Hi-de-hi… That'll be the Day (1973)

A film about the late fifties that feels very much like the early seventies mostly down to the presence of David Essex a pretty boy of David Cassidy proportions who could also act – and still does in Walford and beyond.

Genuine rock ‘n roll credentials are provided by Ringo Starr who in his youth worked at Butlins and on the pier in Llandudno before joining Rory Storm and the Hurricanes and other, more successful, Scouse beat bands along with a Mr Keith Moon who I believe slapped the drum skins for the High Numbers.

Billy Fury in the Wondrous Place...

Outshining them both is Billy Fury, Liverpool’s own Elvis, who maintains an authentic aura of cool whenever he’s on screen and is every inch the part-time rock star, full-time legend (thanks Pete Wylie!) you’d expect from the man who sang Wondrous Place. In his gold suit and with his blonde DA he’s the man Martin Fry hoped to be and even in the reduced circumstances of the film’s holiday camp, he looks like he should be somewhere better: the Empire, the Palladium, Cesar’s Palace!?

I had written off That'll Be the Day as a vehicle for Essex rather than an attempt to connect with the youthful truth of rock ‘n roll transition. My early teen self was put off by the popstar and, now having finally got round to watching it, I can see that was unfair. At times the film feels like an updated Alfie with Essex’s character, Jim Maclaine, going through a series of uncommitted relationships with some of the prettiest actresses of the time without finding himself or a direction.

The brilliant James Booth

Unlike Alfie, we see Jim’s origins, as the story begins with his Jack the Lad, Dad (James Booth) returning home from the War and never quite settling before heading off leaving wife (the excellent Rosemary Leach) and child with a wink and a far-away smile. It’s a grin that says, sorry son but I’ve no choice… a man pathologically driven to run, away.

Jim dreams in class

What effect does that have on the son? He drifts through school always dreaming of more and never committing to hard work or limited horizons – optimistically he assumes that there’s always something better around the corner and even as he moves from ingénue to adult he’s still always looking over his lovers’ shoulders….

Jim can’t concentrate on school and spends his time doodling while his best mate, Terry (Robert Lindsay) focuses on his studies. Both are bright lads set on university but Jim throws his books and his chances into the stream and resolves to leave home looking for who knows what.

On the beach

So Jim leaves his mother behind – abandoned by both father and now son, and becomes a deckchair attendant in an un-named seaside town (somewhere on the Isle of Wight) where he starts to notice the ladies. He’s still unsure of exactly what to do until he meets rocker Mike (Ringo Starr in one of his better roles).

Dave, Ringo, Brenda and Deborah

The two are working as bar men in a holiday camp and Mike helps to set Jim up with a young lass called Sandra (Deborah Watling) whilst he cops off with her mate Doreen (Brenda Bruce) as they dance along to Stormy Tempest (Billy Fury) and his band including Nashville Teen John Hawken as well as J.D. Clover played by Keith Moon.

Back to Jim’s chalet they go and – momentarily distracted by a crying baby: the sound of parental responsibility – his performance debut goes without a hitch and rather too quickly for the more-experienced-than-she-lets-on, Sandra.

Deborah Watling

The lads get jobs at a fairground managed by Jack (the ever dependable Johnny Shannon) and Mike explains the rules of this new game: “one for them and one for us” a split of the takings based on judicious over-charging and short-changing the punters on the dodgems. Mike’s rules are simple and they include a golden one: above all don’t pick on gang members.

Sadly he fails to heed his own council and ends up badly beaten by members of a gang whilst Jim just slinks away into the darkness leaving him to his fate. Bad deeds are rewarded as Jim gets Mike’s plum job on the merry-go-round and swiftly becomes the cock of the waltzer.

David Essex and Sara Clee

There’s a poignant interlude as a pretty girl (Sara Clee – always excellent in everything I see and now a successful counsellor and therapist!) waits for him. There’s something deeper about this relationship and they make their way back to her house where Jim is appalled to find a baby sleeping in her room. It’s another reminder not only of family but also of the irresponsibility of his lifestyle and he runs away…

Sara Clee

Another reality check takes place when Terry comes to visit and after Jim shows him his new life, they agree to go to a dance at the former’s university. It’s a dose of what could have been for Jim as he tries and fails to establish contact with Terry’s female friends: he’s missed the beat and they’ve no common ground.

The likely lads... Robert Lindsay and David Essex

Jim returns home – perhaps it’s time to settle and stick to something. He rejuvenates his mother’s shop and even swaps his motorbike for a new van. He also starts seeing Terry’s Sister Jeanette (Rosalind Ayres of the lovely eyes who also never seems to disappoint) much to he and his mother’s concern.

Rosalind Ayres and makes eyes

Jim treats Jeanette with more respect than the women we’ve seen and he seems set on married life until celebrating his last night of bachelor-hood with Terry’s girlfriend…

There’s something reckless about Jim and it’s clear that history may be about to repeat itself…

Jimmy Dean?

Dusty verdict: That’ll be the Day falls short of the impact of classic kitchen sinks from the decade before even if it does have hard edges. Director Claude Whatham adapts Ray Connolly’s story well but there’s a light-heartedness that somehow undermines the impact.

Rosemary Leach and David Essex

There are some good performances from Rosemary Leach and Rosalind Ayres in particular and, for me, David Essex doesn’t quite have their chops. He’s perhaps too likeable to play Jim - a man driven by the spirit of rock and roll and the restlessness to seek another life.

