Title: THE TOUCHABLES
Year of Release: 1968
Director: Robert Freeman
Genre: Drama
Synopsis: A pop star is kidnapped by four young women and held hostage as a sexual slave in a pleasure dome, but is eventually rescued.
Within a film history context: Films about the Swinging London of the 1960s and early 1970s were a common occurrence in the cinema of these eras. John Schlesinger's DARLING (1965) with Julie Christie, focused upon the life of a young fashion model in London. Silvio Narizzano's GEORGY GIRL (1966) and Lewis Gilbert's ALFIE (1966) were both comedic in tone, and examined a young woman in love with a young man, but marrying an older gentleman, while the latter film examined a young Cockney's love exploits in London. Michelangelo Antonioni's BLOW-UP (1966) was a jazzy thriller about a photographer and his love life, and his involvement in a murder.
Nicolas Roeg's PERFORMANCE (1970) was one of the most audacious of the films set in Swinging London, replete with sexual content and violence as a criminal takes refuge in the home of a rock star. In contrast to these films, THE TOUCHABLES lacked romance and drama, but was much more fantastical and escapist in outlook. While it had a certain jazziness and sense of humour in common with the other films, its focus was less on story than those but instead, on surface appearance. The quartet of attractive actresses could be said to hark forward to television series such as CHARLIE'S ANGELS with its trio of private investigators, but comparisons to this program can only be made on the level of female pulchritude than story.
Within a film history context: Films about the Swinging London of the 1960s and early 1970s were a common occurrence in the cinema of these eras. John Schlesinger's DARLING (1965) with Julie Christie, focused upon the life of a young fashion model in London. Silvio Narizzano's GEORGY GIRL (1966) and Lewis Gilbert's ALFIE (1966) were both comedic in tone, and examined a young woman in love with a young man, but marrying an older gentleman, while the latter film examined a young Cockney's love exploits in London. Michelangelo Antonioni's BLOW-UP (1966) was a jazzy thriller about a photographer and his love life, and his involvement in a murder.
Nicolas Roeg's PERFORMANCE (1970) was one of the most audacious of the films set in Swinging London, replete with sexual content and violence as a criminal takes refuge in the home of a rock star. In contrast to these films, THE TOUCHABLES lacked romance and drama, but was much more fantastical and escapist in outlook. While it had a certain jazziness and sense of humour in common with the other films, its focus was less on story than those but instead, on surface appearance. The quartet of attractive actresses could be said to hark forward to television series such as CHARLIE'S ANGELS with its trio of private investigators, but comparisons to this program can only be made on the level of female pulchritude than story.
Overview: Robert Freeman was a photographer for the Beatles, but also a film director in the late 1960s. Of his two films was the romance drama SECRET WORLD (1969) starring Jacqueline Bisset, his first being THE TOUCHABLES. While it is a film which is likeable, the overriding emphasis of the movie is not on its story but, instead, its visuals. This can be a good quality when the story is as strong as the imagery, complementing it, but in THE TOUCHABLES, while not working against it, does not produce a balanced film.
The kidnapping of a pop singing idol could have been handled in a much more emotional, and suspenseful manner, but in the film it is just an excuse to have this character tied to a bed, and subsequently taken advantage of sexually by a bevy of attractive young women. There is no explanation as to why these young women, the eponymous touchables, kidnap the pop idol, and, if they were put up to this by someone else. There is also no indication as to why the African-American wrestler finds pop idol Christian so fascinating, and wants him sexually. The film leaves these, and plenty of other plot holes throughout its running time, which make the film very frustrating to watch.
If the director's aim was to produce a film where visuals are more important than a consistent plot he has succeeded in this vein, with the resulting effect that the story has taken a back seat to the spectacle, hindering what could have been a much better film. Remakes of excellent films are often hit or miss, not always improving upon the original, and many times unnecessary in the first place. I believe THE TOUCHABLES would well do with a remake, but this time, hopefully, with a more compelling story to match the stunning visual feast for viewers so that they can be nourished on both levels.
