Hey, rock 'n roll… Three for All (1975)

 

Pop moved so fast in the 1970s, it was blink and you missed it for top trends and so many became so much Disc and Music Echo chip paper once the consensus had moved on. From T-rex, Slade and Sweet to tailenders like the Rollers in a little over 2-3 years, Glam Rock was a sparkling flash in the pop-pan but it is long overdue a more widespread re-evaluation as one of the great British musical movements. People like Jon Robb have argued that it was nothing less than the precursor of punk, a bridge between post-Beatles depression, blues and progressive rock to punk, some of the main players having already been in rootsy rock formations.

 

Cinematically the moment was pretty much missed, with even Slade in Flame (1975), coming just after the parade had passed and perhaps the less said about Never to Young (1975) the better although it features some good Mud action and the Glitter Band (without you-know-who). The same could also be said of Three for All which is a slightly jarring cultural relic, still full of energy and harder-edged Glam from Billy Beethoven (oh yes) led by future Rainbow front man Graham Bonnet who also wrote the songs. It’s a mix of Y viva Espana, the huge trend of Spanish holiday making, and the Billy B’s attempts to make it as a Cowboys and Indian glam rock band which would have been released just after the mascara and glitter had been replaced by tartan. Pop in general had just run out of steam by 1975, waiting for something, anything to happen… cue 1976, The Ramones, Sex Pistols and punk’s first single, New Rose by The Damned with dozens of bands punching through without the major record company marketing seen in this film.

Boys in the band: Robert, Graham, Paul and Christopher

 

Three for All has an anarchy of its own though and is produced by the team that brought us Eskimo Nell, with writer Michael Armstrong (who also cameos) and director Martin Campbell marshalling the chaos for this free-running farce which features a dozen high-profile cameos as well as a strong central cast. Campbell has had a highly successful career but it’s a long way from Torremolinos to the Planet Oa, home of the Green Lantern Corps but he’s made the journey having directed the early DC film after many hits on big and small screen, particularly with the ground-breaking Edge of Darkness, simply one of the finest television series of the Eighties and beyond.

 

Here the brief is simpler as we encounter three young women who are wandering through London traffic as the credits roll, on their way home to greet their boyfriends and to plan their holidays. There’s the vivacious Diane (Adrienne Posta), impulsive and ambitious with ideas slightly beyond her grasp, Pet (Cheryl Hall) more down to earth but still given to flights of fancy and Shelley (Lesley North), the quiet and possibly the most reliable one.

 

Their beaus form the majority of Billy Beethoven, Pet’s Tom (Robert Lindsay, who was married to Hall) is the drummer, Shelley’s Gary (Paul Nicholas) is on backing vocals and bass, whilst Diane’s Kook (Graham Bonnet, also dating his cinematic girlfriend at the time) is the vocalist. The odd man out is Ricky the guitarist (Christopher Neil) but three’s company, four’s a crowd. The band are managed by the long-sufferable "Jet" Bone (Richard Beckinsale) who has singularly failed to get the boys to the next level and they’re just about out of goodwill.

 

Hey Rock 'n Roll! Showaddywaddy

We do get to see them supporting Showaddywaddy, glam second-wavers who still look and sound a lot of fun performing The Party off their debut. The Billys(?) badly need an image as strong as the lads from Leicester and they also need a break which, as luck would have it, is just arriving as Jet has entered them into a competition run by marketer, Eddie Boyes (played with relentless energy by George Baker) who, with his assistant Harry (Simon Williams keeping some order), contact Jet to make their offer for the winners: an all expenses tour of Spain to promote it as a holiday destination – as if that was necessary in the golden era of the package tour. The only stipulations being that they dress up as glitter cowboys and Indian and leave their girls behind.

 

The girls are distraught and tearfully wave off their lads at the airport along with Ricky’s mum, played with effortless sauce and consequence by national treasure Diana Dors who fair makes Eddie’s eyes boggle as she sorts her hair, revealing just how well she fills the band’s t-shirt.

