In the wake of unexpected critical acclaim for director Richard Lester's A Hard Day's Night in 1964, studios scrambled to emulate the success of that first feature film starring The Beatles. Over a period of a few years, many bands found themselves top-lining major feature films. Most were mindless exploitation films, a few others more ambitious in their goals. Fitting snugly into the latter category was Having a Wild Weekend (released in the UK under the title Catch Us If You Can.) The film represents the only movie starring the Dave Clark Five, one of the more popular bands to emerge during that marvelous era in the 1960s when Great Britain shed its post WWII doldrums and came to dominate international pop culture. The band was one of many who rode the coattails of The Beatles to the top of the charts, but they had their own unique style of songs and music that resulted in some memorable hit songs that still hold up well today. At one point, the DC5 was so popular that they appeared on The Ed Sulllivan Show more than any other British band. Their feature film debut is impressive only in the sense that it afforded a young documentary maker named John Boorman the opportunity to make his feature film directorial debut. There is scant evidence that Boorman possessed the kind of unique vision that would result in Point Blank only two years later and Deliverance five years after that, but Weekend is different from most teen idol movies of the era both in terms of its visual content as well as its message. The script is also unique in that the DC5 don't appear as themselves, thus its the only film of its kind that doesn't showcase the band members playing music on screen. In fact, they don't even play musicians, but rather, stuntmen who are employed to appear in an expensive nationwide British ad campaign designed to encourage meat eating. This rather uncommercial message is prettied up by having the campaign center on a perky, sexy young blonde named Dinah (Barbara Ferris), who is an omnipresent force in London, appearing on billboards and TV ads to promote the meat industry in a fun way. The DC5 appear with her as window dressing, always in the background of the ads. During the shooting of a particularly frustrating TV commercial taping, Dinah and her boyfriend Steve (Dave Clark) engage in an abrupt act of rebellion by stealing a sports car they drive in the ad and absconding to an island that Dinah hopes to retire to. This sets in motion a massive search by the advertising agency executives that becomes a nationwide obsession. Rumors circulate that Steve has kidnapped Dinah, something that turns out to be an unexpected boon for the ad agency since it results in a great deal of free publicity for "The Meat Girl". Steve and Dinah's directionless meanderings around the island prove to be less joyful than expected. They encounter a colony of hippies but find they are as shallow as the Establishment types they are rebelling against. They also blunder into the middle of military war games in the film's zaniest and least credible sequence. Ultimately the other members of the DC5 join them but even they are being pursued by agents for the advertising agency as well as local police. Steve brings them to a farm run by a boyhood idol who he used to visit as a child only to find he has "sold out" too and is looking to use Dinah as a tourist attraction. Disillusioned, Steve and Dinah ultimately come face to face with their employers and Steve gets a downbeat life lesson on how shallow even Dinah's principals can be.
Having a Wild Weekend is a strangely humorless film with the DC5 songs rather awkwardly interwoven. Even a sequence (filmed in Bath) that depicts a massive, wild costume party doesn't deliver the amusement you might expect. However, it does offer the unique opportunity to see people dressed as Stan Laurel, the Marx Brothers and Frankenstein cavorting in the ancient Roman baths. Dave Clark has movie star looks and admirable screen presence. He should have pursued a career as an actor. However, the other band members have scant opportunity to present themselves as individuals. This includes lead singer Mike Smith, who sang most of the group's hit songs even though Clark would lip synch to them in live appearances to appear as though he sang them on the recordings. Plot angles appear promisingly but get dropped abruptly including a potentially promising sequence in which Steve and Dinah are invited home by a middle aged couple (excellently played by Robin Bailey and Yootha Joyce) who turn out to be setting them up for some sexual swinging. Director Boorman eschews studio sets for actual locations and this gives the movie a sense of vibrancy it might otherwise have lacked. Manny Wynn's black and white cinematography does justice to the British countryside and he presents the action through some interesting camera angles.
The downbeat storyline won praise from critics at the time because it so deftly avoids emulating the ridiculously cheery productions that were generally aimed at teens. It holds up well as a curiosity and affords some nostalgic insights into a time when the counterculture movement was on the verge of exploding. The DVD presentation by the Warner Archive presents a crisp, clean transfer sans any extras. One hopes that someday, Dave Clark might be asked to participate in a special edition of the movie.