senior, to marry a young beatnik. Bennett then starred as nervously virginal newlywed Arthur Fitton opposite Hayley Mills in the Boulting brothers' adaptation of Bill Naughton's play The Family Way (1966). He was cast after John Boulting saw him in the Alan Plater play A Smashing Day and felt he had "the appearance of both sensitivity and masculinity." The success of the film gained Bennett a contract with British Lion Films and led the News of the World to dub him "the face of '67". He considered his looks "a boon and a curse. It won me quick fame, but I was a serious actor being written up as a pin-up boy and sex symbol... ...I used to wish for a broken nose." He was reunited with Mills and the Boultings in the psychological thriller Twisted Nerve (1968), playing Martin Durnley in what the British Film Institute has described as "one of cinema's most striking depictions of evil". In 1969, he starred as Private Brigg in The Virgin Soldiers, a comedy-drama film set during the Malayan Emergency. Bennett described the film as "the story of a young soldier's love affair with a Chinese prostitute. And his fear in combat. One day he runs the wrong way and accidentally becomes a hero." In 1969, contemporary critic Roger Ebert called him "one of England's best young actors". Bennett's film roles continued into the 1970s, notably with the film adaptation of Joe Orton's Loot (1970) and Endless Night (1972), an Agatha Christie adaptation again pairing him with Hayley Mills. He was the preferred choice for the role of Brian Roberts in Bob Fosse's Cabaret (1972), but wrongly assumed it was a singing role and didn't read the script. The part went to Michael York. He starred in the Ralph Thomas-directed sex comedies Percy (1971), in which he plays a shy young man who becomes the recipient of the world's first penis transplant, and The Love Ban (1973). Of this period in his career, Bennett would later state "I had come in at the tail end of everything, the studio system and so on. I found myself in the early 70s with nowhere to go." He maintained a career in the theatre. His Puck in a 1967 Edinburgh Festival production of A Midsummer Night's Dream was described by Illustrated London News as "the best since Leslie French". He returned to the festival in 1990