 

Back home the girls, led by Diane, decide to take matters into their own hands and book tickets to follow the lads to Spain. Kicking work into touch they set off on a coach where Diane meets an odd psychiatrist Dr Sparks (Jonathan Adams  ) who has written some very odd books and they first experience the lovably English of Ben and Rhoda (Arthur Mullard and Sheila Bernette). At the airport there’s a smashing short cameo from Hattie Jacques as a security officer along with Liz Fraser and David Kossoff as a mysterious couple… You wonder if Campbell and Armstrong just asked everyone to improvise?

 

The eternal Richard Beckinsale and George Baker

Arriving at their hotel in sunny Spain, “Torre” already lined up like a thin city of tower blocks against the Mediterranean, they catch the eye of an older gentlemen, Mr Gibbons (the genius, John Le Mesurier) viewing them with apparent suspicion. He demurs in the way that only John Le Mesurier can demure… such a class act.

 

OK, needless to say all does not go to plan – is there a plan? – as the band starts generating success on their relentless gigs across Spain and the girls just can’t keep out of mischief even when it’s not of their own making… Shelley has her purse stolen and is chased by a mob through the streets to be intercepted by a Spanish Policeman called Carlo (Ian Lavender) with Diane’s dodgy Spanglish making matters far worse until Uncle Arthur, Mr Gibbons stages the first of many interventions.

 

It's a riot of seventies silliness but the actors play their hearts out and there’s plenty of time for more high-impact cameos from Roy Kinnear as Hounslow Joe, Dandy Nichols, Anna Quayle and even Edward Woodward as an unlikely Road sweeper… maybe he was under-cover from another film?

 

Uncle Arthur... sorry, John Le Mesurier

Dusty Verdict: I can’t help myself with these films, there’s so much context and connection with the period and directors, writers and performers on professional journeys stopping off for this moment of commercial opportunity. I was thirteen when the film came out so maybe it’s on the cusp between my appreciation of glam-rock and the charts too? By this stage I was getting into Led Zeppelin and Pink Floyd, far more serious than The Slade and Sweet… maybe I was the one moving too fast?

 

It also memorialises the Spanish holiday experience for the millions of Brits who hit the sunny sands in the seventies. I didn’t make it down there until the late 80s and by then there were plenty of pubs offering traditional fare like fish and chips and bangers and mash, with plenty of Hounslow Joes watching Eastenders on satellite TV too. A hotter home from home.

 

Looking at the dodgy copy on YouTube and other streaming sources, Three for All is an enjoyable time capsule, it’s not available on official DVD – there’s a two-fer with That’s Your Funeral on Amazon for £73! – but I’m pretty sure there’s enough of us out there to support a proper digital transfer.

 

You can also buy the original soundtrack LP on Discogs for a song… Graham Bonnet’s compositions may pull in a few Rainbow fans. Probably the worst cover of any album ever but it's fun!!

 

A bar snack served cold... Revenge! (1971)

Unlike many films of this era and genre, Revenge! Is actually a thriller… adult-paced and unsettling throughout with some visceral performances I’d say it’s one of the better films of this period when British cinema, freed by permissive influence, got violent and increasingly sexy. Of course there’s some of the latter here, no least in Joan Collins just being encouraged to be Joan Collins, a Rank Starlet in her late teens, bound for Hollywood in her twenties and finally, in her middle years finding her mark as the Queen of British crime films and then, after The Bitch and others, the true star of Dynasty, her limited acting ability more than offset by her humour and frank sexuality.

Possibly influenced by my parents, I’ve never been a huge fan, having watched her struggle alongside Gregory Peck in one US film, The Bravados (1958), yet in early British crime like Cosh Boy she excelled and she was just as funny as the boys with Roger Moore and Tony Curtis in The Persuaders and now I look forward to seeing her in just this kind of oddity more and more.

