in search of the girl whom seems to be either an enigma or a skillful evader. It seems to be no accident that the American character is suave, sophisticated, smart and in control of his life, whilst the gang members are rough and without moral values. Britain was losing its Empire, and America was becoming the dominant super-power. The juxtaposition of the two transatlantic male central characters shows the parallel between the optimism of the new power and the degrading attitudes of the dying empire. As Carson begins to move deeper into the gangs secrets and situations, the dark and jarring truth changes everyone around them.

The Party's Over was an incredibly controversial film at the time, and inevitably, the film was problematic for the British Board of Film Censors. At the centre of this contention was a particular scene at a party. Melina is seen laying at the edges of the dance floor. Members of the gang stand over her, mocking her, claiming that she is unable to handle her drink. The scene quickly turns to sinister and depraved areas, which become even harder to swallow once we discover that Melina was in fact dead. The gang, like vultures, dive onto her, pulling her clothes off. A young member of the gang, Phillip (Jonathan Burn), mounts Melina in this scene, kissing and fondling her - an action that he later fatefully regrets. This scene is shown from different perspectives, much like Akira Kurosawa's Rashomon (1950). Unfortunately, due to its very suggestive nature, the British censors cut around 18 minutes from the film, and was overlooked on its release. In the cut released in 1965, the power of the film is totally lost, as these scenes are central to both the films themes and narrative. These cuts also lead to director Guy Hamilton (who would later make his name on several Bond films) and producer Anthony Perry removing their names from the credits.

But it is Reed's central performance that dominates the screen. It is not a large step away from a previous role in Joseph Losey's The Damned (1963), but his brooding, antagonistic presence is illuminating. He mocks and berates at those sycophants around him, bleating at them like a sheep, laughing at their following natures. He does however, respect those who defy him, despite his later moral maturity. In one sense the film offers an insight into the decay of post-Empire Britain, and a glimpse into the moralising of the newly dominant America. But also the film highlights what many youth films tend to forget. These youth movements (particularly in the 1960's - including the later "Hippie" movement) are fundamentally entrenched in privilege. Therefore, whilst the films young characters are rough, violent, self-absorbed, these are the future Representatives of the British class system. Perhaps more the reason for the BBFC's attack on the film: it may well have been a different release if the gang members were from the other side of London, the East-end, as opposed the West.

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"The Party's Over" is nothing special. What makes it interesting is knowing that it ran afoul of the British censors for depicting things that were back then considered "inappropriate".

Oliver Reed plays the leader of a group of young beatniks in London. They're the sort of folks who live only for thrills, without a care in the world. Things get particularly unpleasant when a young woman hooks up with them.

I couldn't tell if the movie was trying to take a position on the direction that the UK's younger generation was taking. With the youth starting to move away from the stodgy social order that defined England for much of the 20th century, Swinging London was becoming the face of the country. This movie casts a more cynical face on that.

Anyway, it's an OK, not great movie. Guy Hamilton would later direct four James Bond movies. Incidentally, "Dr. No" (not a Hamilton movie) got released the same day as the Beatles' "Love Me Do", sixty years ago this month. Good times.

Executive Producer Peter O'Toole and Jack Hawkins along with director Guy Hamilton took their names off this controversial British Beatnik flick where an American girl, missing from her New York tycoon father and businessman fiance, is supposedly raped/screwed after death: so for them it wasn't controversial enough...

Yet no actual necrophilia occurs (unless you count a quick posthumous kiss), even in the restored cut when -- a day before THE PARTY'S OVER -- Oliver Reed and his wayward cohorts play cat-and-mouse with Clifford David as the rich chick's arranged fiance, Carson...

Who's flown to England to not only get his girl back, but to know her, period, while she (Louise Sorel) is content with the breezy freedom among the eclectic crew of brooding Brits, either drinking and smoking while digging hot jazz when not coming down in the usual melancholy, philosophizing manner...

But it's not all emotional highs and lows since in its foundation, this is a Noirish, non-linear crime/mystery sporadically told through flashbacks provoked by the American's initially basic quest...

And he eventually becomes involved in a flirtatious, hang-around romance with the prettiest, wisest, seemingly most helpful English girls in Katherine Woodville's Nina, who, donning a slick black bowling hat and matching black cane, is lovestruck despite the secret she and the others are holding back...

As the most shocking and refreshing aspect -- much different than other counter-culture themed films -- is that the suit-and-tie fiance (a dapper-handsome hybrid of Robert Mitchum, Alan Badel, Cornel Wilde and Liam Neeson) is not the usual cliché idiotic conservative-square to make the progressive cool kids seem that much cooler...

So Clifford Davis's buried lead feels more like an even-keeled, experienced gumshoe, questioning (in vain) a goading, moody Oliver Reed, the passive-aggressive leader of the eclectic gang...

Each member foreshadowing the future punk rock movement of total individuality despite a sort of zombie-like/like-minded camaraderie (including Reed's big bald German sidekick; his cheated-on blues-crooning moll; a suicidal college student; and a gay messenger boy)...

But it's a shame these spontaneous, otherwise freewheeling nomadic scoundrels are so bogged-down by the previous night's crime (actually more of an unreported tragic accident)...

A burden that hinders their each and every step as, compared to the potentially awesome opening credits where the group coolly wanders across a bridge at a murky dawn, they could have been far more character-driven than guilt-ridden in what ultimately winds up a pre-Goth/Gothic romance about existential life (and love) after death.

THE PARTY'S OVER is an interesting time capsule piece that brings to life Beatnik culture in the mid 1960s. Given that nobody knows who the Beatniks were these days it's invariably a dated production, once controversial but now very tame in terms of execution and the old-fashioned black and white photography. The recently deceased Bond director Guy Hamilton had his name taken off the credits due to dissatisfaction with the film's censorship.

The film depicts a social group in which hedonism and ruthlessness are the order of the day. The idea of a gang of youths going around causing havoc without giving a thought for the consequences of their actions is an interesting one which has been explored many times in the cinema, perhaps to the extreme in A CLOCKWORK ORANGE.

Added to this is a main mystery storyline in which a youthful investigator comes over from America to search for a missing girl. The actor playing him is Clifford David, later to essay the role of Beethoven in BILL AND TED'S EXCELLENT ADVENTURE. What happened to the girl forms the crux of the storyline, and eventually the mystery is revealed through some flashbacks which were once controversial, although they feel very tame and ordinary by modern standards; worse happens on an evening soap these days. Still, THE PARTY'S OVER is worth a watch, even if just to see Oliver Reed's surprisingly sensitive turn as the gang leader. His role is reminiscent of his one in THE DAMNED, but with greater nuance; he truly was an underrated actor.