The latter of two British films scripted by David Leland and based upon the life of Cynthia Payne, a former madam and prostitute (the other, released just five months earlier, being "Personal Services", featuring Julie Walters), this film looks at her early life and sexual experiences. It does so in the style of a 1960s "kitchen sink" drama, focusing on the everyday aspects of sex and sexuality, such as condoms and nosy uncles. But this film is made absolutely unforgettable by the performance of Emily Lloyd, playing "Linda" (the Cynthia Payne character), in which she displays remarkable fire, vigour, over-brimming life and downright bare-faced cheek (in more ways than one!).
In fact Lloyd's performance is so dazzling that it makes you feel that it is being contrasted against the grim grey boring 1950s the characters inhabit. It's a setting where decorum is more important than feelings which are to be repressed, and sex is often a matter of ignorance or salacious advantage-taking. In this setting Linda explodes, a dervish who kicks against all repression and breaks every rule simply because she wants to. Maybe her behaviour is childish and attention-seeking, but then so were the 1960s in many ways.
And this is just about my only criticism of the film - the 1950s are presented as a monochrome, uniform, dull and repressive era, when in fact they had jazz and early rock and roll and Abstract Expressionism in art, all of which were as exciting as British Invasion and Mary Quant and the Mini. Never mind, each generation paints an unflattering picture of that preceding it, and this repressive atmosphere of course heightens the constrast between the seemingly irrepresible Linda and the dull times she lived in.
I say "seemingly" of course because Linda does get damaged by the events and escapades she goes into, sometimes naively, sometimes more as a victim. The ending in particular is a feel-good fantasy of an ending, especially given the darker second half of the film showing the consequences of all her transgressions. But all the same, this is an extremely enjoyable film, with a stunning lead and solid support (I especially like the apparently unflappable psychologist whom she runs ring around), and with a fair evocation of a time when seaside postcards were the limit of a nation's bawdy instincts. A more innocent time perhaps, but as this films shows, not necessarily a better time.