11 August 2012 | wilvram
Unusual theme and setting for 70's British sex romp
How did a frothy Windmill Theatre farce co-starring John Inman generate this 1947-set period piece, complete with spies, corpses and chases? And what was the reaction of fans of Robin Askwith's CONFESSIONS series on seeing him as a bashful lad from Lancashire, who spends most of the movie not getting the girl, and who even appears (quite effectively) in drag at one point, in this curious mixture of black farce and sex, with a musical number thrown in. Whatever, it's worth watching, especially for fans of Fiona Richmond. She's first glimpsed not in the flesh, so to speak, but on the cover of a clever mock-up of the 1940's fan magazine, 'Picturegoer'. As Maxine Lupercal, "international star of stage and screen", she has the same impact on Askwith's adoring fan, Gordon Laid, as she did on thousands of British men in the 1970s, when, as a 'sex queen' she was second only to the legendary Mary Millington, a role she took on with innate good humour, not taking any of it remotely seriously. Exquisitely dressed, in an array of exotic outfits that come off at regular intervals, she's enchanting and ravishing throughout; her unique, studied, campy delivery is a delight. Askwith does well in both of his atypical dual roles, though Linda Hayden is given little to do, while most of hardcore starlet Lisa Taylor's amusing cameo appears to have fallen victim to the stringent censorship of the time. A number of 1950's stars are involved, not least former matinée idol Anthony Steel, here with an abundance of hair, and Patrick Holt has a brief turn as the Commissioner, but it falls to Graham Stark, making the most of his Inspector, to utter the inevitable line, "Let's Get Laid!".
Despite one or two gags that fall flat, including the running one that has Maxine rendering the same lines in all her pictures, and a few anomalies - the younger mens' haircuts and the returning troops' bawdy antics on the train, LET'S GET LAID! is mercifully lacking in all those strained and unfunny puns that littered the likes of the CONFESSIONS films. Costume and production values, in particular Phil Meheux's photography, are considerably above average for the genre and the whole enterprise has, for the most part, a certain style and polish by definition usually lacking in British sex films.