Au Pair Girls

Au Par Girls (1972)

** 1/2 (out of 4)

British sexploitation film about four beautiful women who travel to London so that they can work as Au Pair girls. I guess there's really not too much of a reason to go into the plot as we simply see all four of them end up nude and in various sexual situations. The most shocking thing about AU PAIR GIRLS is the fact that it was written and director by Val Guest who is best remembered for for various Hammer productions including the wonderful THE ABOMINABLE SNOWMAN. I was really surprised to see how well he handled the material but then again, all he really had to do is make sure the ladies got naked throughout the running time and that the film never slowed down too much. This is a comedy so are there any laughs? I'd say not really as all of the situations are quite predictable and never overly funny. One girl gets hooked up with the son of her boss. Another gets to live with a weird older couple and so on. The film manages to be entertaining simply because of the four ladies. Gabrielle Drake, Me Me Lay, Nanci Wait and Anita Sector are the four ladies and all of them are obviously beautiful but they also manage to keep a smile on your face. Me Me Lay is probably going to be best remembered for a number of Italian cannibal films that she'd make later in her career. Another good thing is that the film is certainly proud of being made in the 1970s, which means we get some great visuals of the various styles and settings of the period. AU PAR GIRLS isn't a masterpiece and it certainly can't compare to many of the German sexploitation pics of this era but it's still worth watching for fans of the genre.

I watched this movie the same day I first saw The Day the Earth Caught Fire, quite unaware that both movies had the same director. Had I not been alerted to this fact, I would never have guessed. It is a spoof of soft core British porn films to an extent, but also injects interesting dramatic material. The story is of four gorgeous girls who come to England as au pairs (doubtless using the Gorgeous Woman Only au pair service). Each of them only keeps their job for one day, for various reasons. Danish Randi is stranded with the rich kid son of her employer when his car breaks down, her clothes are soaked and they end up spending the night in a parking lot. Swedish Anita (a fun, delightful character who seems so liberated that she doesn't realize there's any alternative) shocks her employer by marching about the house nude and ends up being picked up at a casino by an amorous sheik (in the sheik's abode, a man sounds a gong every time he walks through the door). German Christa, a near-prudish virgin, is indoctrinated into London's swinging underground by her employer's daughter who wants to offer her as a sacrificial virgin to a rock star. Chinese Nan is taken to a manor house and begins a sad little affair with a sheltered pianist man-child, who seems to have the emotional maturity of a child half his age.

The odd thing is that the first two plots are funny and ridiculous, but the second two are tragic, as Christa realizes she has squandered her virginity on the ungrateful rock god and Nan scarcely seems happy to be regarded as a new plaything by her new bedmate. Both stories have tears. What's going on here? This stands in clear opposition to the brassy, fun nature of the other plots (and the atrocious upbeat theme song - you've got to hear it to believe it), and the ending that ties together all four girls in a riotously offhand and silly manner, as they all trot off to be the sheik's handmaidens, no questions asked. Also odd is that there's not all that much sex (though there is plenty of nudity). Anita does not actually have sex at all (and she doesn't seem to mind much, either!), and though the others do, it's hardly explicit at all.

All the girls are likeable, which is more than can be said for the men. Nan's swain, who refers to her as "it" early on, like she's one of his model ships, is a particular repellent creation, although strangely one of the most repellent, who slips his hand into Christina's pants, actually proves quite respectful of her. For a porn film, this is a rather well acted one. Guest handles the actors well, and provides some nice little touches (as when Anita applies a puff of perfume between her legs). The Au Pair Girls is a particular oddity, but not an unrewarding one.

The plot has already been described by other reviewers, so I will simply add that my reason for wanting to see this film was to see Gabrielle Drake in all her undoubted glory.

Miss Drake has to be one of the sexiest, prettiest examples of "posh totty" to have been committed to celluloid. Of her era and ilk, only the equally exquisite Jane Asher comes close. What was it about actresses with musical brothers? (Nick Drake and Peter Asher) For those who like me have admired Gabrielle, her scenes in this movie will not disappoint. She has a magnificent figure and none of it is left to the imagination here.

As a whole, the movie is very poor and being of its time, very cheaply made. The song that covers the opening credits seems to go on forever and is appalling.

AU PAIR GIRLS is a pretty decent example of the British sex comedy film of the 1970s, especially when compared to other entries in the genre during the decade. It has strong production values - thanks to being produced by the great Tigon Pictures studios - and even better direction courtesy of veteran helmer Val Guest, just before he went on to make possibly the ultimate example of the genre in 1974, CONFESSIONS OF A WINDOW CLEANER.

What stands out about AU PAIR GIRLS is the unusual and highly watchable plotting. Instead of having a single plot strand dragged out to feature length, this is a kind of anthology movie which follows the misadventures of four foreign au pairs who arrive in England and each find themselves in an unusual situation with their new-found employer. Chances are that if you don't like one of the stories then at least one of the others will be more appealing.

The arresting Gabrielle Drake stars in the most typical of the story lines about a girl who gets into various run-ins with the son of her new employer, played by Richard O'Sullivan. There's a lot of slapstick humour in this tale, and ample nudity from the beautiful Drake. Astrid Frank is a Swedish au pair who causes Geoffrey Bayldon to get hot under the collar before falling in with Trevor Bannister's photographer. Next up we get the oddest tale, an oddly touching story starring the one and only Me Me Lai (star of those Italian cannibal films) who has never looked more lovely and who falls in with a child-like man. The last tale, by far the darkest, involves Nancie Wait's virginal young woman who ends up being introduced to the sleazy side of the music world.

The supporting cast is quite good, with the ubiquitous John Le Mesurier popping up in a cameo and future CORONATION STREET actor Johnny Briggs doing his best to pick up the girls. There are bit parts for John Standing, Marianne Stone, and Milton Reid, plus the unusual sight of Ferdy Mayne playing a sheikh. What impresses most is that although the four actresses are all picked for their looks and willingness to go nude, they're actually quite talented performers who convince in their roles and evoke emotion in the viewer. More than your usual sex comedy, then.

I decided to check this movie out on Netflix in spite of the uninspiring description given for it, which made it sound like a typical grade B- exploitation flick, just because I wanted to see Gabrielle Drake in something other than reruns of the 1960's TV series *UFO*. But granting that I'm an American too young to have seen much of this genre of films from this era, I found this movie much more enjoyable than I expected. It was thoroughly professionally produced, with consistent and thoroughly professional acting, editing, photography and comedic effects and timing from one end to the other. The plot -- actually, plots (here there are four of them) work perfectly well for what they are, are not especially predictable, and are light on the clichés, and there is some pretty witty dialog, too. Several times I caught myself laughing out loud. Moreover, the, er, mature parts actually fit the true definition of that word for a change, as it seemed to me that the filmmakers were not the least bit shy about how they handled them, being quite unembarrassedly frank to the point of in-your-face (not to mention actually more believable in certain small details than typical American-made Cinemax 2:00 AM fare) in the way they were handled. It may not be high art, but like, say, *Gilligan's Island*, I thought it was quite good for what it was. I'm not surprised to learn that the director actually seems to have a reputation for doing good stuff in other genres.