NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: Studiocanal Blu-ray (June 2026): Studiocanal have transferred Sidney J. Furie's The Young Ones to Blu-ray. The film shines as a vibrant early showcase of widescreen color British musical filmmaking. Shot by the legendary Douglas Slocombe (Cage of Gold, Rollerball, The Music Lovers, Murphy's War, The Italian Job, The Lion in Winter, The Fearless Vampire Killers) in Eastmancolor and CinemaScope (2.35:1), it features immaculate, crisp cinematography that gives the film a polished, optimistic glow far above typical low-budget British pop vehicles of the era (often rushed in black-and-white). StudioCanal’s new 4K restoration of The Young Ones (from the original Eastmancolor negative) looks sharp, fresh, and vibrant on Blu-ray. Grain is natural and film-like, detail is excellent in faces, fabrics, and choreography, and the image is free of dirt, scratches, or major instability. Minor softness in a few wider shots is inherent to the source and era, but overall this is a very pleasing, respectful presentation that finally does justice to the film’s visual ambitions in high definition. Herbert Ross’s (Doctor Dolittle, Who's Afraid of Virginia Woolf?, Meet Me in St. Louis, Carmen Jones,) choreography mixes MGM-style exuberance with echoes of West Side Story (pastiche elements) and mid-1950s musicals. While energetic and well-executed, some retrospective viewers find it not always sharp or original. The film’s numbers drive the pace, minimizing linking dialogue. The film makes excellent use of the wide frame for expansive dance sequences, group choreography, and dynamic compositions. Furie’s direction stands out for its ambition: he employs fluid crane shots, inventive camera movements, and playful visual flair that lift the production. the HD presentation is quite pleasing. 

NOTE: We have added 58 more large resolution Blu-ray captures (in lossless PNG format) for DVDBeaver Patrons HERE

On their Blu-ray, Studiocanal use a linear PCM dual-mono track (24-bit) in the original English language. It is clean, clear, and well-balanced. The soundtrack was a major commercial success. Standout hits include the title song “The Young Ones” (a UK #1) and “When the Girl in Your Arms Is the Girl in Your Heart.” Many songs were written by Americans Tepper and Bennett for US appeal, with Peter Myers and Ronald Cass handling others and the book. Stanley Black (The Trollenberg Terror, Blood of the Vampire, The Long and the Short and the Tall, Happy Ever After, Bottom's Up!, Valentino, The Day the Earth Caught Fire, War-Gods of the Deep, 1960's Hammer film Stop Me Before I Kill! etc.,) supervised the music. A standout is the innovative opening fantasy sequence (“Nothing’s Impossible”), which sets a playful, imaginative tone. The extended vaudeville/medley routine in the derelict theatre - framed by “What D’You Know, We’ve Got a Show” - blends slapstick, jokes, songs, and dance in a self-aware pastiche of old-time entertainment, Astaire-Rogers elegance, melodrama, and contemporary pop - memorable performances by The Shadows. Cliff Richard’s vocals and the big show tunes come through with good presence and warmth, while dialogue remains intelligible and natural. The orchestration has decent separation across the front stage, and the mix handles both intimate numbers and energetic ensemble pieces without distortion or harshness. It’s not a wide, immersive modern soundtrack, but it faithfully reproduces the lively, theatrical audio. Studiocanal offer optional English (SDH) subtitles on their Region 'B'-locked Blu-ray.

The Studiocanal Blu-ray offers a group of relevant supplements. The standout is the new 1/4 hour featurette That’s Showbusiness: Melvyn Hayes on The Young Ones, offering warm, anecdotal memories from the supporting actor. The 7-minute On the Set of The Young Ones features stuntman Rocky Taylor (An American Werewolf in London, Raiders of the Lost Ark, The Wild Geese, Confessions of a Driving Instructor and many more) providing commentary over behind-the-scenes footage of his first job. Also included are a short behind-the-scenes stills gallery and the original trailer. Subtitles are available for the feature. While the extras are short and focused, they add nice personal context; more substantial material (e.g., a full commentary or archival interviews) would have been ideal.

Sidney J. Furie's The Young Ones stands as one of the most successful and emblematic British pop musicals of the early 1960s. It launched Cliff Richard as a major film star, showcased Furie’s (The Entity, Night of the Juggler, Hit!, The Naked Runner, The Appaloosa, The Ipcress File, The Snake Woman, Doctor Blood's Coffin) emerging directorial flair, and captured the era’s blend of youthful optimism, showbiz tradition, and generational negotiation. While derivative in plot, the film excels through its energy, visual ambition, memorable songs, and a standout performance by Robert Morley. The plot is openly borrowed from the 1939 MGM musical Babes in Arms (kids put on a show to save their community). This “let’s put on a show” structure provides a thin but functional framework for the musical numbers, allowing the film to prioritize spectacle over deep drama. The twist of father-son conflict adds mild tension, but the tone remains light-hearted and escapist. Cliff Richard brings enormous energy and a beaming, innocent charm as Nicky. He is more polished entertainer than raw rocker here (a shift from his earlier Expresso Bongo), singing with conviction and dancing with enthusiasm, though some critics noted his acting inexperience. Furie later praised the “truth about the acting and the writing” and the film’s innocence - no heavy sex or rebellion, just clean fun. At its core, the film explores generational reconciliation through entertainment. Youthful energy and pop culture are not portrayed as rebellious threats but as vibrant continuations of showbiz tradition. Overall, The Young Ones is best appreciated as a vibrant time capsule of early 1960s British pop cinema - optimistic, tuneful, and technically more ambitious than its reputation sometimes suggests. It remains enjoyable today for its sheer joie de vivre and as an early showcase of talents who would shape British film and music in the decade ahead. StudioCanal’s 65th-anniversary Blu-ray is a strong debut release for this cheerful British musical. The vibrant 4K restoration and solid audio significantly upgrade the film’s sunny visuals and infectious songs, making it far more enjoyable than previous standard-definition versions. Extras are brief but affectionate, centered on firsthand recollections. For fans of Cliff Richard, early-60s pop musicals, or simply a dose of wholesome escapism, this Region 'B' Blu-ray comes warmly recommended as the definitive home-video presentation - polite, polished, and full of period charm.

Gary Tooze