Such a frustrating disappointment

The acting in this movie is really good.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The film never slows down or bores, plunging from one harrowing sequence to the next.

an enjoyable, and reasonably well-written teenage drama only slightly impaired by the fact that it's lead was as good as an actress as she was a carpenter.Akin to one of those welcome but straightforward coming-of-age tales of the fifties or sixties – usually starring James Dean – the Australian film Delinquents, based on the book of the same name, centers on two star-crossed lovers, Lola (Minogue) and yankie Brownie (Charlie Schlatter). They, much like Minogue's plans for a burgeoning film career, seemed doomed from the beginning – they come from opposite sides of the tracks, their parents have their own plans for both offspring, and, well, you've regrettably got to have a little bit of green to go with the stout heart if you're to make a relationship work. She looks peachy, but Minogue doesn't prove to be anything more than a former soapstar in the lead role. Schlatter, best known at the time for his roles in clunky comedies like 18 Again and the lead in the TV spin-off of Ferris Bueller, didn't fare much better. Thankfully, the supporting cast, which included solid Australian talent like Angela Punch McGregor and Bruno Lawrence, was as fine as silver and help the film escape it's boggy areas. In addition, the film's got a terrific soundtrack – largely Australian artists – that help proceedings kick along in an active and melodious fashion.

Now that she is so well known as a pop star, it seems strange to think that Kylie Minogue was once better known as an actress; indeed, when her first hit "The Locomotion" came out it was dismissed as a soap star's attempt at a novelty record. "The Delinquents" was Kylie's first feature film, a teenage romance set in the Australia of the 1950s. The word "delinquent" normally means a criminal, often a teenage hooligan, but the young people shown in this film do not, at first sight, appear to fit that definition at all.Lola Lovell and Brownie Hansen are working-class teenagers from the small town of Bundaberg. Both are from difficult family backgrounds, having grown up without their fathers. Lola is the daughter of an unmarried mother; Brownie's parents are divorced. Lola's mother is, outwardly, a devout Catholic but inwardly a narrow-minded hypocrite. Brownie's mother is weak and can do nothing to protect him from his obnoxious stepfather Bert, a man who demands respect from Brownie and thinks he can compel it by administering vicious beatings. It is therefore hardly surprising that the youngsters, starved of affection, should fall madly in love. Lola becomes pregnant and they attempt to run away together, but this attempt is frustrated by their parents. Despite her Catholic principles, Lola's mother forces her to have an abortion (presumably legal in Australia at this period, when it was still illegal in Britain).The most interesting part of the film comes when Brownie does manage to leave home and finds a job as a merchant seaman. His father was an American sailor (was this detail added to explain away Charlie Schlatter's accent?), and Brownie's great ambition has always been to follow him in a career at sea. Lola also manages to escape from Bundaberg and makes her way to Sydney, where she and Brownie are reunited. For a time, it looks as though all will end happily, but their problems are just beginning.We Poms frequently look on Australia as a relaxed, tolerant society, but the country we see here is anything but. It was, of course, Australia which gave the word "wowser" (killjoy) to the English language, and according to an Australian friend of mine the word can refer not only to narrow-minded moralists but also to high-minded idealists who make it their business to mind everyone else's, in the interests of the greatest happiness of the greatest number. (One legend, unfortunately not supported by the compilers of dictionaries, has it that the word is an acronym for We Only Want Social Evils Removed). There are plenty of wowsers of this sort in the film.Brownie and Lola are arrested by the police and charged with "vagrancy". The film never explains exactly what the elements of this crime are under Australian law, but it would appear that it is sufficient to be young and short of money. (Under English law a person can only be convicted of vagrancy if they attempt to support themselves by begging, something which Brownie and Lola never do).Brownie is fined, but Lola, being under eighteen, is taken into care and forbidden to see Brownie again. This is presented not as a punishment but rather as being for her own good. "It's for your own good" is the watchword of every high-minded wowser, and one we hear a lot in this film. (It was, for example, for Lola's "own good" that she was forced to have an abortion). For Lola's own good she is sent to live with Auntie Westbury, a court-approved foster mother, and a first-class wowser in her own right. Auntie is played by Melissa Jaffer as Australia's most monstrous suburbanite since Edna Everage, an amusing caricature of the complacent, middle-aged middle-class square who disapproves of young people and all their ways, especially sex and rock music. When Lola rebels against Auntie's regime, she is sent to reform school. For her own good, of course. There is a subplot involving Lola's friends Lyle and Mavis, a married couple; when Mavis dies their young daughter is taken away from its father and put into care on the grounds that he is unemployed. (For which read: because he is poor, working-class and therefore unlikely, in the eyes of high-minded wowsers, to prove a good father).Most of the film rarely rises above the level of a sentimental soap opera in which Lola and Brownie are the idealised heroes and, with a few exceptions, the adults (anyone over twenty) the villains. Those exceptions are Lyle and Mavis and, to some extent, the ship's bosun who befriends Brownie, although even he has his blind spots; he advises Brownie not to get involved with Lola as romance might be an impediment to his seafaring career. There are no particularly memorable acting performances; on the basis of this film, Kylie was probably wise to concentrate on her singing rather than her acting. She is fine when portraying Lola as a sweet and innocent young thing, less so when her character turns truculent and rebellious under severe provocation from the System. The film is, however, worth watching for those scenes which provide an insight into fifties' Australia at its most reactionary. 6/10

I just saw this film very recently, I don't know why I never saw it sooner. Kylie looks like she was just out of Neighbours and can really blow your socks off acting. I thought the way she transcended from girl to women was very effective.Charlie I knew from Diagnous Murder so I knew he could do comedy, but he played the love interest very well, and seemly thought out the character very well.The rest of the cast were superb I don't know they're work personally but they had me from the get go.The Mavis and Lyle Situation was lovely. Two people who knew what it felt for to be each others true loves.It was a great film and as much as I like Kylie as an entertainer, I would love to see her act again, maybe the roles reversed she being the strict one.Go and rent it out, it is a lovely thought out film.

I quite liked this movie. Its a bit feeble but its alright. They obviously used Kylie because of her superstar status and maybe she isn't the best choice but she pulls it off quite well. I liked it when the woman who takes Lola in teaches her manners. Her hair looks really dodgy when she bleaches it though. All in all not bad but it could've been better.