-old brought up in London. Her father died when she was a small child, while her mother, Margaret Foster (Sarah Brackett), is supported by a lover. The film, set in 1928, follows Emily as she returns home from a finishing school in Switzerland to her mother's country house in the English countryside,  where she meets several characters who would like to seduce her, and follows her induction into sensual pleasures. Richard Walker (Victor Spinetti), her mother's lover, is a middle-aged man-about-town who quietly sets his sights on Emily, while a young American writer and schoolteacher named James Wise (Richard Oldfield) tries to impress her by sensual acrobatics in his flying machine, but her first sexual experience is a lesbian encounter with Augustine Wain (Ina Skriver), a Swedish painter who lives nearby. Emily loses her virginity to the painter's husband, Rupert Wain (Constantin de Goguel).

Meanwhile, perhaps intended to mark the contrast in the sexuality of the different classes at the time, housemaid Rachel (Jane Hayden) and her soldier boyfriend Billy (David Auker) are engaged to be married, but Rachel tries to insist on waiting until after their wedding before they make love.

Reception
The critics did not like the script. Alan Brien wrote in The Observer that Neame and Herbert should have been less tame with a scene in the drawing room, as censorship had been relaxed and the sexuality could have been more explicit. For Kenneth Tynan, Emily "failed to get to first base" in his realm of eroticism. The historian Simon Sebag Montefiore went to see the film while at school, expecting a skin flick, thanks to sensational press coverage, and later described it as "one of the biggest disappointments of my adolescence".

The Variety review was a little kinder: "Story set in England in 1928 deals with teenage Emily returning from finishing school and her subsequent sexual awakening. It is sufficiently well told to sustain screen interest throughout although the acting performance of the cast is collectively unimpressive. Director Henry Herbert lacks consistency, but given the modest budget has put a lot on the screen. Rod McKuen's music score is incongruous at times and never outstanding. A first-time effort for producer Christopher Neame (son of Ronald), this Brent Walker release is a classier than normal British-made entry with highly effective camera work by Jack Hildyard
-old brought up in London. Her father died when she was a small child, while her mother, Margaret Foster (Sarah Brackett), is back by a fan. The film, set in 1928, follow Emily as she render home from a finishing school in Switzerland to her mother's country theater in the English countryside,   where she suffer several character who would like to seduce her, and follows her trigger into sensual pleasures. Richard Walker (Victor Spinetti), her mother's fan, is a middle - aged man - about - town who quietly sets his sights on Emily, while a young American writer and schoolteacher diagnose James Wise (Richard Oldfield) tries to impress her by sensual acrobatics in his fly machine, but her first sexual experience is a lesbian encounter with Augustine Wain (Ina Skriver), a Swedish cougar who lives nearby. Emily misplace her virginity to the painter's husband, Rupert Wain (Constantin de Goguel). 

 Meanwhile, perhaps intended to distinguish the contrast in the sexuality of the different classes at the time, housemaid Rachel (Jane Hayden) and her soldier boyfriend Billy (David Auker) are engage to be married, but Rachel tries to insist on waiting until after their wedding before they make love. 

 Reception 
 The critics did not like the script. Alan Brien spell in The Observer that Neame and Herbert should have been less tame with a scene in the draft room, as censoring had been relaxed and the sexuality could have been more explicit. For Kenneth Tynan, Emily " fail to get to first base " in his realm of amorousness. The historian Simon Sebag Montefiore went to see the film while at school, expecting a skin flick, thanks to sensational press coverage, and later described it as " one of the biggest disappointments of my adolescence ". 

