so thats why when i passed them the other day i didnt get a wolf whistle :D
If yer anything like me,, all that stomach holding in and trying to be naturally pouting DID go to waste !
a new building went up by me recently.. and i heard a whistle OMG ! I was trying to remain all calm and coquettish.. till i realised it was aimed at two seventeen year old lassies in micro minis and bad acne !
we watch all the shyte that “normal” people avoid,, like ” why women kill” and ” a place in the sun” etc :) and FBI files ! ooh gimme a decent fbi file and im anybodys ;)
I decided to give ya all a chance bon bon.. No seriously,, i was at daughters. a quiet night but we were watching telly and having a laugh.so i stayed there till 1 am.
damm tried to get a clip of cosh boy.. oh man i near peed my kniackers at this ,when i saw it..
Courtesy of Granada International
Main image of Cosh Boy (1953)
35mm, black and white, 73 mins
Directed by Lewis Gilbert
Production Company Daniel Angel Films
Produced by Daniel M. Angel
Screenplay by Lewis Gilbert, Vernon Harris
Original play Bruce Walker
Photography Jack Asher
Music Lambert Williamson
Cast: James Kenney (Roy Walsh); Joan Collins (Rene Collins); Hermione Baddeley (Mrs Collins); Hermione Gingold (Queenie); Betty Ann Davies (Elsie Walsh); Robert Ayres (Bob Stevens)
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The brutal exploits of a delinquent youth and his gang, coshing and robbing women and finally nearly committing murder.
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Cosh Boy (d. Lewis Gilbert, 1953) takes an honest, unselfconscious look at the recently identified problem of ‘juvenile delinquency’, blaming it on a lack of parental control and discipline.
Roy (James Kenney) is a convincingly nasty, cigarette-smoking 16 year old: vicious, hyperactive and insecure – bullying anyone weaker than himself, particularly the slow-witted Alfie (Ian Whittaker) and the naive Rene (a young Joan Collins). The parallels with the case of Derek Bentley – the young, backward boy controversially hanged in January 1953 for the murder of a policeman, partly because his accomplice, Christopher Craig, was too young to hang – were not lost on the audience, or on the censor.
The film captures the remains of old London, before it made way for tower blocks and walkway estates. The stark and moving shots of London’s bombed-out ruins show the influence of Italian neo-realist films such as Bicycle Thieves (d. Vittorio de Sica, 1948).
The film is well ahead of its time in its frank depiction of unmarried teenage sex, pregnancy and abortion: all deeply shocking in the repressive early 1950s. But it is badly spoilt by its ending, which suggests that all a boy needs is a damn good thrashing by his father and he will turn out all right. The moralising texts at beginning and end, though we might not agree with them today, are fascinating for the way they record the social attitudes of their time.
By the time of Tony Richardson’s The Loneliness of the Long Distance Runner (1962) the rebellious youth had become working-class hero rather than menace, at least in cinema. The first British film to receive the new X certificate, Cosh Boy might be compared with Alan Clarke’s masterpieces Scum (1979) and Made in Britain (ITV, tx. 10/7/1983).
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