The Love Box
The Love Box, also known as Lovebox, is a 1972 British sex comedy film. It was written, produced and directed by Tudor Gates and Wilbur Stark under the pseudonyms "Billy and Teddy White".[2][3][4] PlotTris Patterson runs a classified ads section called "Love Box" for an entertainment guide magazine. The ads provide the settings for eleven separate self-contained sex comedies:
CastIn the magazine office
Peter the virgin
The sex kittens
The young wives' club
Massage wanted
The trade descriptions act
The refined couple
The wife swappers
Orgy in Kilburn
The bored housewife
Trying new colours
The love park
ProductionIt was the first film from a production company set up by Tudor Gates, and was originally called Looking for Love. In his interview for the British Entertainment History Project Gates states that he was nervous about the film's reception, so he and co-director Stark adopted the pseudonyms "Billy and Teddy White".[1] ReceptionBox officeGates said the film was "very successful of its kind and it did make money for us."[1] Critical receptionThe Monthly Film Bulletin wrote: "A number of potentially funny situations go sadly to waste in this essentially witless offering. The makers have settled for an 'illustrative' style that reduces every episode to predictable routine, while the attempts at humorous dialogue never rise above the level of smutty double entendre. ('Are you glad you came?' – 'I wasn't sure I could'). Out of a crowded gallery of one-dimensional characters, three performances suggest talents worthy of less limp material: those of Alison King as Margery, of Paul Astor as Peter, and of Maggie Wright, who exudes sensuality and even manages to wring some humour out of her role as Mrs. Simpson. (The number of topical references leaves little doubt that the name is a sly joke in very poor taste.) Directors contemplating this episodic style of sex-comedy might profitably take a look at The Secrets of Sex since, even in the film's censored version, Antony Balch gave a lead which has still to be taken up."[5] The Spinning Image said: "this is tat, really, but for a glimpse of seventies Britain it is more revealing than many a documentary."[6] References
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