Not Tonight Darling [DVD]

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Twins of Evil (1971) In 19th Century Europe, identical 19-year-old orphaned twins Maria (Mary Collinson) and Frieda (Madeleine Collinson) Gellhorn arrive in the small… The film is an illustration of the films that were bought out just to titillate male audiences and for film makers to see exactly what they could show . Luan Peters (11 June 1946 – 24 December 2017), also known as Karol Keyes, was an English actress and singer. Not Tonight Darling stars actress, singer and all round 1970s sex symbol Luan Peters, as Karen an unfulfilled 30-something drowning in the middle class, middle of the road existence of a suburban housewife. A husband, a young son and all the mod cons that the 1970s had to offer can’t compensate for the empty and tedious nature of her life. With her day in, day out routine consisting of making her husband’s breakfast, getting her son ready for school, taking the kid to school, shopping, getting her husband’s tea ready, etc etc, etc. So a specialist troupe were flown in from New York for the scene and they proved well able to match the director's stringent requirements.

Cast: Joanna Lumley, Penny Brahms, Richard Wattis, Jeremy Lloyd, Diane Hart, Nan Munro, John Gatrell, Charles Cullum and Leigh Anthony. Not Tonight Darling was the second of two films directed by Anthony B. Sloman, the first being the 1970 sex and crime hybrid ‘Sweet and Sexy’. Not Tonight Darling was however the first of the two films to be publically shown, with delays to the release of Sweet and Sexy (for reasons that all the good sense in the world suggests I shouldn’t go into) meaning that film wouldn’t be seen until 1972. Sloman is only known for these two films as a director, and these days tends to be better known as a film critic and historian, he has also been kept busy for a few decades as a sound and dialogue editor, some of his credits in those capacities which may be of interest to cult film fans include The Vault of Horror, The Company of Wolves and Dario Argento’s Tenebrae. This is not meant to denigrate the lady in question or her acting talent but applies accurately to this production. I liked the gym club sequence near the end where Ms Peters is in virginal white-verily the covered body stimulates more the imagination!The most laughable aspect is the actor Vince Ball, an aging Australian actor who must be years older than all the girls who describe him as 'gorgeous ' . I think he must of been a friend of somebody and probably paid them to get next to Ms Peters ! Like all these films it is more interesting to take note of the fashions, scenery, attitudes of the 70's rather than follow the plot . Attractive London housewife Karen Williams (the voluptuous Luan Peters) is frustrated and bored with her frigid and pompous work-obsessed solicitor husband, John (Jason Twelvetrees) and falls prey to the voyeuristic fantasies of a sleazy shop assistant. Director: Ray Selfe. Cast: David Jason, Hugh Lloyd, Imogen Hassall, Tim Barrett, David Prowse, Raymond Cross and Sue Bond. David Jason stars as day-dreamer Albert Toddey in this comedy involving a strip club, undercover coppers and the white slave trade. London in the early 70's was in a strange hangover of a place -- vice had been clamped down upon and the new thing were films that were sold as sexy, but were actually nothing of the kind (but hey, they have your money by then). Today this is less sexy than post watershed TV!

Born Carol Ann Hirsch, she made her stage debut in a pantomime aged four, then went on to win a drama scholarship at the age of 16 after a performance of Twelfth Night. [1] e) The, shall we say, 'incredible' dream scene in the grocer's shop. Hard to believe and more than a touch of The Bonzo Dog Doo Dah Band about it (if you recall Magical Mystery Tour).

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That he succeeds hardly seems credible as once again this is a one- dimensional character and there's little exploration of why Karen would be drawn to such a sleazy character, although she does laugh at his lame jokes as though he's the world's greatest wit. He drags her off to watch Thunderclap Newman rehearse at a nearby venue, giving the film an unusual dose of historical cultural interest, and then takes her into what looks like a hotel room (but apparently isn't) and talks her into getting down to business whilst traffic noisily rumbles past outside. The fact that they close the curtains somehow fails to prevent a photographer from a neighbouring building capturing the moment for posterity. And so, the drama unfolds...

Gilbert Bodley ( Leslie Phillips) plans to sell an expensive mink to mobster Harry McMichaell ( Derren Nesbitt), cheaply, for his wife Janie ( Julie Ege). Janie is Gilbert's mistress, and Gilbert wants to "close the deal." However, instead of doing his own dirty work, he gets his reluctant partner Arnold Crouch ( Ray Cooney) to do it for him. Things go awry when Harry plans to buy the same coat for his own mistress, Sue Lawson ( Barbara Windsor), and the whole plan fails. The two films that Sloman directed do boast authentically sleazy sensibilities, make the absolute most of their exploitation movie potential and put forward a case that Sloman could have become quite the British sex film auteur had he so desired. I’m inclined to believe that I think more highly of Sloman’s two films than their director does, and while obscurity has all but buried Sweet and Sexy these days, the impression I’ve been given is that Sloman probably isn’t too happy that Not Tonight Darling has had this decade long, 2nd lease of life on late night TV. The first attempt at filming proved the old adage that 'the spirit is willing but the flesh is weak'. The poor lads just couldn't keep it up long enough to commit to film. Apart from some location photography, Luan Peters is the only redeemable feature. She actually brings a degree of believability and emotion to her performance. Sadly, she's let down by the overall tepidness around her; I often wondered, given her popularity throughout the decade, she never reached the same cult status as Ingrid Pitt, Madeleine Smith or Caroline Munro when it was possiblly within her wherewithal; the moral here, maybe, is that favours can rebound. Confirming my theory that the 70s were the decade that taste forgot this movie has the production values of a school play and looks like it was shot in various crew members flats.

Rate And Review

No One Can Take Your Place"/"You Beat Me To The Punch" (Fontana TF517 December 1964) (as Karol Keyes) Not Now, Darling is a 1973 British comedy film adapted from the 1967 play of the same title by John Chapman and Ray Cooney. [1] The plot is a farce centred on a shop in central London that sells fur coats. [2] A loosely related sequel Not Now, Comrade was released in 1976. [3]

The Good Love The Bad Love" "Gonna Find me a Substitute" (Karol Keyes & the Big Sound, Unreleased Abbey Rd. EMI audition Recording) Thunderclap Newman come on -- and don't (repeat don't) perform their only hit "Something in the Air." This 1970s erotic comic thriller stars Luan Peters and infamous sex symbol Fiona Richmond. Beautiful and intelligent housewife Karen is tired of her empty, suburban lifestyle and her work-obsessed husband, until fast-talking salesman Alex enters her life. The acting is cold and wooden, the script is bad, there’s no plot to speak of and the ending is abrupt and unsatisfactory. All in all, the best part of the film is a brief scene featuring the band Thunderclap Newman rehearsing a couple of numbers.I’d love to know the story of how Thunderclap Newman came to be in this film, it feels like someone involved with the production knew them and got their performance crow-barred into the film. I was watching this film with one of those people who loves to Google or Wikipedia the names of the people who are onscreen, to see what happened to them or what they are up to now…a rather depressing task when it comes to Thunderclap Newman. Although their musical numbers are intended as a rare upbeat moment in the film, when you’ve got someone to the left of you reading from Wikipedia about how the guitarist died at age 26 from a heroin induced cardiac arrest, and how the singer suffered from arthritis for several years before succumbing to heart failure…it does kind of bring the scene down to the level of the rest of the film. By modern standards it is utterly unsexy - it as also unfunny, undramatic, badly lit, the leaden dialogue is almost inaudible (spectacularly drowned out by traffic noises at one point) and there is no resolution to the incredibly thin story.