In the context of a powder-puff parody of Thirties musicals, Ken Russell's harsh, unflattering, ghoulish lighting becomes interesting for its abrasive, corrosive effect. And Twiggy's movie debut is almost as notable as her publicity made claim -- delicate, halting, sweet, charming, and utterly unspoiled by the efforts of her director. Twenty-some minutes cut from the original release have since been restored. (1971) — Duncan Shepherd
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