I found this visually entertaining throughout and has all what you may expect in a swinging 60's film in colour with some soft lenses camera work and arty framed shots. A jazz music soundtrack, which works well for me, not obtrusive and not out of place, and cool. Here, I discovered the jazz singer Mark Murphy, and the film, for me, was worth watching for that alone. Fortunately there is plenty else to entertain one here, but a plot is not one of them.

It's basically a film by people in Showbiz, about people in Showbiz, and is not unlike a British version of what you may see in Italian films from this era. Gone is the gritty realism of the early 60's and people from outside of London with accents. It's giltz and glamour, and all the sets are highly stylised, as are the clothes people wear. Delightful.

From the first frame you know what you are in for visually, then after a few minutes the credits roll, which reflect the Pop Art world of the time, wonderful. As highlighted elsewhere, in a review, it's not the kids going wild taking drugs, but more of the previous generation having a (mid?) life crisis with their marriage/drink. After the busy beginning, it then sagged with an overlong telephone conversation involving John Wood, (whose character seemed to be gay, but never declared),but the plot then picked up and the film was eminently watchable for it's remainder.

Thrown into the mix, there are comic moments, and Barry Fantoni excels in his role as a spaced out pop star on another planet. Then there was the interlude of the German (?) architect played by Clive Dunn with his troupe of assistants, who were wonderfully absurd (do I see the hand of Bruce Lacey somewhere here?). The remainder of the cast do their job.

Not a 60's classic, but very enjoyable nonetheless, especially considering the shoestring budget. Worth watching if this is your thing. It is mine.

Director Robert Fuest's screenplay floats plenty of good ideas at the audience. The only problem is that most of them don't quite come off. This bizarre result is not usually the fault of the screenplay itself but in most cases can traced home to the extremely poor playing of the three principals, namely Wendy Craig, Francis Matthews and John Wood. No doubt Craig, Mathews and Wood would argue that there was nothing wrong with their acting, and that it was Fuest's bum direction that was at fault. Against this, I would argue that the rest of the cast is fine! In fact, the best scenes are those with Clive Dunn (as an ex- Nazi architect) and Barry Fantoni (a delightfully obnoxious "singer") in which the principals either don't appear or play very subordinate roles.

The film is beautifully photographed by Billy Williams. It has also been very lavishly produced. In fact it uses an extraordinarily large number of sets, most of which are fantastically decorated in pop art style.