Most ‘Swinging ’60s’ British cinema focuses on male experiences, usually chasing the ‘birds’. This is hardly surprising and Oedipal narratives are still the dominant form in mainstream cinema. I stumbled across The Pleasure Girls as part of the British Film Institute’s ‘Flipside’ series, releasing the ‘untold history of British film’. This is just the sort of project a publicly-funded should be involved in, offering a great opportunity to see beyond the ‘headline’ films. I saw this on a rental Blu-ray which meant, unfortunately, I couldn’t benefit from the excellent essays that accompany the series.
The film focuses on Sally’s (Francesca Annis) first weekend in London, staying with friends before trying to launch a career as a model. The opening credits firmly root Sally in the upper middle classes, she’s from East Grinstead, thus contrasting the film with the marvellous Smashing Time (1967) which follows two northern lasses in London. Sally soon meets the apparently louche Keith (Ian McShane), a would-be photographer. Despite their social standing the ‘girls’ are all likeable and an upper-class twit differentiates them from the old upper class order.
The film was independently-made, no doubt raising money on the promise of sexy subject matter; googling ‘pleasure girls’ brings not just the film but women designed to ‘pleasure’ men. Unlike ‘google’, the film does focus on female pleasures and veers between representing ‘loose women’ negatively, one of the girls is in ‘trouble’, and the progressive representation of the gay Paddy (homosexuality for men was still illegal at the time). It celebrates Sally’s reluctance to jump into bed with Keith and their burgeoning relationship is convincingly portrayed; McShane was polishing his roguish charm and it’s not quite clear whether he simply wants to ‘get into her knickers’.
There’s an obscure sub plot concerning Klaus Kinski as an exploitative landlord who’s being chased by . . . outraged tenants I think. The film doesn’t have a strong narrative drive but presents itself as a slice of ‘swinging’ young people’s lives at the time.