Sign in with Facebook Other Sign in options. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet! Come Play 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 Come play with me lesbian scene back to the age of the Windmill Theatre with its comics and nudes, the nudist films of the s 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: 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 Come play with me lesbian scene engaged in the laborious details of the plot forgers on the run from gangsters Come play with me lesbian scene hiding out in a health club come knocking shophe is let loose to go into some old time Jewish shtick and patter straight out of a music hall routine.
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: 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 tellerTommy 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: That these bodies and faces are so clearly heading towards the grave only adds to the splendidly repellent quality of the film: 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
Come play with me lesbian scene 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
Come play with me lesbian scene lesbian sex romp, and also does a comedy sex scene whereby she massages a Come play with me lesbian scene 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.
Was this review helpful? Sign in to vote. A typical British sex comedy - no laughs and hardly any sex!
Big S-2 9 September These girls are the film's only redeeming feature and indeed they should have been what the movie was all about. And silly they truly are.
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. Only to learn ominously from the helpful included booklet that Mary scantly!
And what a mess this movie is! I concur with Mr Riley's review word for word. Why they had to have caricatures as main characters, is,
Come play with me lesbian scene, not actually beyond me. It's how the infantile repressed mind works when finally given an opportunity to express itself. False advertising to the highest degree. Does an injustice to sex comedies. Avoid all these trashy films from that era like the plague.
By way of constructive criticism, the movie needed a much younger male cast, somewhat dashing, in the lead parts. As it is, all they had going in the right direction, were the girls themselves. A total script rewrite, a total plot rethink. In short, a colonic irrigation for the feeble minds behind this atrocity. Starting with George Harrison Marks. Who is deceased, so I shall Come play with me lesbian scene to retain a modicum of class by not speaking ill of the dead. But really, a much better movie could have been made just from their starting point of a dozen or so stocking-clad dolly birds.
Anything less risible would have been a marvelous improvement.
And doubtlessly no-one would refute that previous sentence. On the plus side is that night-club performer in the semi-contorted pose early on in the movie when that fat little guy goes to Burlesque. The one with the black lingerie Valentine designs to cover her, uhm, modesty.
That ribcage, and those natural breasts. Nowadays we don't see sculpted waists like that AnnaLynne McCord of excluded of course and breasts are all too often surgically enhanced. Another nice one in this flick is that girl in the gymnasium who walks away across the screen on tip-toe. However, nothing can move me from giving this one the lowest score possible, and you know what? As a child of the seventies I grew up with the Myth that this movie was a great Come play with me lesbian scene 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.
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. 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. It seems like an aeon ago that the likes of Mary Millington and Fiona Richmond were able to cause such uproar with their brand of dingy, don't-scare-the-donkeys soft-porn.
Pre-MTV, this was sex the English way: It all makes you feel tremendously sorry for Britain's dirty mac brigade, shuffling into their sticky-backed cinema seats in Soho in the early s to watch the likes of Millington's Come Play With Me - a god-awful sex-comedy less funny than the average Carry On who'd set a bawdy precedent and about as saucy as a bag of ready salted crisps. John Landis homages such stuff very well for An American Werewolf In London's film-within-a-film 'See You Next Wednesday', in which a pendulous-bosomed fishwife interrupts a spot of rufty to answer the phone.
Little more than a curiosity lazarillo 20 September British sex comedies are kind of like "Lake Woebegone" in-reverse--they're all below average. And then some of them are downright awful. This was one of the most famous films of the genre since it featured sex star legend Mary Millington. But she has about as big of role here as she did with her brief cameo in "The Great Rock and Roll Swindle", and that movie is a lot more fun to sit through than this one.
There's no shortage of naked dollybirds, of course--like "The Playbirds" this was produced by British porn magnate David Sullivan and features a lot of the same "actresses" pulled from the pages of his nudie magazines Millington, Suzie Mandel, etc.
