The Young Ones

Beginning as it means to go on, with an eyeful of technicolor, a song in its heart and plenty of pep in its step, The Young Ones introduces its ensemble cast to the lyrics of Friday Night, as the teenagers – a word rather generously applied to some of the cast – leave their various jobs and school classes to doll themselves up for a dance at the local youth club.

But, in a fine plot tradition that has backboned movies starring everyone from Judy Garland to the Muppets, their venue is about to come under threat from rich property developer Hamilton Black (Robert Morley). The only answer is, of course, to put on a show.

The slight twist in the situation is that one of the kids, Nicky (Cliff Richard, who was already riding high in the charts with backing band The Shadows at this point) is, unbeknownst to his mates, the son of Black.

Richard, who had previously appeared in Expresso Bongo and would go on to Summer Holiday and Wonderful Life after this, is happier when he’s singing than when he’s acting. The same can be said for Carole Gray, as his love interest, who was known for her stage performances in the West End at the time and is better at dancing than script delivery. Nevertheless, both are perfectly adequate given the material.

Sidney J Furie is aware of his cast’s various limitations – some who aren’t great with a line, others who can’t dance – and judiciously cuts away from things that might betray them so that even a fight scene is more aftermath than action. A director intent on giving a sense of movement, the inclusion of, for example, a couple of random people going over a water ski jump may be gratuitous but there’s no denying its fun.

Bringing more acting quality are Richard O’Sullivan and Melvyn Hayes as two of Nicky’s mates, who provide a sort of comic double-act through the film. Morley also steals the figurative show with his dry comments about commerce (“There are never too many office blocks in London) and the youth of today (“They’ll be polishing their coshes”).

The songs are a bit of a mix and the film is on firmer footing when it leans into the British pop of the era than when it’s trying to hark back to more traditional Hollywood-style numbers that feel oddly nostalgic in this context. The Beatles, of course, would completely break this mould with the cool chaos of A Hard Day's Night a couple of years later. The Shadows (Hank Marvin, Bruce Welch, Jet Harris and Tony Meehan) lurk in, well, the shadows, before turning up for obligatory musical numbers where Richard shows he can give Elvis, clearly the template here, a run for his money.

The basic plot is lifted by smartly choreographed set-pieces from Herbert Ross, including the opening sequence and the smoothly worked What D'You Know, We've Got a Show & Vaudeville Routine, bright and fashionable costumes from Jackie Breed, all of which is captured with fluidity by cinematographer Douglas Slocombe. As sweet, warm and wholesome as a cup of your granny’s tea, The Young Ones has an affable breeziness and even though it’s firmly rooted in its period, its upbeat feel travels surprisingly well.

Reviewed on: 14 Jul 2026