Le Groupe

Anyone who thinks that this film is anti-man is wrong; the problem is that it was adapted from a novel that is, frankly, anti-human. Mary McCarthy's novel was one long sneer at all of the women she graduated from Vasaar with and who didn't have as wonderful and fulfilling a career as she did. They're too passive or too ambitious or too flirty or, most fatally, not Mary McCarthy. At least they went to Vasaar, though, so they are better than all other human beings on earth . . .

Surprisingly, Sidney Buchman's script manages to make flawed, but sympathetic characters out of the story he had to work with. Joanna Petet is wrenching as the ambitious, well-meaning Kay, whose husband Harald would probably never live up the her standards even if he weren't already a self-pitying, alcoholic bastard. Jessica Walters is ultimately endearing as Libby, who is not quite as sophisticated as she likes to pretend she is, although smarter than she lets on, and Shirley Knight is a rock of common sense as the quiet, hard-working Polly. It was refreshing to see Candice Bergen maintain grace, poise, and femininity even while she plays a "lesbo," but that accent of her always drove me crazy. Was it supposed to be English or Scandanavian, or a relic of the Duchy of Lower Fenwick? Carrie Nye has little more than a cameo as the artist that Harald is cheating on Kay with, but she rolls her r's magnificently and plays the character with deadly comic timing. She's also one of the few characters who actually has a little fun . . .

As others have said, it takes about an hour to sort everyone out and become involved in their stories, but the time invested pays off. Considering that there are eight main characters, kudos to Buchman and director Sidney Lumet for getting things sorted out so quickly. And to Lumet for toning down his tendency towards flash in his early films to serve the characters; the resulting film is a real drama, with comic touches, not a bitchy soap-opera.

Sidney Lumet directed this busy, bustling, chatty character study-cum-soaper concerning eight Vassar graduates in 1933 who take different paths in life but always manage to stay in touch. Writer-producer Sidney Buchman nearly pulls off the heady task of adapting Mary McCarthy's well-loved novel to the screen, despite insurmountable story obstacles, a self-defeating length, and a persistent claim from professional critics at the time that maybe a female screenwriter should have been hired instead to adapt McCarthy's prose (Pauline Kael was the most vocal in this area). With much crisscross editing between apartments, hospitals, and places of employment, it's nearly impossible to determine how many years pass in the course of the story--and this episodic structure leaves Candice Bergen's Lakey and Mary-Robin Redd's Pokey with hardly any screen-time. Joan Hackett as Dottie makes a very appealing impression in her early scenes (falling for heartless womanizer Richard Mulligan), but then she too disappears. There's far too much of Joanna Pettet in the overtly-showy role of Kay (and with her comes Larry Hagman, doing nothing new in the impossible role of Kay's hard-drinking, womanizing husband). Elizabeth Hartman as Priss and Shirley Knight as Polly end up doing the finest acting work, with Knight practically carrying the film's final third--but then, the screenplay is tipped towards our liking those characters the most (if Jessica Walters' gossiping Libby was revealed to have half a heart, we might feel the same towards her). The scattershot humor is there, but it's always undercut by sourness--which is then replaced with grimness. If Buchman was inappropriate as the writer, Lumet was equally a questionable choice as director. He keeps the pacing lively, but the film is far more vitriolic than nostalgic. **1/2 from ****

Glossy soap opera about 8 Vassar graduates of 1933. It follows their lives after college and deals with alcoholism, mental breakdowns, frigidity, beatings, adultery, child rearing, lesbianism and death.

I tried reading the book this was based on but I couldn't understand it. They kept throwing in 1930s slang and politics and lost me. This movie keeps out the slang, tones down the politics (but it is there) and came up with a good movie. Yes, it is a soap opera but well made with some great actresses and it deals with it's subjects seriously. Some of the story lines involve: Polly (Shirley Knight) falling in love with a married doctor (Hal Holbrook); Kay (Joanna Pettet) dealing with an alcoholic husband (Larry Hagman); Dottie (Joan Heckett) falling in love with a womanizer (Richard Mulligan) and Priss (Elizabeth Hartman) dealing with raising a child.

It's fascinating to see these actors so young and full of life. All the acting is good but Hartman and Knight stand out. Also Candace Bergman shows up at the beginning and the end as a lesbian--quite daring for 1966. The surprise is that she's dealt with in a very sensitive manner and not made evil.

This movie is long (150 minutes) and its cast is very big (it took me at least an hour to figure out who was who) but I ended up enjoying this and recommend it. I give it an 8.

I saw this film last night and was absolutely stunned by how excellent it was. Not only did it seem to be one of the first 'chick flicks' (sorry for anyone who hates that title) but it was incredibly brave to deal with extremly contentious issues. The colours and the costumes in the film made the film seem like a true snapshot for life for seven educated women getting by in the first half in the century. It did not shy away from the issues of sex, and mental illness which is brave for a film made over thirty years ago. I started watching this film because I couldn't sleep but ended up watching it until 2.30am defintely entertaining and possibly superior to 'The Prime of Miss Jean Brodie'??

One of Sidney Lumet's first directing attempts is a brilliant, powerful and undeniably courageous motion picture - not at all a sprawling frenzy of feelings strung by hammy performances and corny dialogues, this film is a rather organized , neat telling of eight graduates from Vassar-like college and their respective lives and times, that in it's own quiet way, became a masterpiece of great beauty, displaying strong, formidable performances by Pettet - as Kay Strong, a lovely young lady whose promissing future is teared to shreds as her cruel Play Writing husband ruins her life and slowly corrompts her mental sanity -, Hackett - as Dottie Renfrew, whose heart is broken by young, hip bohemian, that steels her virginity and commits herself to a futile, selfish fate - and Hartman(One Of The Most Wonderful Actresses That Ever Lived, And Whose Life Was Brought To A Horrid Ending, As She Comitted Suicide, Jumping Off Her Apartment Window) - as a pure , fragile young girl that has agonizing experiments with pregnancy and breast-feeding, as well as other cast members, like Bergen, Widdoes, fascinating Knight and Walter. This is adapted from Mary MacCarthy's brilliant novel, launched at the same time as 'Valley Of The Dolls', Jacqueline Sussan's hideous all-american best-seller - although' they both treat of feminine sagas, they are surely not to be confused.