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'''''Baby Love''''' is a 1969 British [[drama (film and television)|drama]] film directed by [[Alastair Reid (director)|Alastair Reid]] and starring [[Diana Dors]], [[Linda Hayden (actress)|Linda Hayden]] [[Keith Barron]] and [[Ann Lynn]].<ref name="BFIsearch">{{Cite web |title=Baby Love |url=https://collections-search.bfi.org.uk/web/Details/ChoiceFilmWorks/150024085 |access-date=23 December 2023 |website=British Film Institute Collections Search}}</ref>
'''''Baby Love''''' is a 1969 British [[drama (film and television)|drama]] film directed by [[Alastair Reid (director)|Alastair Reid]] and starring [[Diana Dors]], [[Linda Hayden (actress)|Linda Hayden]], [[Keith Barron]] and [[Ann Lynn]].<ref name="BFIsearch">{{Cite web |title=Baby Love |url=https://collections-search.bfi.org.uk/web/Details/ChoiceFilmWorks/150024085 |access-date=23 December 2023 |website=British Film Institute Collections Search}}</ref> It was written by Reid, [[Guido Coen]] and Michael Klinger, based on the 1968 novel ''Baby Love'' by Tina Chad Christian.


The film tells the story of a 15 year-old schoolgirl who seduces her [[adoption|adoptive]] family after her mother committed [[suicide]].
The film tells the story of a 15 year-old schoolgirl who seduces her [[adoption|adoptive]] family after her mother committed [[suicide]].

The film features an uncredited appearance by [[Bruce Robinson]], later to direct ''[[Withnail & I]]'' (1987).


==Plot==
==Plot==
Luci Thompson is a 15 year old school girl whose mother Liz, suffering from cancer, commits suicide. She goes to live with Robert Quayle, a childhood friend of Liz's, who is married to Amy and has a son, Nick. Luci’s arrival causes sexual and psychological tensions to surface, bringing the family close to destruction.
Luci Thompson is a 15 year old school girl whose mother Liz, suffering from [[cancer]], commits suicide. She goes to live with Robert Quayle, a childhood friend of Liz's, who is married to Amy and has a son, Nick. Luci’s arrival causes sexual and psychological tensions to surface, bringing the family close to destruction.


==Cast==
==Cast==
Line 37: Line 35:
* [[Keith Barron]] as Robert
* [[Keith Barron]] as Robert
* [[Linda Hayden (actress)|Linda Hayden]] as Luci
* [[Linda Hayden (actress)|Linda Hayden]] as Luci
* [[Diana Dors]] as Liz Luci's mother
* [[Diana Dors]] as Liz, Luci's mother
* [[Troy Dante]] as the lover
* [[Troy Dante]] as the lover
* [[Sheila Steafel]] as Tessa Pearson
* [[Sheila Steafel]] as Tessa Pearson
Line 78: Line 76:


=== Critical reception ===
=== Critical reception ===
⚫
''[[The Monthly Film Bulletin]]'' wrote: <blockquote>Alastair Reid's film makes no attempt to modify the crude contrasts and lurid events that formed the basis of Tina Chad Christian's first novel: the poverty of the northern slum and the ultra-chic of the doctor's environment remain equally overstated, shown essentially as they appear to the self-dramatising nymphet heroine. But partly because we are spared the precocious auto-analysis of Luci's commentary and her behaviour thus goes largely unexplained by any facile clinical labels, the film somehow transcends its inherent sensationalism and the gloss of its surfaces. And the performances of both Ann Lynn as the neglected wife and Linda Hayden as the enigmatic "outsider who is neither a child nor a woman convey, in very different registers, the difficulty of assuming responsibility either for emotions experienced or passions provoked.<ref>{{Cite journal |date=1 January 1969 |title=The Counterfeit Constable |url=https://www.proquest.com/docview/1305827779/8508B89C370E4439PQ/2 |journal=[[The Monthly Film Bulletin]] |volume=36 |issue=420 |pages=79 |via=ProQuest}}</ref></blockquote>Howard Thompson of ''[[The New York Times]]'' gave the film a positive review, praising the technical brilliance and writing: "Ugly as it is in flavor and content, the picture is a genuine pint-sized spellbinder in construction, mood and mounting tension."<ref>{{cite web |date=20 March 1969 |last=Thompson |first=Howard |title=Chilling 'Baby Love' (Published 1969) |url=https://www.nytimes.com/1969/03/20/archives/chilling-baby-love.html |website=[[The New York Times]] }}</ref>
''[[The Monthly Film Bulletin]]'' wrote:

⚫
Alastair Reid's film makes no attempt to modify the crude contrasts and lurid events that formed the basis of Tina Chad Christian's first novel: the poverty of the northern slum and the ultra-chic of the doctor's environment remain equally overstated, shown essentially as they appear to the self-dramatising nymphet heroine. But partly because we are spared the precocious auto-analysis of Luci's commentary and her behaviour thus goes largely unexplained by any facile clinical labels, the film somehow transcends its inherent sensationalism and the gloss of its surfaces. And the performances of both Ann Lynn as the neglected wife and Linda Hayden as the enigmatic "outsider who is neither a child nor a woman convey, in very different registers, the difficulty of assuming responsibility either for emotions experienced or passions provoked.<ref>{{Cite journal |date=1 January 1969 |title=The Counterfeit Constable |url=https://www.proquest.com/docview/1305827779/8508B89C370E4439PQ/2 |journal=[[The Monthly Film Bulletin]] |volume=36 |issue=420 |pages=79 |via=ProQuest}}</ref>

Howard Thompson of [[The New York Times|''The New York Times'']] gave the film a positive review, praising the technical brilliance and writing: "Ugly as it is in flavor and content, the picture is a genuine pint-sized spellbinder in construction, mood and mounting tension."<ref>{{cite web |date=20 March 1969 |last=Thompson |first=Howard |title=Chilling 'Baby Love' (Published 1969) |url=https://www.nytimes.com/1969/03/20/archives/chilling-baby-love.html |website=[[The New York Times]] }}</ref>


== References ==
== References ==
Line 91: Line 85:
* [https://letterboxd.com/film/baby-love/ Baby Love] at Letterbox DVD
* [https://letterboxd.com/film/baby-love/ Baby Love] at Letterbox DVD
* [http://uk.rottentomatoes.com/m/1001504-baby_love/ ''Baby Love''] at [[Rotten Tomatoes]]{{Dead link|date=February 2021}}
* [http://uk.rottentomatoes.com/m/1001504-baby_love/ ''Baby Love''] at [[Rotten Tomatoes]]{{Dead link|date=February 2021}}
* [https://www.reelstreets.com/films/baby-love/ ''Baby Love''] then-and-now location photographs at [https://www.reelstreets.com/ ReelStreets]


{{Alastair Reid}}
{{Alastair Reid}}

Latest revision as of 13:19, 3 November 2024

Baby Love
Theatrical poster to Baby Love (1969)
Directed byAlastair Reid
Screenplay byAlastair Reid
Guido Coen
Michael Klinger
Based onBaby Love
by Tina Chad Christian
Produced byGuido Coen
StarringDiana Dors
Linda Hayden
Keith Barron
Ann Lynn
CinematographyDesmond Dickinson
Edited byJohn Glen
Music byMax Harris
Color processIn Color
Production
company
Avton Film
Distributed byAVCO Embassy Pictures
Release dates
  • 19 March 1969 (1969-03-19) (New York City)
  • 20 April 1969 (1969-04-20) (United Kingdom)
Running time
96 minutes
CountryUnited Kingdom
LanguageEnglish
Budget£87,084[1]
Box officeover $1,300,000[1]

Baby Love is a 1969 British drama film directed by Alastair Reid and starring Diana Dors, Linda Hayden, Keith Barron and Ann Lynn.[2] It was written by Reid, Guido Coen and Michael Klinger, based on the 1968 novel Baby Love by Tina Chad Christian.

The film tells the story of a 15 year-old schoolgirl who seduces her adoptive family after her mother committed suicide.

