poikkeus1 It's not very well known that there are several versions of this movie available, from 109 to 135 minutes. The DVD version is the shortest, and excludes a few of the most extravagant numbers, while the director's cut has all of the musical sequences. The full theatrical version of the film is an unapologetic mix of reality and fantasy - some of it wonderful, some other segments not fully successful. But the film has a buoyant energy, thanks to the delightful musical numbers. The DVD version eschews the wilder fantasy sequences in favor of a more realistic approach. It seems to lack a certain energy. I'd rate the shortened, DVD version of the movie maybe 6/10 - a real disappointment. I'd rate the full-length, theatrical version of the movie 9/10. If you can, see the movie. Don't bother with the DVD.

TheLittleSongbird While not among my personal favourite musicals or films, The Boy Friend was immensely entertaining in almost every sense and certainly unlike any movie musical we've seen before. The dog scats on your spats joke would have been better left out because it did wear thin and it was more tasteless than funny. But actually that is the only thing in The Boy Friend that came across as that to me, particularly for a director like Ken Russell who has been known to resort to excess and have material that people can be easily offended by. Russell always was a controversial director who fascinated a lot of people and repulsed others, no matter what you thought of him there is no denying that his directing and style was unique. So how does Russell's direction fare here? Brilliantly actually(for an unlikely choice of director for a musical), the style he brings is extravagant as can be seen in the sets, lighting and costumes that burst with primary colours and the purposeful and interesting camera shots(sweeping and a case of awkward working in its favour) showing a virtuoso at work. The spectacle is big and very eye-catching but, despite how this sounds, for Russell while not restrained as such it's not excessive either. The musical numbers are all delightful and always catchy whether in a humorous or emotional way, and they're staged with a Busby Berkeley influence that is always engaging and over-the-top to a delicious degree. Where else in a musical would you find leprechauns in a world of mushrooms, nurses pushing their patients in kaleidoscopic circular fashion in wheelchairs, aeroplane dancing in the snow and swimmers in the ocean in identical attire? The Grecian Nymph fantasy and the nymphs being led off to save the day by Tommy Tune are also great touches that provide plenty of amusement. Despite all this visual spectacle, The Boy Friend is surprisingly also brilliantly written, the satire is sharp and the backstage intrigue is intriguing and insightful. You do have to love Maisie's ad-libbing and attempts at seduction as well, and there's a fair share of emotional impact too, at the end Polly is very easy to root for. The story may sound clichéd and concept-wise it is but execution-wise it was surprising at how unconventional and breaking-new-ground the storytelling was and it's all done with fun as well as non-stop charm and nostalgia. The cast really give their all, even if Christopher Gable's acting and singing doesn't impress as much as his excellent dancing. The best being Twiggy who is charming to the hilt, Antonia Ellis who will leave you in hysterics with her ad-libbing and seduction attempts and Russell regular/favourite Glenda Jackson whose hilarious performance is one that is not easily forgotten in the long run. Barbara Windsor is always great value too. All in all, a fascinating and immensely enjoyable movie musical unlike any other that you've seen before. It's not for everybody, like Russell himself it will delight numbers of people- where I fit in- and perplex others, both viewpoints of which are totally understandable. 9/10 Bethany Cox

johnstonjames strangely the 'Boyfriend' comes off as a sort of wholesome Hallmark Valentine's Day card. strange because the director Ken Russell is usually ANYTHING other than wholesome. it's not that the film isn't without a certain amount of farcical sophistication, but it's ultimately harmless and mostly comes off as sly wit and cartoonish humour. after all, this movie received a "G" rating when first released. a far cry from Russell's other film released around this time, 'The Devils', which received a controversial 'X' rating for a mainstream studio release.i've loved the 'Boyfriend' for so long and am well familiar with it, that i wondered when i bought the recent DVD release, if i would still have the same spontaneous enjoyment that the film elicits. well i loved it just as much and laughed just as hard as i usually do at the sardonicism of it's life philosophy. i always appreciate the sarcastic wit of this whole thing so much because basically, the intended outcome seems to be all sweetness and gooey cuteness. the contrasting result continues to strike me as thought provoking and lethally funny.'The Boyfriend' chooses to be lethal and unnervingly cynical about it's humour because the film chooses reality and realism for it's narrative. even though the musical numbers are often fanciful, most of them occur on stage or in the vivid imagination of the viewer and it's girl protagonist, with whom the viewer is mostly led to identify with. nothing is ever out and out far fetched. even the over the top, crazy behavior of it's ensemble of characters, isn't really all that exaggerated considering how crazy life gets for many. especially theater types. viewing 'The Boyfriend' from a perspective of realism, is part of why it's so funny.and boy oh boy is this one funny. at least for me. it's just about the funniest comedy i've ever seen. a lot of the humour is outright, but mostly i think it's appeal is as a thinking man's comedy. at least that's who i think would appreciate this movie most. thoughtful people willing to reflect on the movie's almost constant run of insights. but don't reflect too much because it really does get a little too funny too handle when thought about because of the way it dismantles so many preconceived notions on just about everything from philosophy to film and musical aesthetic. even it's idea of what's funny is often at the expense of society itself.but it is sweet. and very romantic. and in the long run nobody gets trumped beyond anything they can't deal with. except for maybe the play's hapless producer and director who is told his show ultimately disappoints.for me personally, the genius of Ken Russell is legendary. i don't always agree with his perspective or what i see, but it's always visually arresting and thoughtful and of great technical superiority. 'The Boyfriend' will always and forever be my very favorite film musical and film comedy. as well as one of my top favorites in general. i'm also hopelessly in love with the twig chick. Happy Valentines Day 2012.