Unfortunately though, it also has a plot: Then a bunch of strippers also start working at the spa for some reason OK, so it's not much of a plot. What we have here is the same old problem--the Brits can't seem to make a straight-out sex film, so they have to try to "class" it up by throwing in a bunch second-rate, over-the-hill comedians.
Bass, Marks, and Handl have an unfortunate amount of screen time and they're all painfully unfunny. Like all sex films this movie is horribly cheap, and the "Come play with me lesbian scene" film-making makes it seem even cheaper.
I have no idea why it was so popular in Britain. At the time, I guess, they were such a sex starved country due to stringent censorship laws that their movie audiences would apparently just watch anything.
This was a popular film in a certain time and place, but now it's little more than a curiosity. A diminutive, baby-faced pornographer by the name of David Sullivan had become one of Britain's youngest millionaires by the mid-seventies as the publisher of a handful of top-shelf magazines which were as strong as the censorious values of the day would allow one of which was called Whitehouse, simply to annoy the self-appointed media watchdog Mary Whitehouse, which should give you some idea of where Sullivan was shooting from and the owner of a nationwide chain of sex shops.
One of his star discoveries was Mary Millington, a bisexual blonde butcher's wife from Dorking whose enthusiastic performances in underground hardcore porn loops made her the closest thing Britain had to its very own Linda Lovelace, who had become
Come play with me lesbian scene unlikely global star after the success of the notorious Deep Throat.
Understandably, Sullivan was casting around for fresh arenas to conquer, and cinema seemed the next logical step - after all, even though they were uniformly dire, the Confessions Enter George Harrison Marks, a nude photographer and purveyor of 8mm pornographic reels with a beatnik beard, a lively imagination and a taste for booze that would eventually cost him his life.
Marks was no stranger to the cinema, either, having scored an unlikely hit with 's Nine Ages of Nakedness, and had written Come Play With Me as a prospective sequel - but his fondness for the bottle, an obscenity trial and bankruptcy meant it had to be abandoned.
Meantime, Marks found steady work providing photo sets for Sullivan's magazines, and he took the opportunity to pitch his screenplay to his new employer. Never one to let the grass grow under his feet, Sullivan rushed the film into production and cooked up a series of extravagantly dishonest advertising campaigns which hoodwinked the public into thinking Come Play With Me would make Deep Throat look like kids' stuff.
As it turned out, however, Come Play With Me was a simple musical comedy with its roots in music hall, end-of-the-pier farce, seedy strip club revue and naughty seaside postcards, an over-extended Benny Hill sketch bereft of Hill's trademark inventive wordplay, visual flourishes and any last remnant of comic timing. With a few judicious trims here and there, there's no reason why it shouldn't be shown on BBC1 on a Sunday afternoon - unless, of course, being absolutely terrible counts as a reason.
Don't allow the number of familiar faces and old favourites in the cast
Come play with me lesbian scene lead you to think you'll be able to salvage anything worthwhile from this paltry shambles - as director and co- Come play with me lesbian scene, Marks repeatedly failed to get the best out of his motley crew of old troupers witness former Dad's Army and Survivors star Talfryn Thomas visibly laughing in the middle of a take, for example and Irene Handl was left to idly improvise most of her lines.
Dear old Alfie Bass later told horror stories about Marks being drunk most of the time, and fans of Mary Millington were left disappointed by her skimpy amount of screen time, most of which finds her indulging in a hammy approximation of intercourse with a middle-aged client and a brief lesbian tryst with Penny Chisholm. Millington's army of admirers would be much better served by Sullivan's next film, 's the Playbirds.
Still, Come Play With Me - surely one of the most unsavoury contributions to Royal Jubilee year - was an enormous hit, running constantly in one West End cinema for a whopping four years and spawning a stage revue which featured Bob Grant from TV's On the Buses as well as several unofficial Come play with me lesbian scene. Seen today, one wonders what all the fuss was about, of course, but then we'll probably be saying the same thing about Mrs Brown's Boys forty years from now.
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And silly they truly are. 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.
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