Plot

[edit]

Luci Thompson is a 15 year old school girl whose mother Liz, suffering from cancer, commits suicide. She goes to live with Robert Quayle, a childhood friend of Liz's, who is married to Amy and has a son, Nick. Luci’s arrival causes sexual and psychological tensions to surface, bringing the family close to destruction.

Cast

[edit]

Production

[edit]

The film was based on the debut novel by Tina Chad Christian. Film rights were bought by producer Michael Klinger, who had just left Compton, a production company he had run with Tony Tenser. Baby Love would be his first movie as an independent producer.

The first director attached was Henri Safran. Linda Hayden was cast after an extensive talent search.[1] She was only fifteen years old and had to do her screen test topless.[3]

Safran was fired by Klinger and replaced by Alistair Reid. Linda Hayden said "Michael got rid of him because I don’t think he didn’t like what he saw, or something, but ...er... it was just that little bits of it were a bit tacky."[3]

Most of the finance came from Star Cinemas in the UK. Klinger sold the film to Joseph Levine of Anglo-Embassy for over $1 million.[1]

Hayden later said the film was "one of those projects that could so easily have gone wrong. It could have been a bit sleazy. Alastair made the film more grounded, so it wasn’t just done for sensationalism."[4]

Hayden recalled Diana Dors "hadn’t had a resurgence then; she was still yesterday’s news. And then suddenly, as the film came out, she had a resurgence. She was terrific. They did use her name quite a lot to hang the film on and it certainly paid off. She was quite a coup, and a smashing lady. I loved her. Her character casts a long shadow over the film. It needed somebody like that to do it."[4] The film helped revive her career.[5]

Reception

[edit]

Box Office

[edit]

The film was the 11th most watched movie of the year in the UK in 1969.[6]

The film took over half a million dollars in both the North America and the UK, and over $300,000 in other territories.[1]

Critical reception

[edit]

The Monthly Film Bulletin wrote:

Alastair Reid's film makes no attempt to modify the crude contrasts and lurid events that formed the basis of Tina Chad Christian's first novel: the poverty of the northern slum and the ultra-chic of the doctor's environment remain equally overstated, shown essentially as they appear to the self-dramatising nymphet heroine. But partly because we are spared the precocious auto-analysis of Luci's commentary and her behaviour thus goes largely unexplained by any facile clinical labels, the film somehow transcends its inherent sensationalism and the gloss of its surfaces. And the performances of both Ann Lynn as the neglected wife and Linda Hayden as the enigmatic "outsider who is neither a child nor a woman convey, in very different registers, the difficulty of assuming responsibility either for emotions experienced or passions provoked.[7]

Howard Thompson of The New York Times gave the film a positive review, praising the technical brilliance and writing: "Ugly as it is in flavor and content, the picture is a genuine pint-sized spellbinder in construction, mood and mounting tension."[8]

References

[edit]
  1. ^ a b c d e McKenna, A. T. (2012). "Independent Production and Industrial Tactics in Britain: Michael Klinger and Baby Love". Historical Journal of Film, Radio and Television. Vol. 32, no. 4. pp. 611–631. doi:10.1080/01439685.2012.727339.
  2. ^ "Baby Love". British Film Institute Collections Search. Retrieved 23 December 2023.
  3. ^ a b "Interview with Linda Hayden by Anthony McKenna and Andrew Spicer". Michael Klinger Papers. 14 February 2011.
  4. ^ a b Smith, Adrian (25 June 2020). "Interview with Baby Love's Linda Hayden". Network.
  5. ^ Vagg, Stephen (7 September 2020). "A Tale of Two Blondes: Diana Dors and Belinda Lee". Filmink.
  6. ^ "The World's Top Twenty Films." Sunday Times [London, England] 27 Sept. 1970: 27. The Sunday Times Digital Archive. accessed 5 Apr. 2014
  7. ^ "The Counterfeit Constable". The Monthly Film Bulletin. 36 (420): 79. 1 January 1969 – via ProQuest.
  8. ^ Thompson, Howard (20 March 1969). "Chilling 'Baby Love' (Published 1969)". The New York Times.
[edit]
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