Young teacher Jenny Bunn arrives in Southern England. She attracts attention from local boys, including Patrick Standish. Multiple suitors emerge, vying for her affection as she navigates he... Read allYoung teacher Jenny Bunn arrives in Southern England. She attracts attention from local boys, including Patrick Standish. Multiple suitors emerge, vying for her affection as she navigates her new life and career.Young teacher Jenny Bunn arrives in Southern England. She attracts attention from local boys, including Patrick Standish. Multiple suitors emerge, vying for her affection as she navigates her new life and career.
Aimi MacDonald
- Wendy
- (as Aimi Macdonald)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Featured reviews
As a Hayley Mills fan I was curious about the pairing of her with Oliver Reed. It's like putting a little lamb with a hungry wolf. Mills comes to town to take a teaching position. She moves into a boarding house run by a local boozy politician and his unhappy wife. She meets Oliver Reed who comes by to visit another young woman who lives in there. He takes Mills out to dinner and back to his place only to discover that she is a virgin. One of the few left. She tells him she wants to wait until she's in love. Reed delivers her back home. He's intrigued but is distracted by other more available women. Reed and Mills have an interesting chemistry, he's intense and slightly dangerous and she's innocent and inexperienced. The ending had a little twist that I found myself rooting against, before arriving at a more conventional finale. Worth a look.
Based on Kingsley Amis's 1960 novel, everything about this travesty is rendered hideously dated by it having actually been made at the wrong end of the sixties during that fleeting era when Hayley Mills & Noel Harrison were considered bankable stars; and well and truly put Jonathan Miller off ever getting involved with the film industry again.
Amis's contempt both for the permissive society and for women in general, alas, comes through loud and clear. And why Oliver Reed is so charmlessly set on bedding the virginal Hayley when the lovely Aimi MacDonald is all over him is one of several uninteresting mysteries the film presents us with, such as how - with the possible exception of Sheila Hancock - such a good cast is ill-used.
Amis's contempt both for the permissive society and for women in general, alas, comes through loud and clear. And why Oliver Reed is so charmlessly set on bedding the virginal Hayley when the lovely Aimi MacDonald is all over him is one of several uninteresting mysteries the film presents us with, such as how - with the possible exception of Sheila Hancock - such a good cast is ill-used.
Take a girl like Hayley Mills, Britain's professional virgin for much of her career, and so who better to play the part of Jenny Bunn, the new girl in town who has yet to have her cherry popped. Barely has she got out of the taxi before she's accosted by local lothario Patrick (Oliver Reed), slavering at the chops at the prospect of fresh meat. He's as slimy as slime can be but you wonder if the (male) writers see him this way, or whether they regard him as a kindred spirit. The narrative proceeds along a familiar will-she, won't-she path, with less than hilarious consequences.
You don't really expect Dr Jonathan Miller, Kingsley Amis and George Melly to come up with a feminist tract, but you'd think they would be capable of producing better dialogue rather than the terrible twaddle they peddle here; e.g. "don't blow your cool over Patrick, dinner will be groovy". To add to the grief there's the usual line-up of British 'character actors' hamming it up like mad, turning it into a kind of Carry On Chastity, but without the laughs. The source novel by Amis was written in the 50s but the film, made in 1970, updates this only stylistically. It didn't seem to occur to anyone that this would make it seem even more anachronistic than it was when the story was first published
You don't really expect Dr Jonathan Miller, Kingsley Amis and George Melly to come up with a feminist tract, but you'd think they would be capable of producing better dialogue rather than the terrible twaddle they peddle here; e.g. "don't blow your cool over Patrick, dinner will be groovy". To add to the grief there's the usual line-up of British 'character actors' hamming it up like mad, turning it into a kind of Carry On Chastity, but without the laughs. The source novel by Amis was written in the 50s but the film, made in 1970, updates this only stylistically. It didn't seem to occur to anyone that this would make it seem even more anachronistic than it was when the story was first published
Exceptionally slight and meandering comedy has Hayley Mills portraying a twenty-ish girl from Northern England who relocates to London to teach school, taking a room in a boarding house and getting pawed at by various randy men. Of course, being a determined virgin until true love sets in, our heroine keeps all the beggars at bay. Adapted from a novel by Kingsley Amis, this a sex comedy with no sex in it. The Swinging Sixties having passed, what we get here is a rather staid and starchy London, and one quickly loses interest in the character's predicament since her rigid stance fails to propel the slim plot (even though Mills herself is a lovely screen presence). Best performance is given by Oliver Reed as a confirmed bachelor eager to deflower the pretty lass--even if it be on her terms. A few funny moments, but lazily put together and nearly crippled by a terrible finish. *1/2 from ****
Already out of its time when it was released, 'Take a Girl Like You' focuses mainly on Jenny Bunn (Hayley Mills), a young teacher hanging onto her virtue in pursuit of love, and Patrick Standish (Oliver Reed), a flash bohemian trying to break through her resolve. With a swinging soundtrack from the likes of the Foundations and Ram John Holder, this tale is slight but watchable.
A good supporting cast - Ronald Lacey, Aimi Macdonald, Sheila Hancock, Noel Harrison, plus an early teaming for Johns Bird and Fortune, foreshadowing their head to head skits for Rory Bremner - helps this film to stay afloat, while Reed is the perfect charmer for the rather wet Mills.
Not bad, but perhaps too hopelessly dated to work even as a quirky original. From a novel by Kingsley Amis, adapted by George Melly, and directed by Jonathan Miller.
A good supporting cast - Ronald Lacey, Aimi Macdonald, Sheila Hancock, Noel Harrison, plus an early teaming for Johns Bird and Fortune, foreshadowing their head to head skits for Rory Bremner - helps this film to stay afloat, while Reed is the perfect charmer for the rather wet Mills.
Not bad, but perhaps too hopelessly dated to work even as a quirky original. From a novel by Kingsley Amis, adapted by George Melly, and directed by Jonathan Miller.
Did you know
- TriviaThis is the only theatrical movie directed by Jonathan Miller.
- GoofsThe opening title sequence shows a train. It is hauled by a BR Class 47 diesel loco. The first carriage is BR Mk1 full brake. The next scene is that of a train pulling into a station. This train is though is hauled by a BR Class 35 diesel (smaller than a 47). The first carriage is now a BR Mk1 composite brake.
- Quotes
Martha Thompson: My old man made a pass at you yet? Not to worry, he will. Just give him a kick in the crotch.
- ConnectionsReferences Come Dancing (1949)
- SoundtracksTake A Girl Like You
Composed by Bill Martin and Phil Coulter
Sung by The Foundations
[Title song played during the opening credits, and again in the lead up to the end credits]
- How long is Take a Girl Like You?Powered by Alexa
Details
- Release date
- Country of origin
- Languages
- Also known as
- Senin Gibi Bir Kız
- Filming locations
- The George Inn, 29 Windsor Road, Wraysbury, Staines-upon-Thames, Surrey, England, UK(Jenny, Graham, Anna and Patrick meet Wendy at the pub)
- Production company
- See more company credits at IMDbPro
- Runtime
- 1h 41m(101 min)
- Aspect ratio
- 1.33 : 1(original ratio)
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