This is another film produced by Carry on’s Peter Rogers with music from Carry on’s Eric Rogers (see earlier post: no relation) and directed by Sidney Hayers who also worked with the duo on Assault (1971) – they were big on one name titles although this one ended up going by many names, including Inn of the Frightened People which, whilst more descriptive, doesn’t really catch the raw energy of this surprisingly impactful film, one of three missteps aside.

Joan Collins

In an all too believable and possibly near future scenario, James Booth and Joan Collins play a couple running a nice village pub, Jim and Carol Radford. They are mourning the death of their young daughter, Jenny, who was sexually assaulted and killed by a man called Seely (Kenneth Griffith, who is excellent here, a mess of sickly, nervy humanity, terrified and unsettling… inscrutably scared) … or, at least everyone assumes so.

Seely is released after questioning and whilst Jim and Carol are convinced it was him so too is the father of another young girl who was killed, Harry (Ray Barrett) who encourages Jim to take the law into their hands and finish off what the police have seemingly failed to do.

Jim also has two other children by his first marriage, an older son Lee (Tom Marshall, voiced by Nicky Henson) and Jill (Zuleika Robson dubbed, by Michele Dotrice). Lee is in general agreement with his father whilst being on rather touchy-feely terms with his stepmother, in spite of his girlfriend Rose (Sinéad Cusack). For her part Jill hates Carol and any attempt to replace her mother, the fact that her lines were voiced by Michele Dotrice shows the filmmakers’ lack of faith in her expression, that Henson voices for Lee and even the experienced Ray Barrett is dubbed by Garfield Morgan, is odd, adding an extra layer of “distance” to their roles…

Ray Barrett with James Booth

Ultimately, it’s James Booth who has to carry the film and he has plenty in his armoury, a mercurial edgy presence at his best and here largely believable as a man bent on revenging his daughter at any cost. He and Harry follow Seely and see him watching a primary school before deciding to bundle him into the back of a car and tie him up in the cellar of the Radford’s pub. The initial scenes are unsettling, especially when Carol realises who he is and tries to avenge her daughter herself. There’s so much certainty and anger it’s almost like the experience of social media in 2023…

They beat Seely so severely they think they’ve killed him and their minds race as they try to decide what to do, surely it’s their word against his reputation, they can act with impunity, even the police would want this… the ideas are thrown around thick and fast, even when Seely recovers to be now just a prisoner in their basement whilst pub life continues as normal up above.

At this point he becomes something on their conscience, a violent act of their own for them to try and rationalise. Harry starts to distance himself literally, by heading off to a business meeting in Manchester, whilst Jill is appalled and wants them to call the police. Lee and Carol meanwhile are drawn together by the brutality of their actions… as if the rogue alpha male, Jim, is being supplanted.

Tight camera angles abound as Sidney Hayers creates a claustrophibic intensity

Then news comes that another man is being investigated for the murder and the fractured gang of kidnappers starts to fall apart leaving Jim with the rather battered baby and a difficult negotiation to make in terms of returning him to the wild…

Dusty Verdict: There are some daft developments but overall, this film does keep you guessing and that’s chiefly due to deft work from Booth, Collins and Griffith but also from a script that asks some difficult questions and also focuses on telling the story of Jim’s mid-life disappointment. He’s already lost his daughter and now, in his moment of revenge, he’s gradually having everything else that counts in his life stripped away. I didn’t see a lot of this coming and the moral dilemma is inventive and excruciating.

Well worth a watch and of course Joan’s on good form, it’s not a glamourous role but it is one that calls for a glamourous actor. She's adds the heat for a film that proves that revenge is indeed a dish best served cold, possibly involving a sausage roll with some pickled eggs... seventies hospitality.

Records for sale include Abbey Road, Moody Blues, Chicago plus the samplers Total Sound and Impact, both still in my family's record collection.