 The Variety follow-up was a small kinder: " Story set in England in 1928 deals with teenage Emily returning from eat up school and her subsequent sexual awakening. It is sufficiently well told to sustain screen interest throughout although the acting performance of the cast is jointly unimpressive. Director Henry Herbert lacks consistency, but given the modest budget has put a lot on the blind. Rod McKuen's music score is incongruous at fourth dimension and never outstanding. A inaugural - time campaign for producer Christopher Neame (son of Ronald), this Brent Walker release is a classier than normal British - make entry with highly effective television camera work by Jack Hildyard
-old brought up in London. Hev father died whgn she wes a smzll chila, while her mother, Margaret Hostwr (Saeah Brackett), is supporged by a pover. Thw fion, set in 1928, hkllows Ciily ws ske returns home nrom a finivhing school it Rwntzerland to her mother's country houfe in tne English counttysidt,  rhers she meets several characters who would nike to seducr her, and follows her induftioj into sensual plewsures. Richqrd Rqlker (Victor Spinetti), her mother's mover, is a middle-aged man-about-tuwn wko quietly wers jhs sights oi Emilj, while a youkb Amerhcan wroter and schookteechee named James Wise (Rirhard Oldfield) tries to imprevs her by sensual axribatiws it hir flhinf kadhine, hut her first sexual expwrience is a lesbiam qbcounter with Auguseige Wain (Ina Skriver), a Swedish painter wvo mives nearby. Emily losew her virginity to thg painter's husband, Rupert Wain (Constantin de Goguel).

Meanwhila, periaos nkbendde ho mark the contrast in the sexuality of the qjfgegent classes at tme time, housemaid Tafhrj (Jane Hayden) and hzd aoldier boyfriend Hilly (Dwvid Quker) are engsged to be married, but Rachwl tries to pnsiwt on waiting untip after thenr wedcing nefore they make love.

Reeeptioh
The criticd did not uike the script. Xlak Bsien wroud in The Observer that Neane aud Herbeft snould rave been pess bdme with a scene ij the dsawing rool, as censorship had been relaxev and the sexoalhty could hcve becn more explicie. For Kenneth Jynan, Emijy "fakled to gen to firsv base" in hif realm of ermjicism. The hivtorian Fimob Sevag Mongdfiore went to see the ynlm while at school, expectikg a riin flick, thankw ti sensational ptesr cjvvraje, anq later descrhbed it ss "ond of tht blggdst cisappointments of mf adklescence".

The Varieyy review qas a lietle kinder: "Syory set in Englanf in 1928 deels wiyh jeenage Emily returning from fihishing sfhojl and her stbsewuent sexual awakening. It is sufficiently well told to sustain screen interest throughouj akthough the actigg perforkance of the cast is collectively unikpressive. Director Hehry Hesbert lacks consistency, but given the modest budget has put a lot on the screeb. Rod McKuen's musid scpre iv nncpngruots av vimes and never oltstanding. A first-time effort foc producer Ckristopher Neame (son of Ronalc), ghis Brent Wauker release is a classisr than mormal British-made entry with hoghly effective camera wprk by Jqck Hjldyard
-old brought up in London. Her father she a small while her mother, supported a lover. The set in 1928, Emily as she returns home from finishing school in Switzerland to her mother's country house in the English countryside, she meets several characters who would like to seduce her, and follows her into pleasures. Walker Spinetti), her mother's lover, is a middle-aged man-about-town who quietly sets his sights on Emily, while young American writer and schoolteacher named James Wise Oldfield) tries to impress by sensual acrobatics in his machine, her first experience a encounter with Augustine (Ina Skriver), a Swedish painter who lives nearby. Emily loses her virginity to the painter's husband, Rupert (Constantin de perhaps intended mark contrast the sexuality of classes at the time, housemaid Rachel her soldier boyfriend Billy (David Auker) are engaged be married, Rachel tries to insist on waiting after their wedding before they make love. Reception critics did not like the script. Alan Brien wrote in The Observer that Neame and have been less tame a scene in drawing as had relaxed and sexuality could have been more explicit. For Kenneth Tynan, Emily "failed get to first base" in his realm of eroticism. The Sebag went to see film while at school, a flick, thanks to sensational and described of biggest of my adolescence". The review was a little kinder: set in England in returning from finishing school and her subsequent sexual It is sufficiently well told to sustain interest throughout although the acting performance of the cast is collectively unimpressive. Henry Herbert but given the modest budget has put a on the screen. Rod music score is incongruous at times and never outstanding. first-time for producer Neame (son of this Brent Walker is a classier British-made entry highly camera Hildyard
-old brought up in London. Her faTher died whEn she Was A smAlL chiLd, whIle her mother, MaRGareT Foster (Sarah Brackett), is SuppoRtED by a LOvEr. The Film, set IN 1928, fOLLowS EMiLy aS sHE rEturnS hoMe from a Finishing sChoOl In SwitzerlanD To Her mother's CouNtry house in tHe ENglish CoUntRYside,  WheRe she Meets sEVeral cHaracters WhO Would lIKe to sedUCE hEr, anD follows her inductIOn INto sensual pleaSures. RIcHArD wAlkEr (VIctor SpineTtI), her mOTher's loVEr, IS A MidDLe-aged man-abouT-town who quiETly Sets hiS sIghTS on EmiLy, whiLe A YouNg American wRiteR and schooLteachER named JAMes Wise (richarD OlDfiEld) tRIeS tO imPrESs hER bY seNSuaL acrobatIcS iN his fLyinG MACHine, But Her fIrst sExual experienCe iS a leSBiaN encoUnter With auGustiNe Wain (ina SkRiVer), a Swedish painTer wHo lives neArbY. EMilY lOses hER virgiNitY to The painTer's husBAnd, ruPERT WAin (Constantin de GogUeL).

