The film begins with a Rolls-Royce leaving a large house... it then moves to a train crossing the Thames and passing Battersea Power Station. Wealthy young heiress Polly Dean gives up a privileged life in Chelsea and moves to a working-class community in Battersea, where she takes a job in Macrindles confectionery factory in an attempt to distance herself from her moneyed upbringing and make her own living. On the factory floor everyone is singing and all are friendly, but perhaps somewhat unhygienic - smoking as they work on the sweets. The other girls mainly discuss men and sex. She is asked to join the others in the pub, The Pavilion. They get the local boys to buy them drinks. She declines a lift home on a motorbike. Some are heading "up the junction". Polly walks home. The next day Polly arrives at Clapham Junction railway station with a suitcase. She is finding a flat of her own. The agent thinks the flat is not good enough for her. She takes it anyway. She goes to the local market and buys a single banana, and eats it on a chair outside a junk shop. The assistant Pete tells her it is not a cafe but when the owner comes out she says she needs furniture so he becomes more friendly. She buys an armchair and a sofa... and also finds a kitten. Pete gives her a lift back to her flat and unloads the furniture. He asks her on a date. He presumes she wants to go to the West End but she says she wants to walk around the streets of Battersea. She becomes friends with two working-class sisters, Sylvie and Rube. Rube becomes pregnant and has a traumatic illegal abortion. Tragedy then strikes when Rube's boyfriend Terry is killed in a motorcycle accident. Meanwhile, Polly begins a relationship with Pete, who envies Polly's access to an easy life, and is frustrated by her rejection of a wealthy lifestyle. Pete and Polly's relationship ends in turmoil when Pete, after stealing an E-type Jaguar in an attempt to woo Polly with a night away in a hotel in Brighton, is caught and sentenced to a prison term.
In The New York Times, Renata Adler wrote of "the latest in the series of British working-class color films that seem to come from British directors with the regularity of episodes from "Our Gal Sunday," and it is by far the best of them. A lot of things are wrong with it, but a lot is going for it, too." Of the performances, she singled out the "very talented" Suzy Kendall in a challenging role, "a really beautiful piece of characterization by Dennis Waterman," and "strong" support from Adrienne Posta, Maureen Lipman and Michael Gothard. Peter Collinson's direction was also noted for his "well-shot scenes of Battersea and of the candy factory."