The kidnapping of a pop singing idol could have been handled in a much more emotional, and suspenseful manner, but in the film it is just an excuse to have this character tied to a bed, and subsequently taken advantage of sexually by a bevy of attractive young women. There is no explanation as to why these young women, the eponymous touchables, kidnap the pop idol, and, if they were put up to this by someone else. There is also no indication as to why the African-American wrestler finds pop idol Christian so fascinating, and wants him sexually. The film leaves these, and plenty of other plot holes throughout its running time, which make the film very frustrating to watch.
If the director's aim was to produce a film where visuals are more important than a consistent plot he has succeeded in this vein, with the resulting effect that the story has taken a back seat to the spectacle, hindering what could have been a much better film. Remakes of excellent films are often hit or miss, not always improving upon the original, and many times unnecessary in the first place. I believe THE TOUCHABLES would well do with a remake, but this time, hopefully, with a more compelling story to match the stunning visual feast for viewers so that they can be nourished on both levels.
Acting: THE TOUCHABLES is definitely a film where the spectacle on screen takes a definite back seat to the acting, this being detrimental to its overall impact. This is also linked to the story, and how the lack of a strong storyline possibly did not assist the actors to perform in a more passionate and convincing manner. The agreeable David Anthony has the look and aura of a pop idol, but his kidnapping does not elicit an overly heated reaction from him in the film. While he does resist somewhat at first, he seems to submit too quickly, and this makes the character somewhat wishy-washy. The film also seems to relish presenting him scantily clad, which is a tenet of this film in other ways.
Similar to David Anthony, wrestler Ricky Starr only seems to be in the film to show off his physique in extremely skimpy costumes and towels, but there is no dramatic impact from his presence - he is only present as a symbol of phallic masculinity. Possibly he is posited as a macho contrast to the less muscular David Anthony, but that is the extent of the contrasts of the male characters. The young ladies in the film, while different in looks, are not particularly well-defined. The only actress given some dramatic meat to chew, and who performs it well, is Judy Huxtable. Her educated air, flawless diction, and businesslike manner, good looks, and iciness work well in THE TOUCHABLES, and hers stands out as the film's best performance, effectively differentiating her from the other actresses in the film.
Similar to David Anthony, wrestler Ricky Starr only seems to be in the film to show off his physique in extremely skimpy costumes and towels, but there is no dramatic impact from his presence - he is only present as a symbol of phallic masculinity. Possibly he is posited as a macho contrast to the less muscular David Anthony, but that is the extent of the contrasts of the male characters. The young ladies in the film, while different in looks, are not particularly well-defined. The only actress given some dramatic meat to chew, and who performs it well, is Judy Huxtable. Her educated air, flawless diction, and businesslike manner, good looks, and iciness work well in THE TOUCHABLES, and hers stands out as the film's best performance, effectively differentiating her from the other actresses in the film.
Soundtrack: THE TOUCHABLES has quite a catchy 1960s theme song that is played both at the film's beginning, and at its conclusion. There are some incidental uses of the song through the film in several scenes, the vocals adding a melodic touch to the proceedings. Apart from this piece, there are several other songs played during the more dramatic moments in the film which do complement the visuals, and add interest without being too overpowering.
Mise-en-scene: This is the strongest element of the film, standing way above the film's other features. From its beginning to the very end, THE TOUCHABLES is visually beautiful without being garish. The film's opening credits introduce the four young ladies who have the main roles in the movie, and the effect is somewhat akin to a shampoo commercial, with their flowing hair and faces highlighted, but this sets the tone for the remainder of the film. The pleasure dome where the touchables kidnap, and ravish their victim is one of the most inventive sets ever captured on film, and a major reason it is worth seeing the film out of curiosity. Other sets such as the stadium where Ricky Starr performs his acrobatic stunts, the Wax Musuem, the funky city abode the touchables inhabit, with its 1960s kitsch paraphernalia, and the Sporting Club featured are all well-designed, giving the movie a depth in this sphere.
Suitability for young viewers: No. Brief male and female nudity, adult themes, low-level violence.
Overall Grade: D
Link: IMDB Page
Trailer
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