The Silent Generation, born during the Depression and WW2, often get lumped-in with their Boomer younger siblings and cousins, but they were maybe the last generation that grew-up entirely under the values and rules of pre-sexual revolution/pre-drug culture America.
"Where the Boys Are" is a mildly entertaining but still interesting peek into what now seems like a very distant past.
The plot: four midwestern coeds on spring break head to Fort Lauderdale for fun, sun, and boys. They find all three, but the boys are a mixed bag of semi-nice, not-so-nice, and downright rotten.
"Mel" (Yvette Mimieux) and "Tug" (Paula Prentiss) apparently went to college to earn their "Mrs. Degrees," and as soon they meet seemingly desirable mates, they start thinking wedding plans and becoming "baby factories." Mel falls in with some "Yalies" becoming infatuated with one and then another. Tug is drawn to "TV" (Jim Hutton)- a zany goof whose appeal seems to be that he's available and taller than her 5'10' "without stockings" frame. Both Mel and Tug hear wedding bells, but the "Yalies" and TV want the milk without having to buy the cow.
Highly intelligent "Merritt" (Dolores Hart) shocks her teacher and fellow students with her open support for premarital relations, but privately is a "good girl." However, she may reconsider that upon meeting wealthy, handsome Ivy Leaguer, "Ryder" (George Hamilton.)
And "Angie" (singer Connie Francis who scored a hit with the film's theme song) is there for musical numbers and semi-comic relief.
The relationships in this film are messed-up. The girls are portrayed as desperate: talking love and marriage within days! The boys are almost all awful. The "Yalies'" behavior ranges from appalling to criminal. TV, despite being played for laughs, is an inconsiderate and disrespectful creep. And even "the Catch," Ryder, is clearly on "the make" for most of the film. None of the film's end matches seem very promising.
As a film, it's ok. It's semi-amusing despite its unromantic romances and tepid comedy. Still, future Mother Superior Dolores Hart is pretty, and Paula Prentiss is a total doll!
However, what I enjoyed most was its depiction of college life/spring break circa 1960. Some things were familiar: spring-breakers spending their days on the beach or at pools/bars drinking and hanging out. In the evening, though, the boys don suits-and-ties, the girls doll-up (dresses, nylons, and heels), and they head-out on the town as formal dates. It's unreal! Can anyone imagine college kids doing that today? Plus, the crowd shots of actual Silent Generation spring breakers shows hordes of tat-less, well-groomed, thin people. It's like a different world.
And within a mere decade, that world would be gone. That's what stuck with me about this movie.
"Where the Boys Are" is a mildly entertaining but still interesting peek into what now seems like a very distant past.
The plot: four midwestern coeds on spring break head to Fort Lauderdale for fun, sun, and boys. They find all three, but the boys are a mixed bag of semi-nice, not-so-nice, and downright rotten.
"Mel" (Yvette Mimieux) and "Tug" (Paula Prentiss) apparently went to college to earn their "Mrs. Degrees," and as soon they meet seemingly desirable mates, they start thinking wedding plans and becoming "baby factories." Mel falls in with some "Yalies" becoming infatuated with one and then another. Tug is drawn to "TV" (Jim Hutton)- a zany goof whose appeal seems to be that he's available and taller than her 5'10' "without stockings" frame. Both Mel and Tug hear wedding bells, but the "Yalies" and TV want the milk without having to buy the cow.
Highly intelligent "Merritt" (Dolores Hart) shocks her teacher and fellow students with her open support for premarital relations, but privately is a "good girl." However, she may reconsider that upon meeting wealthy, handsome Ivy Leaguer, "Ryder" (George Hamilton.)
And "Angie" (singer Connie Francis who scored a hit with the film's theme song) is there for musical numbers and semi-comic relief.
The relationships in this film are messed-up. The girls are portrayed as desperate: talking love and marriage within days! The boys are almost all awful. The "Yalies'" behavior ranges from appalling to criminal. TV, despite being played for laughs, is an inconsiderate and disrespectful creep. And even "the Catch," Ryder, is clearly on "the make" for most of the film. None of the film's end matches seem very promising.
As a film, it's ok. It's semi-amusing despite its unromantic romances and tepid comedy. Still, future Mother Superior Dolores Hart is pretty, and Paula Prentiss is a total doll!
However, what I enjoyed most was its depiction of college life/spring break circa 1960. Some things were familiar: spring-breakers spending their days on the beach or at pools/bars drinking and hanging out. In the evening, though, the boys don suits-and-ties, the girls doll-up (dresses, nylons, and heels), and they head-out on the town as formal dates. It's unreal! Can anyone imagine college kids doing that today? Plus, the crowd shots of actual Silent Generation spring breakers shows hordes of tat-less, well-groomed, thin people. It's like a different world.
And within a mere decade, that world would be gone. That's what stuck with me about this movie.