MrOllie I saw this film in 1965 at a cinema in London when I was almost 16 years old. I always liked the Dave Clarke Five and for a time it looked like they may topple the Beatles as Britains top group. However, the reason this film always sticks in my mind is because I fell head over heels for the leading lady Barbara Ferris. She was the first of only three actresses in all my years of watching movies that I thought I was in love with. Yes my first teenage crush!! The film starts with the theme song CATCH US IF YOU CAN and off we go with Steve a stuntman (Dave) and Dinah a model(Barbara)absconding around London in an E-type Jaguar. There are some great 1960's scenes of London which transports me back in time bringing back memories. Anyway, out of London they mix with some hippies then meet a middle aged couple who live in Bath and eventually end up in Devon. All the time being chased by the rest of DC5 and also by some advertising executives henchmen. This is not a fully lighthearted movie as it has some sombre moments which makes it a little different from the usual pop group films. My favourite scene is when Dave and Barabara are walking and frolicking in the snow (lucky fella)with the haunting love song 'WHEN' being played in the background. Great stuff!!!

Enoch Sneed This is certainly a different type of 'pop' musical film. It features one of the hottest groups of the day (seven top ten hits in the US) but takes a jaded and disillusioned view of the concept of 'youth culture'.When Dinah and Steve break 'free' (nothing in this movie is what it appears to be) they encounter early hippies who have rejected society and its crass materialism for life on the road but seem to have found nothing but a kind of aimless boredom spiced with drug use. (I was very surprised to hear mention of heroin in 1965.) Their chosen guru is so spaced out he can hardly think straight (and we never hear the end of his rambling tale about a dead cat or discover if it has any point).Their next encounter is with "an old married couple". This phrase normally signals contentment and affection. The film's couple is riven by jealousy, sexual predation and rejection of the present for an idealised past.Finally meeting Louis, an old childhood friend and mentor of Steve's, they find him running a fake 'Western ranch' holiday resort in the Devon countryside. Steve angrily dismisses him and his dreams as shabby fakery.As you can see, this is far from 'A Hard Day's Night' (in fact the film's titles both imitate and parody the scene of The Beatles running around a playing field).Despite some negative comments here I think this film is well worth watching more than once to catch all the strands running through it. As actors the Dave Clark Five have - probably thankfully - little to do but be chirpy and quirky. Dave Clark himself rather overdoes the moody saturnine bit - that's best left to the real James Deans of this world.The performance to watch is David de Keyser's Leon. He is a cynic who is painfully aware of his own cynicism, a man who realises the shallowness of the world he works in and the vulgarity of those he has to work with. He also harbours a genuine affection for Dinah which he can't express. He is protective in a way, but exploitative at the same time. He also envies Dinah's youth and spontaneous nature. When he says "maybe" he will join her on her next escapade, we know he won't and never could. It is a subtle and rather moving piece of acting.Leon seems jealous of Steve's relationship with Dinah but, another of the films contradictions, there is no relationship. Steve is merely helping Dinah to reach her island. He is impatient with her shallowness and the way she seems willing to be distracted by people he sees as frauds (the hippies, Louis's ranch). The only time they kiss is when Dinah kisses Steve for the press cameras - just before he turns his back on her for the last time.One of the film's other strengths is the photography, capturing the urban landscape of London's flashy new office blocks and the bleak winter countryside and adding much to the film's atmosphere.This is a minor film - but compelling.

rufasff John Boorman's first feature, obviously thrown together as a cash in on "A Hard Day's Night"; shows his skill and promise as a director from theget go. Dave Clark (of the Dave Clark Five) and a model who could be the girl George Harrison dismisses in the agent's office in "Hard Day's Night; take off on a holiday weekend across England as her obsessive manager trys to hunt her down.In a series of scenes that seem halfway improvised, they run into aimless young people, uptight middle class folks, and others. The movie goes out of it's way to portray these people as, well, people and not "types", i.e. mods or rockers, hips or squares. There is a silly romp section around the roman baths at Bath.The Dave Clark Five, the reason for the whole movie, are kept in the background even more than the Spencer Davis Group in "The Ghost Goes Gear." Only three songs are heard, but they're not bad. An interesting neither fish nor fowl entry, should be seen by British Invasion fans or fans of Boorman( I'm both).

scottbaiowulf The Dave Clark Five are certainly no match for the Beatles, but this film is easily worthy of comparison with A Hard Day's Night and Help! A lot of the credit must go to director John Boorman (giving a taste of the visual pyrotechnics he later unleashed in Point Blank), and to the surprisingly melancholy screenplay by Peter Nichols. (Georgy Girl, Privates on Parade)Two young people, a stuntman (Dave Clark) and a model (Barbara Ferris), go AWOL from a commercial shoot and embark on a trip across England. But their jaunt isn't all larky fun. They bicker and quarrel, they encounter a self-consciously hip and desperately unhappy married couple; they find that their exploits have been incorporated into the glitzy ad campaign they were trying to escape from in the first place.A fun little rock and roll film that makes dark observations about the impermanence of youthful exuberance, the futility of youthful rebellion, and the commodification of youth culture. Overall, the tone is more in keeping with the manic depressive grunge rock aesthetic than with the go-Go-GO madcap vibe of other youth films of the 60s.