kidboots When I first saw "The Boyfriend" at Kogarah Cinema I didn't realise that the 30s were enjoying a revival - I only knew I loved old movies (a legacy from my mother) and hero worshipped Twiggy!! To skinny schoolgirls the world over, Twiggy was a revelation. Before she appeared on the scene models were slim but curvy but when you heard her talk in interviews she sounded just like she lived down the street - not in some posh suburb with the arty and the elite!! So when I read that she was making a musical set in the early thirties with what looked like some fabulous dance sequences I was thrilled. The big controversy at the time was the director, Ken Russell, who was better known for some bizarre and strictly R rated films ("The Devils", "Women in Love"). I hoped he would do the right thing by Twiggy and he did.In a similar way to "Pennies From Heaven" the musical fantasy sequences in "The Boyfriend" were in stark contrast to the reality of the seedy, second rate show, where the once great Percy and Moyra Parkhill (Bryan Pringle and Moyra Fraser) rubbed shoulders with the up and coming Tony and Tommy (Christopher Gable and Tommy Tune). Polly (Twiggy) is the assistant stage manager and general dogsbody for a ramshackle theatre troupe who are staging "The Boyfriend" at the Theatre Royale, a majestic theatre fallen on hard times. One particular day...the star doesn't turn up... the hospital rings to say she's broken her leg...sound familiar??? To top it all there is a talent scout, a Mr. DeThrill, from Hollywood, in the audience, but before panic sets in the wonderful Barbara Windsor appears as Madame Dubonnet ("Do-Bon-Nay") to take the "young ladies" through their steps in "Perfect Young Ladies".For the next number "The Boyfriend" Polly is literally pushed onto the stage (as everybody's understudy she now has the star part!!) and is completely confused but wins a gold star for sincerity - it helps heaps that she has a huge crush on Tony. Stage manager Max (Max Adrian) has his own dreams about the number's staging and sees Polly as the spirit of ecstasy!! Tommy and Tony are the only talented performers in the troupe. Tommy, as an orphan had played on Broadway as Tiny Tom, the dancing kid but when he grew (at 6'6", Tommy Tune is apparently the tallest dancer in the country) he found himself in Britain, a victim of amnesia, only remembering how to dance. He had been taught a complicated time step by his father and it is inserted into the finale with surprising results.The songs keep coming - when vicious Maisie, ever on the lookout to impress Mr. DeThrill, convinces Tommy she has a bad headache and won't be able to dance her best in their number "Won't You Charleston With Me", Tommy just goes through the motions - but not Maisie - she lied of course!! Twiggy gets to sing two standards - "My Lucky Star" and "All I Do is Dream of You" - sure her voice is thin and untrained but she is playing an understudy, someone who is not supposed to be a top singer. Glenda Jackson makes a cameo appearance as Rita Marlowe, complete with crutches, in a scene lifted from "42nd Street", including the old "Go out there and be so good, you'll make me hate you"!!! "I Could Be Happy With You" gets the full Busby Berkeley treatment with dancing and kaleidoscopic formations on a giant turntable and ends up ala the "Young and Healthy" number from "42nd Street". The surreal "A Room in Bloomsbury" with its Fred and Ginger beginning, ending in a novelty dance with fairies and elves!!There are almost too many songs to mention, some work - like the riotous "It's Never Too Late to Fall in Love" sung by the glamorous Georgina Hale as a very amorous nurse and Max Adrian as an annoyed invalid who wanted this to be his big song!! When I first saw the movie at the cinema, some numbers were omitted, an extended ballet sequence, obviously to highlight the versatility of ballet dancer Christopher Gable, a fantasy dance between nurses and men in bath chairs and "It's Nicer in Nice" performed by Barbara Windsor. The movie would have been better and tighter if they had stayed out - as it was those sequences really dragged out what is already a long movie. But you can't find fault with Twiggy - her dancing is marvelous and she fitted into the early 30s era so brilliantly, it was also nice to see people who could actually dance (Gable and Tune) instead of the drek that passes for dancing now.