The Fifties, the folks who lived through it tell us, was a period of repression. What that meant, besides a lot of analyst bills, was an opportunity. The opportunity was to create films that, while walking just this side of the (also repressive) Hays Code, created just enough innuendo to let your mind fill in the blanks of stuff the movies were not allowed to show.
|Another Saturday night, and I ain't got nobody....|
|Oh, wait, maybe I do!|
|No, really, a nice girl like you belongs in Hollywood, not prison.|
|Get those hands in the air or, or, or I'll scream!|
|Hi there! Can we borrow some sugar?|
This film is easy to attack, for its bad acting, its didactic writing, its cheap sets, and, well, just about everything else. It most resembles a public service announcement designed to enlighten fearful parents about what they should do to keep their little darlings on the straight and narrow. Actually, come to think of it, there IS even a TV public service announcement shown in the film that bemoans the terrible teenage crime wave supposedly sweeping the nation. So perhaps you think I'm going to completely pan this? Well, no, I'm not. I actually found it endearing.
|The start to countless 1950s male fantasies.|
|I said I wanted cream in my coffee, old man!|
Naturally, the girl has to get into some kind of bitchy situation with some other females or it wouldn't be right, you know?
|Make one move, sister, and I'll blast ya!|
After all the sensationalism, though, you know and I know and, especially, the Hays Commission boys know that crime doesn't pay, not in 1950s exploitation movies. So, we get a bang-up ending.
|No, don't die, I want you to star in Irma La Douce! And you're not supposed to make it look like it hurts so good, dig?|
Nobody else in the film can act at all, with a particularly bad job by the male half of the duo, played by Tommy Cook. Rumor is that he actually was a hairdresser given a shot at stardom, probably because he fixed up someone's hair really well. I can't blame the actors for the low quality, though. This looks like it was shot in about three days with one take allowed per scene. For all that, it has a campy quality that holds my interest right up to the final improbable shootout.
Worth catching if only to see a truly amusing performance by Molly McCart. Molly, wherever you are, good day to you.