Permissive (1970)

The film Permissive, directed by Lindsay Shonteff and released in 1970, was another British movie penetrating the promiscuous Rock scene of late 1960's and early 1970's. Just like Groupie Girl (also made in 1970), Permissive, focuses on the groupie phenomenon. The film tells the story of Suzy (Maggie Stride) - a shy and slightly naive teenage girl who comes to London to stay with her old friend Fiona (Gay Singleton). Fiona is an experienced groupie, who hangs out with prog band Forever More (who were a real-live band signed to RCA). She introduces Suzy into a world of scuzzy toilet venues, musicians on the rise, dodgy roadies, grubby hotel rooms and of course, sex and drugs..

But soon, the student beats the master. Initially shy Suzy quickly finds her way in this new, promiscuous world, which inevitably lead to a conflict with Fiona, since they both fighting for attention of Forever More's lead singer Lee (unbelievably hairy Allan Gorrie).

   There are interesting similarities between Permissive and Groupie Girl. Both films were made with an intention to cash-up on notoriety of groupies and rock musicians. Both sought to explore - not necessarily exploit - counterculture. Both were made by directors known for making sexploitation flicks, which resulted in Permissive and Groupie Girl being unfairly branded as such. Although sex exploitation is depicted in both films, it is not a main focus point of either. It would be wrong to put them in the same category as, for example, Confessions Of Pop Performer (1974). Neither Groupie Girl nor Permissive try to glamorise the scene or a lifestyle.But although the films were aimed at the older audience, they don't overly try to moralise or condemn the choices of protagonists (something American films of the era often did). Permissive and Groupie Girl are characterised  by their brutal realism which brings to mind kitchen-sink dramas of early 1960's (such comparison is furthered by unmistakably British sets -  gray skies, rain etc. and the depiction of grubby, un-swinging London in Permissive).

But there are substantial differences between two films as well. Unlike Groupie Girl, Permissive almost aspires to be an arthouse film which is particularly visible in the way film was shot. There is a generous use of flash-cuts, clearly inspired by Easy Rider (1969). Just like in Easy Rider, where you can see a flash-cut premonition of Peter Fonda's and Dennis Hopper's death during a scene at the brothel, in Permissive, the viewer is teased with the flash-cuts of future (and past) scenes all throughout the film, but without major disruptions in film chronology.

 But the biggest difference between the two films is whom the films vilify. In Groupie Girl,, it was the musicians.In Permissive, it's the groupies.As  film critic IQ Hunter writes in his essay about Permissive, "If not exactly feminist, the film echoes feminist disillusionment with the counterculture's ideology of free love. As in "Groupie Girl", the men are arrogantly misogynistic and possessive and women are tolerated insofar as they are useful for sex or chores. (...) Suzy succeeds as as a groupie because she understands the band's misogyny(...) and learns to beat the men at their own game of strategic promiscuity (...) What is missing of course is any sense of female solidarity, and it is Fiona who pays the price for Suzy's own icily methodical exploitation of men's fecklessness and lust.

The original score in permissive is really good - a mixture of heavy psych and prog. Acts that contributed songs to Permissive (apart from Forever More) include prog rockers Comus and Titus Groan.

And, of course there are some great 1960's and early 1970's fashions, both male and female. That alone is a reason enough to watch Permissive...
      

Permissive was recently released on DVD by BFI Flipside. One of the bonus features on the disc is an hour- long comedy from 1971 titled Bread. This film, dug out from a deep obscurity by BFI, was directed by Stanley Long and written by Suzanne Mercer (who, incidentally, were both involved in Groupie Girl - Suzanne Mercer wrote a script based on her own experiences as a groupie). The film follows the misadventures of a group of hippies, who decide to organise a rock festival on the grounds belonging to rich businessman. It is a pretty funny comedy of errors and while watching it, I couldn't help wondering whether it inspired short-lived (but much - underrated) 90's sitcom set in 60's titled Hippies, which starred young Simon Pegg... 

Stills from Bread (1971)

I recommend both, Permissive and Bread to anybody who is interested in music and fashion of late 1960's/early 1970's counterculture.

Source of the quotation: Essay "Permissive" by IQ Hunter in a booklet  - part a BFI Flipside DVD release of "Permissive".

Groupie Girl (1970) - The Original Almost Famous?

I was pleasantly surprised, when I recently watched this British drama from 1970. Usually described as 'trashy' or 'exploitation film' , it actually does not fall under neither category, and is much better than posters advertising it suggest. It is a film about...you guessed it, a groupie. Do not expect however, fun or glamour of Almost Famous. It is in fact, a bleak and pretty depressing movie that was definitely taking a critical view of the whole groupie phenomenon.

The film follows the misadventures of Sally (Esme Johns), who, bored with her life in a provincial town, decides to run away from home and sneaks into the van of a rock band that just played her local dancehall. Lads agree to take her with them - why wouldn't they? From that point  on, she is used, abused, subjected to various tasteless pranks and generally treated worse than dirt - and that's putting it mildly. She gets passed on from one band to another, until the inevitable tragedy occurs.

In America,  the film was released as I Am a Groupie. I don't know who that girl on the poster is, but it's definitely not Esme Johns.

The script was written by Suzanne Mercer, who wasa former groupie herself. Make no mistake, this IS a B-Movie. The acting could be a bit better and the script tries too hard to portray musicians as almost inhumane monsters (although, having hung out with struggling musicians for the large part of my life, I can vouch that they are not generally the nicest of people). But it shows the reality that is all-too-well known to anybody who has ever been in a touring band - dodgy managers, grotty B&B's , traveling in vans with no heating, ego wars and petty fights. At this point I must mention that arguments between band members portrayed in the film, for some reason reminded me of the infamous Troggs Tapes (In 1972, shortly before they split up, The Troggs had a fierce argument in a studio, not realizing that the tape was left running. The tape circulated for years in the underground achieving a cult status and apparently served as an inspiration for This Is Spinal Tap)

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  Opal Butterfly - band which appears in Groupie Girl - (from Marmalade Skies)

Another downside to the film is godawful soundtrack. For some bizarre reason, all the bands in the film, seemed to have had a Badfinger obsession. Well, I guess Badfinger were quite big in 1970...

The original soundtrack. If you ever see it, don't buy it.

Costumes in the film are quite interesting. 1970 was a moment in fashion history when two decades stylistically clashed, therefore we get examples of sixties fashions - frilly shirts for men, mini skirts and go-go boots for girls, and premonition of what was about to come in the seventies - Flares, big fur coats and platforms (for both sexes). It is worth to point out that none of the groupies in the film dresses in a style which today is referred to as 'boho chic' and often associated with 60's/70's groupies. Clothes worn by everybody during a party scene are quite amazing - most of them look quite cheaply made, but it gives you a chance to see what 'real people' wore in 1970.

Overall, I would say that the film is definitely worth watching. It gives you a chance to take a look at the English groupie scene of late 60's/early 70's with certain amount of cold realism, and without heart-warming nostalgia.

And you don't even have to buy it. Some kind soul has uploaded the whole film on YouTube.