“With an off-beat beauty all her own, and an engaging rasping singing voice, Ms Johnson has enough female virility to fill many films yet, and is already pencilled in for the sequel to Grease.”

There’s no arguing with the fact that in January of 1981, the big movie in the UK was Flash Gordon.

Despite its title, Film Review didn’t contain an actual review of Times Square, but a promotional article. You can tell it’s not a review because it’s 100% positive.

Edit, 14 January 2017: After some consideration, I think this was actually a review, of sorts, and the author had seen the film before composing it. It’s a piece that appears in the next month’s issue of Film Review that’s an unabashed puff piece that might have been written by EMI’s publicity department. I still think this one was more promotion than review, though.

The one thing the article has in common with most real reviews of the movie is that it ultimately focuses on Robin’s performance as the big reason to see it. It’s also the first mention of Robin’s next scheduled project, as the female lead in Robert Stigwood’s production of Grease 2. Remember that?

TIMES SQUARE

A thought-provoking tale of alienated teenages — their moods, their mad antics and their music

Two runaway teenage girls, a variety of New Wave rock music and a grimy, pristine backdrop of New York make up the ingredients of Times Square (an EMI release), Robert Stigwood’s latest offering to a youthful cinema-going public.

Robin Johnson, a spunky 15-year-old newcomer, plays with admirable bravado the central role of Nicky, a street urchin with destructive inclinations and a yen for musical stardom. In hospital for psychiatric tests, Nicky finds herself in the company of Pamela Pearl (played by Trini Alvarado — from Robert Altman’s Rich Kids), an introverted 12-year-old from a privileged background, also in for tests. Despite their opposing upbringings, the two run away together — from the System that oppresses them both — to lead an exuberant, retaliatory existence on the streets.

It is this slight story-line that makes up the canvas for a gritty but heart-warming story of today’s youth, their problems, their qualities, their understandable misgivings and denied intelligence. They make mistakes — like every young generation before them — but this breed is growing up faster than ever before.

Canadian director Alan Moyle, making his American film debut after a string of successful films and documentaries over the border, conjures up a realistic atmosphere to his scenes beyond the call of Hollywood duty — to the extent you sometimes feel you are watching the runaway duo for real.

Moyle cleverly intercuts his footage with shots of genuine Times Square coke snorters, back street alcoholics, Eighth Avenue prostitutes and pimps, and all the fun of the New York fair. For the climactic sequence he even managed to close 42nd Street’s “Deuce” (a notorious strip of theatres and porno cinemas) for the first time in New York film location history.

Between all this he concentrates his camera almost lovingly on the adventures of Johnson and Alvarado, who have meanwhile taken their anti-establishment hostilities one step further, adopting a dual identity and calling themselves The Sleaze Sisters Not without point!

Under this guise, wearing outrageous costumes pieced together from jumble outcasts and dustbin liners, they tear through the streets of New York begging for money, in their spare time levering tv sets — the ultimate symbol of the bourgeoisie — from the top storeys of Manhattan’s skyscrapers.

It is this singular prank that arouses the interest of the public, and in particular that of a late-night Times Square DJ, played with laid-back relish by England’s own Tim Curry, late of “The Rocky Horror Show”. Providing The Sleaze Sisters with even greater coverage on New York’s air waves, narrating their boardwalk escapades and even allowing them to sing their protests, DJ Johnny LaGuardia becomes the catalyst in Moyle’s story. Like the DJ Curry played on television in “City Sugar”, LaGuardia reaches out from the night to the receptive, confused soul of a young girl wanting, desiring an intimate liaison with an established anti-establishment voice. Here, Curry has two souls to contend with and, even though he is trying to help them and gain public sympathy (by this time the police are now hot on their trail), he is at the same time exploiting them, exploiting their isolation from society, the society which eventually they come to need.

So, Times Square turns out to be many things: an exciting, abrasive look at the uglier face of New York; a compassionate tale of two desperate runaways who find mutual friendship encountering a common enemy; and a musical featuring some of the finest New Wave sounds around, including contributions from The Pretenders, Lou Reed and Suzi Quatro.

But for all Moyle’s perspicacious and sensitive direction, it is young Robin Johnson’s performance that dominates the film. With an off-beat beauty all her own, and an engaging rasping singing voice, Ms Johnson has enough female virility to fill many films yet, and is already pencilled in for the sequel to Grease. □

Karen (DefeatedandGifted) posted her copy of these pages in March 2015.