13 Frightened Girls

Plot

Candace 'Candy' Hull, the teenage daughter of the American ambassador to Switzerland, attends an exclusive Swiss boarding school for diplomats' daughters. When she accidentally stumbles upon a complex espionage plot involving her father and other international diplomats, Candy uses her unique position and friendships with girls from various embassies to investigate. She forms a secret club called 'The 13 Frightened Girls' to help uncover a conspiracy that threatens international relations. As she delves deeper into the world of spies and counterspies, Candy must navigate dangerous situations while maintaining her cover as a typical schoolgirl. The film combines Cold War paranoia with teenage coming-of-age elements, creating an unusual blend of espionage thriller and light comedy.

Historical Background

The film was produced during the height of the Cold War, a period when espionage and international intrigue were prominent in American popular culture. The early 1960s saw the rise of James Bond films and spy television series like 'The Man from U.N.C.L.E.,' reflecting public fascination with the world of international espionage. The setting in Switzerland was particularly significant, as the country was known as a neutral ground for diplomatic negotiations and spy exchanges during the Cold War. The film's focus on diplomats' daughters attending boarding school abroad also reflected the real-world practice of government officials educating their children internationally to prepare them for potential diplomatic careers. Released just before the Kennedy assassination, the film captured a moment of relative innocence in American culture that would soon be shattered.

Making Of

William Castle, known for his elaborate horror film gimmicks, approached '13 Frightened Girls' as an experiment in targeting a different demographic. He wanted to create a film that would appeal to teenage girls while still maintaining his brand of suspense. The production faced several challenges, including creating convincing European locations within the confines of Hollywood studios. Castle employed his usual marketing genius, creating a promotional campaign that included 'secret decoder rings' and 'spy kits' for theater patrons. The casting of Joyce Taylor was deliberate - she had the wholesome, All-American look that Castle believed would appeal to both parents and teenagers. The film's timing proved unfortunate, as its release coincided with the national trauma of the Kennedy assassination, which overshadowed any marketing efforts and likely contributed to its poor box office performance.

Visual Style

The cinematography by Harold Lipstein employed standard studio techniques of the early 1960s, with relatively straightforward coverage and lighting. The film attempted to create a European atmosphere through the use of back projection and carefully composed shots suggesting Alpine settings. Lipstein utilized soft focus techniques for the teenage actresses, following the conventions of the time for filming young women. The espionage sequences featured more dynamic camera work, including handheld shots during chase scenes, though these were relatively restrained compared to the more innovative techniques being used in European cinema of the same period. The color palette emphasized bright, saturated tones for the school scenes, creating a contrast with the more shadowy, muted colors used during the spy sequences.

Innovations

The film did not feature significant technical innovations, which was unusual for a William Castle production. It relied on standard studio techniques of the early 1960s. The most notable technical aspect was the use of matte paintings and process photography to create the illusion of Swiss locations within the confines of Hollywood studios. The film did experiment with split-screen techniques during a sequence showing simultaneous events in different embassies, though this was not particularly innovative for the time. The production made use of then-standard color processes (Technicolor or equivalent) to create bright, appealing visuals for the teenage audience. Unlike Castle's horror films, there were no special effects or technical gimmicks employed to enhance the viewing experience.

Music

The musical score was composed by Van Alexander, who brought a light, jazzy style typical of early 1960s television and film. The soundtrack featured a mix of upbeat, teen-oriented themes for the school scenes and more suspenseful, orchestral pieces for the espionage sequences. Alexander incorporated elements of what would become known as 'spy music' - a style that would be perfected in later James Bond films. The film also included several musical numbers performed by the teenage cast, reflecting the era's trend of incorporating pop music into youth-oriented films. While no songs from the soundtrack became hits, the main theme was released as a single in an attempt to promote the film, though it met with little commercial success.

Memorable Scenes

• The opening sequence where Candy Hull arrives at the exclusive Swiss boarding school, meeting girls from various embassies who will become her allies in espionage
• The scene where Candy uses her position to gather intelligence from different embassy parties, switching between innocent schoolgirl and cunning spy
• The climactic sequence at the embassy ball where Candy must expose the conspiracy while maintaining her cover
• The formation of the '13 Frightened Girls' club in the school's attic, where they plan their spy operations
• The tense scene where Candy narrowly avoids detection while planting a listening device in the Russian embassy

What Critics Said

Contemporary critical reception was largely negative to mixed. Critics praised the film's ambition in targeting a new demographic but found the execution lacking. The New York Times criticized it as 'a confused mixture of teen comedy and spy thriller that fails to satisfy either audience.' Variety noted that 'Castle's usual showmanship is missing here, replaced by a rather tame attempt at suspense.' Modern reassessments have been somewhat kinder, with some film historians appreciating it as an interesting artifact of its time that reveals much about early 1960s attitudes toward teenagers, especially girls, and their role in society. The film is often cited in studies of William Castle's career as evidence of his desire to break out of the horror genre ghetto.

What Audiences Thought

Audience reception was generally poor, which was reflected in the film's disappointing box office performance. The timing of the release, just days after the Kennedy assassination, undoubtedly affected audience turnout and mood. Those who did see it were often confused by the film's mixed genre approach - neither suspenseful enough for adults nor engaging enough for teenagers. The promotional gimmicks, usually a Castle trademark, failed to generate the usual excitement. However, the film has developed a small cult following among William Castle enthusiasts and those interested in obscure Cold War-era cinema. Some retro film fans appreciate it as an example of early 1960s pop culture and its naive approach to international espionage.

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