Georgy Girl

Reviews seem to miss the real theme of this film, which is about the voyage of self-discovery of a person who feels out of sync with her world and tries to define, or redefine, her own true self. This theme has a strange attraction for me -- I identify with Georgy's search, I think, because of my own feelings of misalignment with the world or alienation. Unfortunately, as a male, it seems that the principal characters in films addressing this theme with sensitivity are invariably women. Perhaps in our society men are expected not to have such uncertainties about themselves or to suppress them, so no films are made. Two other films I enjoyed because of their similar themes are "Muriel's Wedding" and "Thelma and Louise". If you like, you can tell me I'm reading far more into this film than was ever intended, reminiscent of Mark Twain's famous warning. But you won't convince me! Alan

I watched this movie mostly for Lynn Redgrave, expecting nothing more than an old, light-hearted British comedy. It was better than I expected; "Georgy Girl" is a lovely, bittersweet dramedy clearly inspired by American screwball comedies of the 30's and the French New Wave that was burning in the 60's (to see how much the Nouvelle Vague aesthetics influenced British cinema, check the also remarkable "Two for the Road", with Albert Finney and Audrey Hepburn).

Redgrave, fantastic as usual, plays Georgy, a scatter-brained working-class virgin with a golden heart. She shares a flat with a selfish, cold bitch (Charlotte Rampling), who gets pregnant of Jos (Alan Bates), and the three of them eventually move together; but things get complicated as Georgy is courted by Jos and James (James Mason), a much older man, at the same time.

Bates (is it just me, or does he look like Jean-Paul Belmondo - one of the greatest Nouvelle Vague icons because of Godard's "Breathless" - in this?), Rampling and Mason are all great in their respective parts, but this is Redgrave's show all the way. Her anti-heroine is sweet and memorable, somewhat similar to Toni Collette's Muriel Heslop (from "Muriel's Wedding"), some sort of a British, less patient and clumsier Amélie Poulain (Audrey Tautou). Georgy singing "Whole Lotta Woman" is a classic scene. Lynn's performance alone would make this movie worth seeing, but she's not the only good thing about it, just the core. 10/10.

Good performances from Redgrave, Mason, Rampling and Bates. A modest film that found international approval. In 1966, while it may have seemed shocking to hear UK girl Charlotte Rampling tell Alan Bates that she had "destroyed" two of his already, it's worth remembering that an American girl couldn't have a legal abortion unless there were extenuating circumstances. Roe v. Wade was still several years away. The wholesome longings of Goergie are sharply contrasted with her roommate, the ice cold Meredith. The lead was originally offered to Vanessa Redgrave and when she backed out her younger sister Lynne was cast. She was overwhelmingly brave playing Georgie as a girl you liked enough that when she does something embarrassing you can't help but flinch. It happens a lot. As she falls and fails she finds a life of her own. And that is oddly inspirational.

Georgy Girl is an amazing film that's was in the front of a new wave of more realistic, unblinking films by the Brits. The film doesn't flinch when depicting or talking about accidental pregnancy, abortion, mothers not interested in their babies. They're just a part of life, nothing to moralize about or to spotlight as big drama. Imagine any film from the U.S. in the mid 1960s taking on these issues at all, much less in the matter-of-fact way that Georgy Girl does. Georgy Girl and Darling strike me as two mid-60's British films that herald a new age--greater reality; women's freedom to choose partners and to define their romantic and sexual connections in their own way. Another very modern aspect of the film is the absence of any person taking the moral high ground; every character is on their own, and depicted irreverently, with warts, but also warmly.

Marvelous film, an extension of the British kitchen-sink dramas from earlier in the decade (but with a friskier spirit), "Georgy Girl" introduced audiences to Vanessa Redgrave's kid sister, Lynn (in an Oscar-nominated performance). She's plain and frumpy Georgina, a too-tall, kissless clown and nursery school teacher who plays second-fiddle to her more beautiful flat-mate--and who also harbors a crush on her pal's sexy boyfriend in the bargain. While dodging the advances of her father's wealthy employer, Georgina acts as nursemaid to her pregnant roommate, never dreaming of the circumstances to follow. From Margaret Forster's novel, which she co-adapted with Peter Nichols, the film is visually alive, stylish and skittering about with "free and easy" abandon, yet with moral choices and a sobering heart at its center. Redgrave is nothing short of fabulous; her "Georgy" is often slumped over sulking, an easy mark with little sense of humor (she's either completely inflexible or terribly over-eager). The clever, enticing writing is spread about for everyone to share in--so much so that the supporting characters nearly upstage our heroine (whose moods tend to be exasperating near the end): Charlotte Rampling is excellent as pregnant Meredith (who gets the film's most viciously funny lines); Alan Bates is terrific as her devilish lover; while Oscar-nominated James Mason is too comfortably cast as the older man with an eye for Georgy (he isn't able to offer anything fresh here). Delightful comedy-drama from director Silvio Narizzano, one of the few from this era not to use 'mod' touches to set the time and place. *** from ****