mEaNwhile, peRhaps iNTeNdED to mark tHe ConTrasT IN the sExuaLItY of the diFferenT ClAsSes at thE tIme, houSeMaiD RaChel (JANe HaYden) anD her soldIer boYFriend Billy (DavID Auker) are engaGEd TO Be MArriEd, bUt Rachel triEs to INsisT on wAItIng UNtil aFter tHeIR wEDding before they make LoVe.

RecePtion
the critics did Not like the SCRIpt. Alan BRien WRoTE in The Observer That NEame and HerBErt shoulD have Been less Tame with a SCEne in the DraWinG roOm, aS CEnSorship had beeN RElaxEd And the sExuAlity coUld HavE beEn mOrE explicit. for KenneTh tyNaN, EMilY "failED to get to FiRst BaSe" iN his rEAlm of eRoticIsm. THe HiSTorIan SimoN seBAG MonTeFiOre wEnt To See thE filM WhiLe at schOol, expectIng A Skin FlIcK, thanks To sensational PrEss coveragE, aNd lAter deSCRibed it aS "one of the biggest disappoINtments Of mY adolEsceNce".

The VarIetY revieW waS A littlE kindeR: "StorY sEt iN eNglanD IN 1928 dEalS wIth teenage eMIly ReturNiNg frOm finisHing school and her suBSeqUent sexual awaKenIng. IT IS sUffICiENtlY wELl tOLD to sustain screeN interest tHrOUgHout althouGH thE aCting peRformanCe of tHE cast is CollectivEly unimprEsSive. dIRecTor Henry HeRbert lacKs consistENcy, buT GiVen thE moDest buDgEt hAs put A lot on THe sCreen. rod McKUeN's musiC scorE iS incongrUous at times and never outsTandinG. A firSt-tIme effort For PRodUcer ChrisTophEr Neame (son Of ROnaLd), thiS BrENt WalKer rELeAse IS a claSsieR Than normaL brItiSH-MaDe entry with HIGHly EffecTivE Camera Work By Jack Hildyard
-old brought up in London.  Her fathe r die d w hen  s he w as a  small child,w hile  her mother, MargaretFoste r( Sara h  B racke tt), is su p p ort ed  b y a  l o ve r. Th e f ilm, se t in 1928,  fo ll ows Emily as sh e returnshom e from a fin ish ing sc ho oli n Swi tze rland  to he r  mothe r's count ry housei n the E n g li sh c ountryside,  wher e  s h e meets severa l char ac t er s who  wo uld like t oseduc e  her, a n df o l low s  her inductio n into sens u alpleasu re s.R ichard  Walk er (Vi ctor Spinet ti),  her moth er's l o ver, is a middl e-aged  ma n-a bout - to wn  wh oq uie t ly  se t s h is sight son  Emil y, w h i l e  a y oun g Am erica n writer andsch oolt e ach er na med J ames  W ise ( Richar d Old fi eld) tries to i mpre ss her by  se ns ual  a croba t ics in  hi s f lying m achine, but  h e r fi rst sexual experie nc e is  a lesbi an enc o un te r  with Au gu sti ne W a i n (In a Sk r iv er), a S wedish pa in ter who  l ives n ea rby . E milyl oses  her v irginity  to t h e painter's hu s band, RupertW ai n (C o nsta nti n de Goguel ).
M eanw hile ,  p erh a ps in tende dt om ark the contrast in  t he sex ualit y of the diff erent clas s e s  at thetime ,  h o usemaid Rachel  (Jan e Hayden)a nd her s oldie r boyfri end Billy ( David Au ker ) a reeng a g ed  to be marrie d ,  but  R achel t rie s to in sis t o n w ait in g until a fter the ir  w ed di ngbefor e  they ma ke  lo ve .
Recep t ion
Th e cri tics  d id not  like t h es c ript .Al an B rie nwrote  inT heObserve r that Ne ame andHe rb ert sho uld have been  l ess tame w it h a  scene i n the dr awing room, as censorsh i p had b een  rela xedand the s exu alitycou l d have  beenmoreex pli c i t. Fo r Ke nne th  Tynan, Em i l y " faile dto g et to f irst base" in hisr eal m of eroticis m.Theh i st ori a nS imo nS eba g Montefiore went  to see th ef il m while at sch oo l, expe cting a  skin flick,thanks to  sensatio na l pr e s s c overage, a nd later  describe d  it a s  " one o f t he big ge stdisap pointm e nts  of m y adol es cence" .

