Come Play with Me (1977) torrent download

Come Play with Me

1977

Comedy / Musical

4.1

Synopsis

A health-resort where both the clients and the employees easily take their clothes off and have a litte fun is the setting of this hugely popular sex-comedy.

Director

George Harrison Marks

Cast

Irene Handl
as Lady Bovington
Sue Longhurst
as Christina
Ken Parry
as Podsnap

Movie Reviews

Reviewed by jaibo 6 /10

Come do an old vaudeville routine with me

It is hard to defend this film against the criticisms aimed at it by other reviewers and most film critics. It is incoherent, it is poorly scripted (to say the least) and it is, emphatically, a repulsive spectacle. But it also has the virtue of being an extremely odd movie, a relic of a past age which not only offers some valuable social history but which also preserves on celluloid a long-dead era of British vaudeville and girlie shows. Far from being what it was promoted as at the time - a cutting edge 70s sex romp - Come Play with Me hearkens back to the age of the Windmill Theatre with its comics and nudes, the nudist films of the 1950s and 60s and the tawdry dance clubs and strip shows of old Soho. This is the film which John Osborne's character Archie Rice (in The Entertainer) would have made for the "inert, shoddy lot" in his audience.

The film mixes two impulses, as did the shows at the Windmill: there's comics doing second rate turns and sketches, and there's pretty girls with their clothes off. That the comics are well past their sell-by date only ads to the sense of an era dying which emanates from every foot of the film. Alfie Bass, once a popular pantomime, comedy and TV actor, plays one of the two lead characters, a forger called Kelly. Bass is made up to look like a grotesque cross between Charlie Chaplin and Oliver Hardy, and when not engaged in the laborious details of the plot (forgers on the run from gangsters and hiding out in a health club come knocking shop), he is let loose to go into some old time Jewish shtick and patter straight out of a music hall routine. Bass, a talented comic with a slightly repellent line in ingratiating self-pity, is teamed with the the film's director, former glamour photographer George Harrison Marks, as a classic but extremely clichéd double act, stumbling around in black suits and hats as the nudes cluster around them. At times, the film looks as if Beckett's Vladimir and Estragon has stopped waiting for Godot and gone off for a bit of saucy fun.

Irene Handl gets top billing, and her performance gives us the chance to once again study her extraordinary performance style: the high-falutin false airs at first make her delivery seem amateur, but one soon realises that she is not only taking the mickey out of people who put on airs and graces in reality, but also suggests subversively that all social dialogue is a put-on job, and that her characterisation is a typical example of a human social performance. Marks the director does at least give her and the rest of his down-at-heel comics the chance to give us their turns, unlike the Adventures films of Stanley Long, which hire good comics and then give them nothing whatsoever to do. Here, the grotesque likes of Talfryn Thomas, Queenie Watts, Rita Webb (brilliant as a gypsy fortune teller), Tommy Godfrey and Cardew Robinson (resplendent in bright red track suit and full highland regalia) are given some golden screen moments, and after this film the British entertainment scene never saw their like again: true clowns, with all of the horror and sadness the word "clown" invokes, and blessed with grotesque faces which would have thrilled the Dutch painter peasant Bruegel. That these bodies and faces are so clearly heading towards the grave only adds to the splendidly repellent quality of the film: it's a kind of striptease of death, with pretty young flesh surrounded by living Memento Mori.

Anecdotal evidence has it that Marks was inebriated on the set, and the film certainly seems like the ramblings of a drunkard. The plot veers from one wildly unbelievable scenario to another, flitting between the antics at the health farm, where a gaggle of pretty nurses seem inexplicably willing to have sex with some of the most decaying, ugly or obese old men ever to have existed, and the misadventures of an MI5 agent on the trail of the forgers - a monumentally inept comic turn by the wobbly and camp comic actor Ken Parry. The scenes with him in drag on Brighton pier give the scenes where Divine is parading through the streets in the early John Waters films a run for their money in terms of eye-popping drag weirdness. Parry corpses and struggles to remember his lines for much of the time; in other scenes, Henry McGee looks straight into the camera, and that wonderful British character actor Ronald Fraser is palpably half-cut.

