Faut-il tuer Sister George?

I did not see the stage play upon which this film is based (too young) but, based on its own merits, this film surely deserves a closer look.

The central trio of performers (Reid, York, Browne) provide career "bests" and there are some amusing vignettes from the others (Fraser, in particular, as a truly odious soap actor).

The much-discussed sex scene is, by today's standards (and, it would seem, even those of the 1960s stage play), tame, but its real value as a display of the shift of power between the three central characters is very neatly worked through in the closing quarter.

The final five minutes of (self-) destruction is heartbreaking, with excellent use made of the music track.

In short: miss it and miss out.

Seeing Beryl Reid mouth silently a four-letter swear word when such things didn't happen in films and drunkenly canoodling with two young nuns in the back of a London cab is both quite outstanding and rather lovable.

Miss Reid, who I only got to see in my childhood as a twee, granny-like innocent (the sort that she plays for real in a TV serial as Sister George, a homely district nurse), I found The Killing Of... both delicious and ever astounding in its frankness and of her rather warped relationship with the much younger Susannah York.

Warped, not because of the age difference, nor of their same-sex partnership, but because June Buckridge (Reid) has a cruel streak that is borne out by her playing sadistic mind games with Alice "Childie" (York).

Sister George, in the best tradition of TV soaps, is being killed off, to make way for an Australian replacement. Hence June's venomous outpourings and increasingly erratic behaviour.

Equally interesting is the London of the late '60s, both in its landmarks but also its people and fashions, whether that's in how they live and/or how they dress and present themselves.

Though real soaps cover such material freely and openly these days, 42 years ago, it must have been a very different kettle of fish. Lesbianism back in those days was not only considered immoral but also a mental aberration and had to be so hidden, in an attempt to prove to those 'righteous' souls that it did not exist. Therefore, it must have been a very brave undertaking as a film, though it originated as a play, written by Frank Marcus.

Having now seen it again, I consider Robert Aldrich's ground-breaking film to be a bit of a classic and one, which, no doubt I'll want to see again in a few years time. It really is a piece of British cinematic history.

Am I the only one who finds it painfully touching that Robert Aldrich went from the biggest hit of his career--the almost woman-free DIRTY DOZEN--to the kind of movie he really wanted to make, i.e., a stagebound melodrama about an aging lesbian soap star's love for a demented nymphet? In its day, SISTER GEORGE was considered the ne plus ultra in coarse homophobia; critics saw the sweaty thumbprints of the Aldrich Touch on every girl-on-girl scene. (Does anyone now lambaste THE BITTER TEARS OF PETRA VON KANT for not being hardhitting docudrama?) In retrospect, the movie seems to me one of Aldrich's most affecting, with Coral Browne (December) and a teeny, teenaged Susannah York (May) grand-slamming this folie a deux to a fare-thee-well.

this is a showcase for some magnificent acting....it doesn't seem at all homophobic , but rather immensely poignant and sad...and in what other film do you get to see a great lesbian band in matching sweaters and guitars (good solo!) Difficult at the beginning, just seems shallow and bitchy, but stick with it and watch Beryl Reid's character disintegrate....the final scene reminded me of "The Blue Angel" or "The Entertainer" in its shattering degradation...congrats to Aldrich for having the guts to make this movie, I think it stands the test of time rather well. Coral Browne is also magnificent, and York holds her own. The lesbian bar scene is worth waiting for.

Beryl Reid gives a no-holds-barred performance as an aging lesbian actress who's already teetering on the edge when she gets word that her character in a TV soap opera is to be killed off. She takes out her frustrations on her childlike lover (Susannah York) and a production head (Coral Browne), the two of whom eventually become intimate on their own. The script-reading sequence had me howling with laughter, and Reid's non-stop barrage of put-downs, insults, wisecracks and other hateful remarks are acidly hilarious. A surprisingly realistic sex scene near the end is pretty graphic for its time (I almost felt like looking away) and we never learn much about Browne's icy character, but the concluding scene is gut-wrenching, as is the final line of dialogue. *** from ****