There’s a follow-up – Stardust – that has a lesser reputation and which deals with Jim’s later music career. – maybe I should see that to put this in its full context.

Jim and his heroes

That’ll be the Day is available with Stardust on DVD from Amazon and all the usual places. In truth it’s worth the price of admission just for Billy Fury, Ringo and Moon. Rock On…

 

The movement you need is on your shoulder… Little Malcolm (1974)

This play originated in the mid-sixties when writer David Halliwell wrote a play about an art-school reject/drop-out much like himself… well, perhaps not entirely like himself. Beatle George liked it then and he liked it again when it became the first film he financed and produced in 1974.

It addresses contemporary concerns about authentic motivation, truth, honesty, gender and power and whilst it has the fags and unkempt hair of its period these are hardly issues that have gone away; certainly not in the era of extremism from ISIS to BNP and in which the allure of charismatic leaders with simple, powerful ideas has hardly diminished…

“It’s no good theorising about getting up, it’s the act that counts”

John Hurt

It starts out with the humorous malaise of the disappointed art student and escalates horribly out of control as single tone binary extremism leads to sickening violence. Every further educational establishment in Britain is worried about such dangerous drifts from disaffection – The Devil makes work for idling minds.

The original title of the play is Little Malcolm and His Struggle Against the Eunuchs and the BFI resurrect this for the dual format release.  Malcom’s initial struggle is simply to get up and we encounter him lying under his standard-issue great coat wrestling with the thorny issue of the moment between thought and expression. John Hurt is Malcom Scrawdyke and he plays superbly throughout reprising a role he had originally performed on stage.

Talking 'bout a revolution

Hurt’s Malcolm is an opinionated loser who is forever excusing himself not just from the “fascistic” environs of the Technical College but also from taking action even with the girl he fancies - Ann Gedge played by the wonderful Rosalind Ayres (whose eyes properly warrant a blog post all of their own…) her naturalism and balanced reason contrasts with the quirky fearfulness of the men.

Rosalind Ayres

Malcolm pretends to forget he’s due to take Ann to the pictures preferring to discuss the setting up of a “Party” with two of his comrades from the course, the quick-witted Wick Blagdon (John McEnery) and the dopey Irwin (Raymond Platt) – easily led but slow on the uptake. They decide a political party is the only way to gain “power” and to avenge themselves on the corruption of their tutor Phillip Allard – to gain the respect they, as men of vision and talent, inherently deserve.

John McEnery

Malcolm decides that they will be the Party of Dynamic Erection a deliberately incendiary association and one that is little more than a schoolboy joke in terms of actual meaning… until you look at Malcolm’s own situation. He rails against “the Eunuchs” and yet his own ability to function on a sexual level is in question as much as his ability to “not talk, just act”.

A fourth member of the PDE is the permanently duffle-coated Dennis Charles Nipple (David Warner on fine form) who, in spite of the coat and fascination with details, has some experience in matters of the heart and regales the other three at length with exuberant fluidity. Exhausted after recounting his florid tale, Malcolm tries to burst his erotic bubble by describing his lover in less… flattering ways. He needs to knock Dennis down a peg or two and to establish his own credibility. If this woman had been anything like Nipple suggested then surely Malcolm, the Alpha, would have stepped in…

David Warner

The boys act out their planned kidnap of arch enemy Allard to the last detail with Wick playing the victim and Nipple measuring up the pictures they are going to steal to force their tutor to accede to their will. They want to break him and force him to smash up the painting and to thereby admit the worthlessness of art and by extension his teachings.

Wick follows through the emotions until he is exhausted following the violent destruction of an oil painting from their class… It’s a foretaste of the film’s ending and ends with Malcolm comforting the defeated Allard/the Party Hero. These boys have big imaginations… but perhaps they only serve to compensate for disappointing reality?

Things proceed harmlessly; Malcolm delivers ever more belligerent speeches and the others trust grows. Yet there is the matter of Ann and Malcolm is drawn to her but unsure what to do about it… he wanders to her house and, bumping into her, lies that he’s on his way to see a friend. She asks if he wants to go to a gig and he agrees.

At the club the two talk but Malcom doesn’t know how to reach out, Ann smiles to herself and moves closer towards the band as if to reinforce her ability to connect and to just be (“not thinking, just acting”).

Spoilers: Malcolm is sublimating something and his response to this latest humiliation is look for someone else to blame. He’s already described Ann as mocking him by her very look and interest and now he exacts an unpleasant revenge by association on Nipple (well he is human and he has successfully had intercourse…) who faces a tribunal rigged against him. Malcolm asks him to plead guilty or “more guilty”: he can’t win and is sentenced to death at a time and method unspecified. He’s excommunicated and Malcolm revels in the process before Nipple turns in hurt to say that he forgives him… There’s a look in the bully’s face when resistance stops and he has nothing to react against.

But this is as nothing in comparison with Malcolm’s “revenge” on Ann after she runs rings around him in a debate concerning his true feelings… the film enters its most unpleasant phase as Malcolm is revealed to be entirely without substance: only capable of reacting and unable to lead.

“Act, don’t think!” he repeats but the truth is that he can’t really do either and the revolution is permanently postponed.

Dusty verdict: Little Malcolm is superbly directed by Stuart Cooper with immaculate performance all round. It resonates still with its central messages, so don’t think, act and buy a copy now from either the BFI or Amazon.

 

The Scrawdyke Salute!