Tacticalin An absolute waste of money

Casey Duggan It’s sentimental, ridiculously long and only occasionally funny

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Phillida Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

dont_tell_duncan This was actually much better than I thought it could have been. And for a younger viewer it provides a snapshot of how Cliff really was once hip, belying his now ubiquitously and perennially uncool image. However, not being any sort of director or producer, it is very rare I ever have an insight of how I would remake a film. In the right hands, though, you sense the germs of a story that could have been executed with far more pathos - in the manner of say, a 'Darling' or even an 'All About Eve'. Entertaining as it is, it falls far short of being even the best Cliff film.Lawrence Harvey is - for the first time that I've seen - badly miscast as the sleazy agent with a heart. He never quite gets to grips with the deeper layers of the amoral Johnny Jackson and the accent flits around hopelessly compounding the problem. You imagine what a Dirk Bogarde or even a young Peter Sellers might have done with such a role? Yolande Donlon portrays 'American star' on autopilot and the sexual tension is far too underplayed (although probably a fear of the censors more than anything else). Cliff is reasonably endearing, but is laughable as any sort of 'British Elvis' - one watch of King Creole (which this film surely owes a lot to) demonstrates Elvis as a far superior actor, albeit one who was never really given a chance to shine. He also inevitably always managed to wear his outfits - however outlandish - with far more panache than the embarrassing costumes Cliff is forced to don (check out the swimming trunks/shoes/socks combo!). Only Sylvia Syms is amiably convincing, but is never really given adequate chance to shine in the role of stripper-with-a-heart Maisie King.At the root of the problem is a makeshift script which suffers from not knowing what it wants to be? Is it a morality tale? Light entertainment? A document of a short era of London's youth culture? Or simply a quick buck being made off what I imagine was expected at the time to be Cliff's fleeting popularity? Whilst there are flashes of wit and the odd great scene, these are counterbalanced by irrelevant unfunny scenes (such as those involving the inexplicable buffoon children of Donlon's publicist?) and insufficient background characterisation of all the leads. It also lacks sufficient songs of a quality which could help carry it - only Voice In The Wilderness even vaguely stands up as credible, and even then it's not exactly 'edgy'.In short it's not by any means the worst way to spend 90 mins on a Sunday afternoon or suchlike, but you may end up wishing for what could have been so much more...

bkoganbing It's been said that Cliff Richard was the UK's equivalent of Elvis Presley. Personally I saw a lot more Ricky Nelson or Frankie Avalon in his musical style. Nevertheless he was and does remain a very big singing star in the British Commonwealth countries though he never was able to make it the USA market as the Beatles who symbolize the next generation of pop stars.He plays what he is a young musical hopeful who gets discovered by Laurence Harvey, a fast talking British cockney version of Sammy Glick. Harvey gives a nice performance here though he's almost as 'on' all the time as Phil Silvers. Sylvia Sims is Harvey's patient girl friend who works as a stripper in a Soho club and Yolande Donlon who was an American expatriate in London plays an American musical comedy star who takes a far more than motherly interest in young Richard. Donlon manages to best Harvey, but the man does come out of the battle none the worst for wear.Expresso Bongo is a realistic look at the British music industry at the beginning of the sixties. Richard sings a couple of songs and does them well in the manner of Ricky Nelson.Best scene in the film when Harvey gets on a panel discussion show with a minister and psychologist about today's youth and their musical taste. Those two and the moderator were certainly not expecting the shtick Harvey gave them. Worth seeing for that alone.

rayshaw44 Harvey's performance is akin to Cary Grant in His girl Friday which I term "Cary Grant unleashed" Like Grant, Harvey takes his character and far from overacting rather sets the screen on fire. As for the movie itself,it lags when Harvey is not on the screen and it needs another actress in the Dixie roll who can somehow match Harvey. Dixie drags down the last third of the film. For the legions who deem Harvey's career as a series of zombie-like performances, Bongo turns that opinion on it's ear. Cliff Richard does a good job in his first screen roll. Beware of the current DVD release. It does not have several musical numbers and this greatly mars the movie.

eye3 It's really about a hustler-turned-agent (Laurence Harvey) and how opportunity comes (and passes him by) via his finding (and losing) the kid-with-talent (Cliff Richard). A scene I liked was where the agent and the label exec (Meier Tzelniker) shamelessly discuss their plans for Bongo Herbert's future - i.e., what can he do for them, never mind what he can do for himself.This might have been a much more memorable movie with a bit more backing and some rewrites. It starts (and ends) by taking us to the cruddier side of London ca. 1960 - strippers, noisy streets, the grime, the neon-lights - all of it filled with the never-was's and the never-will-be's hoping against hope for That One Break. No U.S. movie at the time would ever have thought of this, whereas this U.K. movie did so without any Hollywood-esque qualms about "how will it play in Peoria?"Strange to think: when this movie, about a young rocker getting started, was released there was a band of Liverpool kids who got a gig in a dive on the Hamburg Reeperbahn ...One last bit: check out an uncredited kid named Susan Hampshire. She has four lines but she ante-dates Monty Python's "Upper-Class-Twit-of-the-Year" sketch by 10 years - she does it to a t.