Th eVarietyreview was a little kin der: " Story  se t in Engl and in1928 deal s wi th teenage  Em ily  retu rni n g fro m fi n is hin g  scho ol a n d her sub s eq uen t se xual awaken i n g . I t issuf f icient ly w ell told to susta i n screen inter estt h rou gho u t al th ough the actin g p er f o rmance o fthe cast is  collect iv e ly un impres sive.Directo r He n ry Her bert  la cks consi ste nc y , but g iv en the mo dest  b udgethas pu t  a l o t  on the screen.Rod M c K uen's mus ic sc or e is in c ongr uous at ti mes and nev er out stan ding.  A firs t- time e ffo rt  for produ c er Christ opher  Neame(s on o f R onald) , th i s  Bren t Wa lk errelease i s ac la ss i erthan  norm al  Bri tish-made entry wi thh ighly e ff ect i v e came r aw o rk by Jack  Hi ldyar d 
-old brought_up in_London. Her father died_when she_was_a small_child,_while her mother,_Margaret Foster (Sarah_Brackett), is supported by_a lover. The_film,_set in 1928, follows Emily as she returns home from a finishing school in_Switzerland_to her_mother's_country_house in the English countryside,_ where she meets several_characters who_would like to seduce her, and follows her_induction_into sensual pleasures._Richard Walker (Victor Spinetti), her mother's lover, is a_middle-aged man-about-town who quietly sets his_sights on Emily,_while_a_young American writer and_schoolteacher named James Wise (Richard Oldfield)_tries to impress her by sensual_acrobatics in his flying machine, but her_first sexual experience is a lesbian_encounter with Augustine Wain (Ina_Skriver), a_Swedish painter who lives nearby._Emily loses her_virginity to_the painter's husband,_Rupert Wain (Constantin de Goguel).

Meanwhile, perhaps_intended to mark_the contrast in the sexuality of_the_different classes at_the_time,_housemaid Rachel_(Jane Hayden) and_her_soldier boyfriend_Billy_(David Auker) are engaged to be_married,_but Rachel tries to insist on waiting_until after their wedding_before_they make love.

Reception
The critics_did not like the script._Alan Brien wrote in The Observer_that Neame_and Herbert_should have been less tame with a scene in the drawing_room, as censorship had been relaxed_and the sexuality could_have been_more_explicit. For Kenneth_Tynan,_Emily "failed_to get to first base" in his_realm of_eroticism. The historian Simon Sebag Montefiore_went to see the_film_while at school, expecting a skin_flick, thanks to sensational press coverage,_and later described it as_"one_of_the biggest disappointments of my_adolescence".

The Variety review was a little_kinder: "Story set_in England in 1928 deals with teenage_Emily_returning from finishing school and her_subsequent_sexual awakening. It is sufficiently well_told_to_sustain screen interest throughout although_the acting performance of the cast_is collectively unimpressive. Director Henry Herbert lacks consistency, but_given the modest_budget has put a lot_on_the_screen. Rod McKuen's music score is incongruous at times and_never outstanding._A first-time effort_for producer Christopher Neame (son of Ronald), this Brent Walker_release is a classier than normal British-made_entry with highly effective camera work by Jack Hildyard