Mary Millington, the supposed "star" of the film whose name was emblazoned all over the posters and publicity material, has a small supporting role as one of the nurses. She has a brief lesbian sex romp, and also does a comedy sex scene whereby she massages a muscular lump and them gives him some painful colonic irrigation. The sex elements of these scenes do look like shots from a hardcore stag movie, and you glimpse what Millington could have done if she'd have gone to America and hooked up with someone like Gerard Damiano or Radley Metzger - the woman was a superbly lubricious performer with some charisma. Fellow model Suzy Mandel is even more delightful, a real cheeky charmer, in her brief scene addressing her nurse-troops.

It would be wrong to pretend that Come Play with Me is anything like a good film; it's not even a film, really - more a forgery of one, to coin in cash and document the last gasps of a vaudevillian tradition. I couldn't help quite enjoying the film, and think that it does have a dollop of genuine madness and weirdness in it which is missing from so many of the other British sex comedies of its era.

Reviewed by Big S-2 N/A

A typical British sex comedy - no laughs and hardly any sex!

This movie - which amazingly was a box office smash in the UK in the late 70s and early 80s (it ran non-stop between 1977 and 1981 in London's West End) - embodies everything that was bad about British so-called `sex films' of the era - namely a lame and tedious plot, a second-rate cast of comedy has-beens and never-were's, poor acting and very little actual sex and nudity. A version of the film containing very steamy and explicit sex scenes was actually shot, but in the puritanical climate of late-70s Britain with its notoriously restrictive anti-porn legislation sometimes known as the `Limp Dick Laws' (and sadly things haven't really changed much in the intervening 20-odd years), this was deemed unacceptable for screening to UK cinema audiences and never saw the light of day (no sex please – we're British!!). Instead, the only version of this movie that has ever been released is this sorry excuse for a film, which concentrates more on the pathetic, supposedly `funny' antics of a group of elderly crooks and the septugenarian matron at a health spa, being brightened up only occasionally by stocking-clad beauties portraying nurses. These girls are the film's only redeeming feature and indeed they should have been what the movie was all about. Instead, the few (I think there are about 4) short `sex' scenes have been so brutally edited that they come to a sudden, grinding halt just as things are getting warmed up, and we're back to the silly goings-on involving the `comedy' characters. And silly they truly are. It's almost painful to watch sometimes, encapsulting stupid, slapstick `mucky postcard'-style antics in the very worst traditions of the equally lamentable `Confessions' and `Carry On' movie series of the same era. The publicity blurb surrounding the movie at the time of its release claimed that it was `entertainingly funny and blushingly saucy', `fantastically erotic', `the sexiest sex comedy screened' and `of a highly explicit nature'. The makers should have been hauled before the courts on charges of multiple violations of the Trade Descriptions Act, because it is nothing of the sort. According to a recently published book about one of the film's more glamorous stars, the late and sadly missed Mary Millington, only one print of the uncut and unseen version is known to still exist, which is a pity. It's perhaps being a little optimistic to hope that this will one day appear on DVD as a more fitting testimony to the Mary Millington legacy.

Reviewed by paulwinnett 1 /10

Not the worst film ever made, but close.

As a child of the seventies I grew up with the Myth that this movie was a great porn classic. I first managed to see "Behing the Green door" first and was both as excited and impressed as a young teen could be. I then soon saw this steaming pile of dog excrement and I think it almost put me off sex for a decade. There is nothing that isn't terrible about this movie, (except for Mary Millington who was lovely to look at but was to acting what Dom Deluise is to gymnastics.) I once met the Great Alfie Bass and after enquiring about "The Fearless Vampire Killer" and working with The Goodies I bravely mentioned this. He shook his head in shame and told stories of George Harrison Marks being so drunk he directed most of the movie asleep or vomiting.It shows. The songs are so awful I think I would chose a slow death than ever hear them again. A movie to avoid at all costs.

Read more IMDb reviews