Absolutely Fantastic

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

There are no great singing voices in this musical, but all of the songs, dance numbers and skits are good. Comedy is properly billed first for "The Boy Friend," and it clearly carries the film. But the song and dance is an integral part of the plot. Because it's a story about people involved in a theater production. The production itself closely resembles the old-fashioned type of musical stage reviews, with lots of dance numbers (including chorus girls), songs and skits. The plot is a very thin thread that ties it all together. This is a film version of a very successful British play of 1954. Julie Andrews made her American debut in the Broadway production of the musical that same year. The musical quality of the stage productions probably equaled or trumped the comedy that is foremost in this film version. Some film fans might remember Twiggy when she first became known as a top model in the late 1960s. I didn't recall that she had a film career at all, until coming across this musical. She's quite funny and her singing voice is passable. Still, one can see why she had only a sparse acting career after this. Probably the best known of the rest of the cast is Tommy Tune, a superb dancer. He appeared two years before this film as a co-star in "Hello, Dolly." Tune has appeared in only three films and four TV series in five decades. But he has a lengthy career on stage. Besides his dancing he has choreographed and directed many Broadway musicals. He has nine total Tony awards in four different categories. This film has just a couple of short dance numbers for Tune as Tommy. The rest of the cast contribute to the comedy in their one-upmanship efforts as they play directly to a Hollywood scout who has come to watch their stage production. The humor is in the obvious hamming it up and back-stabbing of one another in their songs and comedy routines. The producers put a lot into this film, with superb props and examples of live stage supports for theater. In itself, that recommends the film for viewing by those who might yearn for a theater career.Outside of the stage performances within the film, the story is a little hard to follow. There are two or three subplots overlaid here. "The Boy Friend" is an amusing and fun musical romance that most should enjoy.

For once, it seems, Russell tones down the sexuality and violence and makes an ode to musicals and the theater. It is still full of his indulgences, Felliniesque numbers that go on and on. That's my problem with the film, too long. Cut it by a half hour or more. It's so obvious our heroine is going to make good by the end that there's no suspense or real drama. Too many characters who are mostly back stabbing jerks. Twiggy and Tommy Tune come off well.

In late 1920s London, unsteady "A.S.M." (that's "assistant stage manager") Twiggy (as Polly Browne) takes over the leading role in a sparsely attended stage musical called "The Boyfriend" after star Glenda Jackson (as Rita) breaks a leg. Literally. Twiggy performs badly on stage and fantasizes the production is more elaborate. She has a crush on handsome leading dancer Christopher Gable (as Tony Brockhurst), who notices Twiggy is beautiful when she removes her glasses. An observer named like filmmaker Cecil B. DeMille (Mr. De Thrill) watches the play, apparently looking for Hollywood talent...There are four or more movies here - the original stage musical, which is drowned out by producer/director Ken Russell, and replaced by your amateur musical, where some appealing people and songs test some sit-through-it endurance, then we have the backstage character stories, headed by the love story between Twiggy and Mr. Gable, all mixed like oil and vinegar into extravagant "Busby Berkeley" production numbers, of which the latter "I Could Be Happy with You" is a highlight, but in the version just before the intermission; like much of the film, it reappears until finally wearing out the welcome...**** The Boy Friend (12/16/71) Ken Russell ~ Twiggy, Christopher Gable, Tommy Tune, Antonia Ellis

When I first saw "The Boyfriend" at Kogarah Cinema I didn't realise that the 30s were enjoying a revival - I only knew I loved old movies (a legacy from my mother) and hero worshipped Twiggy!! To skinny schoolgirls the world over, Twiggy was a revelation. Before she appeared on the scene models were slim but curvy but when you heard her talk in interviews she sounded just like she lived down the street - not in some posh suburb with the arty and the elite!! So when I read that she was making a musical set in the early thirties with what looked like some fabulous dance sequences I was thrilled. The big controversy at the time was the director, Ken Russell, who was better known for some bizarre and strictly R rated films ("The Devils", "Women in Love"). I hoped he would do the right thing by Twiggy and he did.In a similar way to "Pennies From Heaven" the musical fantasy sequences in "The Boyfriend" were in stark contrast to the reality of the seedy, second rate show, where the once great Percy and Moyra Parkhill (Bryan Pringle and Moyra Fraser) rubbed shoulders with the up and coming Tony and Tommy (Christopher Gable and Tommy Tune). Polly (Twiggy) is the assistant stage manager and general dogsbody for a ramshackle theatre troupe who are staging "The Boyfriend" at the Theatre Royale, a majestic theatre fallen on hard times. One particular day...the star doesn't turn up... the hospital rings to say she's broken her leg...sound familiar??? To top it all there is a talent scout, a Mr. DeThrill, from Hollywood, in the audience, but before panic sets in the wonderful Barbara Windsor appears as Madame Dubonnet ("Do-Bon-Nay") to take the "young ladies" through their steps in "Perfect Young Ladies".For the next number "The Boyfriend" Polly is literally pushed onto the stage (as everybody's understudy she now has the star part!!) and is completely confused but wins a gold star for sincerity - it helps heaps that she has a huge crush on Tony. Stage manager Max (Max Adrian) has his own dreams about the number's staging and sees Polly as the spirit of ecstasy!! Tommy and Tony are the only talented performers in the troupe. Tommy, as an orphan had played on Broadway as Tiny Tom, the dancing kid but when he grew (at 6'6", Tommy Tune is apparently the tallest dancer in the country) he found himself in Britain, a victim of amnesia, only remembering how to dance. He had been taught a complicated time step by his father and it is inserted into the finale with surprising results.The songs keep coming - when vicious Maisie, ever on the lookout to impress Mr. DeThrill, convinces Tommy she has a bad headache and won't be able to dance her best in their number "Won't You Charleston With Me", Tommy just goes through the motions - but not Maisie - she lied of course!! Twiggy gets to sing two standards - "My Lucky Star" and "All I Do is Dream of You" - sure her voice is thin and untrained but she is playing an understudy, someone who is not supposed to be a top singer. Glenda Jackson makes a cameo appearance as Rita Marlowe, complete with crutches, in a scene lifted from "42nd Street", including the old "Go out there and be so good, you'll make me hate you"!!! "I Could Be Happy With You" gets the full Busby Berkeley treatment with dancing and kaleidoscopic formations on a giant turntable and ends up ala the "Young and Healthy" number from "42nd Street". The surreal "A Room in Bloomsbury" with its Fred and Ginger beginning, ending in a novelty dance with fairies and elves!!There are almost too many songs to mention, some work - like the riotous "It's Never Too Late to Fall in Love" sung by the glamorous Georgina Hale as a very amorous nurse and Max Adrian as an annoyed invalid who wanted this to be his big song!! When I first saw the movie at the cinema, some numbers were omitted, an extended ballet sequence, obviously to highlight the versatility of ballet dancer Christopher Gable, a fantasy dance between nurses and men in bath chairs and "It's Nicer in Nice" performed by Barbara Windsor. The movie would have been better and tighter if they had stayed out - as it was those sequences really dragged out what is already a long movie. But you can't find fault with Twiggy - her dancing is marvelous and she fitted into the early 30s era so brilliantly, it was also nice to see people who could actually dance (Gable and Tune) instead of the drek that passes for dancing now.