La muchacha de los ojos verdes

This is a cute story about a young girl named Kate Brady, (Rita Tushingham) who lives with another girl named Baba Brenan, (Lynn Redgrave) and Baba sort of leads her roommate Kate around with her and is very talkative and has had plenty of relationships with men. However, Kate Brady becomes very interested in a man who is twice her age and begins to do everything she can to capture his attention. This man is Eugene Gaillard, (Peter Finch) who is a writer and a married man with a daughter and Eugene is not getting along very well with his wife and wants to get a divorce. Kate begins to get Eugene's full attention and before you know it, they are starting a strange relationship with each other which can lead to a great deal of trouble. Kate's family becomes involved and there are big problems facing Kate. This is a rather bitter sweet love story which is very true to what life is really all about. Enjoy.

Poor Rita Tushingham--she did seem to inherit some strangely frustrating parts.

In "A Taste of Honey" she was a young pregnant girl, first abandoned by her itinerant sailor, then landing in a "relationship" with a sadly confused chap.

In "Girl with Green Hair," she's another adolescent who falls for a man twice her age. Won't she ever learn?

Director Desmond Davis' work resembles Tony Richardson's so much that their styles are almost interchangeable. It may be because Composer John Addison also scored Richardson's "A Taste of Honey," and "Loneliness of the Long Distant Runner." It's remarkable how Addison's bleakly dissonant style so greatly influences the moods of these dramas.

With Davis employing a lot of contrapuntal passages played by a thin woodwind ensemble--often featuring a solo oboe--one does feel the emptiness and loneliness of character emotions.

There was no one who embodied the "Cockney Kitchen Sink" dramas of the 60s like Tushingham. She was perfect for her parts. Here ably supported by Peter Finch as a blase older man and Lynn Redgrave as a daftly talkative friend, Tushingham plays her role to the hilt.

By the end, the viewer has come to experience a limited encounter--rather doomed from the start--between a worldly wise Dublin land owner and working class Brit girl . . . the latter of whom is finally able to move on with her education and find acquaintances more her age.

The viewer during this visit has experienced some telling scenes of Irish-English life, and an interesting adolescent/mature fling at a brief encounter.

Rita Tushingham, the it girl of British cinema in the 60's (she made a few pics w/Richard Lester) stars as a young Irish lass who falls in love w/a separated writer played by Peter Finch. Shot in beautiful black & white on Irish locales, this sobering romance hits all the right notes when a love affair sounds good via the heart but makes no sense in the head. Look for Lynn Redgrave (Vanessa's sister) as Rita's roommate & Julian Glover, who's still acting strong (he played one of the maesters on Game of Thrones), as one of Finch's friends.

This film is based upon the second volume of Edna O'Brien's "Country Girls" trilogy. That novel was originally published as "The Lonely Girl", but for some reason this was changed in the film adaptation to "Girl with Green Eyes", even though it was made in black and white so one cannot tell what colour the main character's eyes are. Subsequent editions of the book were also entitled "Girl with Green Eyes".

The title character is Kathleen "Kate" Brady, a naive young girl from the rural west of Ireland, who moves to Dublin, where she works in a grocer's shop and shares a room with her friend and schoolmate, Barbara "Baba" Brennan. (Baba is only a secondary character in "Girl with Green Eyes", but she plays a more central role in the other two episodes of the trilogy). Kate hopes to find a boyfriend, but she is shy and naïve and has less success than the more worldly-wise Baba. Eventually, however, Kate becomes involved with the middle-aged Eugene Gaillard, and it is their romance which forms the main subject-matter of the film. (In the original novel Eugene was a film-maker, but here he becomes a writer).

The age difference between Kate and Eugene is not the only obstacle in the way of their relationship. She is a devout Catholic and he a freethinker who does not share her faith. To make matters worse, he is married with a child. He is separated from his wife, but the two are not formally divorced. (At the period when the film is set, divorce was not possible in the Irish Republic; Mrs Gaillard, an American by birth, has had to return to her native country in order to obtain one). Kate's widowed father is horrified by the idea that his daughter is involved with a married man and he descends on Dublin with a group of friends, virtually kidnapping Kate and forcing her to return home, although at the first opportunity she can get she runs back to Eugene.

When the "Country Girls" trilogy was first published, between 1960 and 1963, it caused great controversy in O'Brien's native Ireland. It could be published in Britain but was banned in the Republic, and copies of the books were publicly burned. (It seems that the only freedom the Irish people had gained by secession from the UK was the freedom to be less free than their neighbours). It is therefore surprising that permission was given to make the film in Dublin and other Irish locations, even though it was made in 1964, only a hear after the final instalment in the trilogy had come out.

The film was, however, made by a British production company, Woodfall Film Productions, and the leading actors were all either British (Rita Tushingham as Kate, Lynn Redgrave as Baba) or Australian (Peter Finch as Eugene). Despite the Irish setting, it was made in the "kitchen sink" social-realist style popular in Britain in the late fifties and sixties. Woodfall had earlier made other films in this style, such as "A Taste of Honey", which also starred Tushingham, and "The Loneliness of the Long Distance Runner", both directed by Tony Richardson, who acted as executive producer for "Girl with Green Eyes". The director, however, was Desmond Davis, making his directorial debut after working as a cameraman. .

At the time, the "kitchen sink" school was hailed as marking a new departure in British film-making, although the vogue for films of this nature was to be a relatively brief one, and did not really survive into the seventies (not, by any means, the most distinguished decade in British cinema history). "Spring and Port Wine" from 1970 can be seen as marking the end of the line. Nevertheless, that brief period saw some films of genuine quality and gave a voice to the British working class who had previously been neglected by the country's film-makers.

There are first-rate performances from Tushingham as Kate, a much more sensitive and vulnerable figure than her Jo in "A Taste of Honey", and from Finch as Eugene, a rather more sympathetic figure than he is in the book, a sophisticated, intellectual type who is at first flattered by the attentions of a younger woman, but who realises that the differences between them are too great to be easily overcome. "Girl with Green Eyes" is perhaps less well-known today than films like "Saturday Night and Sunday Morning", "A Taste of Honey" or "The Loneliness...", but I think it deserves to be better remembered.

Desmond Davis, who had worked closely with Tony Richardson, decided to try his hand directing films. For his first effort he decided to use Edna O'Brien's novella "The Lonely Girl", which we read a long while ago, and frankly, we don't remember it well. The result was a movie that has that "English Look" of what came out of England during those years.

"Girl with Green Eyes" owes its success to Rita Tushingham, an actress that was the darling of English movie makers. She had a certain waif look that she used to her advantage in films such as this one, and in others of the same period. She holds the movie together as it's hard to take one's eyes from hers. Ms. Tushingham was not a spectacular beauty, yet she had a certain look that was appealing in her work.

Peter Finch appears as Eugene Gaillard, a man who is divorced with a child, and whose estranged wife has moved overseas. His attraction for Kate Brennan is quite understandable, yet, Eugene can't get Kate to be more than a platonic admirer, never being able to consume the passion she feels for him, and vice versa.

Also in the movie, a young and fresh Lynn Redgrave, who went to make bigger and better things on her own in the British cinema and on the stage and films in America, her adoptive country.

"Girl with Green Eyes" is worth a look for what Desmond Davis was able to accomplish in his first feature. The copy we watched recently was sadly in need of restoration.