7.0/10
508
13 user 4 critic

Girl with Green Eyes (1964)

In 1960s Dublin a young girl becomes involved with an older man, a much-travelled and still married land-owner.

Director:

Writers:

(novel), (screenplay)
Reviews

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Won 1 Golden Globe. Another 2 wins & 3 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Eugene Gaillard
...
Kate Brady
...
Baba Brennan
Marie Kean ...
Josie Hannigan (as Maire Kean)
Arthur O'Sullivan ...
James Brady
...
Malachi Sullivan
...
The Priest
...
Joanna
...
Bertie Counham (as Patrick Laffan)
Eileen Crowe ...
Mrs. Byrne
May Craig ...
Aunt
Joe Lynch ...
Andy Devlin
...
Mary Maguire
Harry Brogan ...
Jack Holland
Michael C. Hennessy ...
Davey (as Michael Hennessy)
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Storyline

An awkward young Irish farm girl Kate Brady moves to Dublin and shares a room with funny, outgoing Baba Brennan, where she soon meets Eugene Gaillard, a middle-aged writer, who is immediately attracted to the shy and innocent Kate, ignoring the more sophisticated Baba. Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

The film makers who brought you SATURDAY NIGHT AND SUNDAY MORNING, A TASTE OF HONEY and TOM JONES now take pride in presenting...

Genres:

Drama | Romance

Certificate:

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Details

Country:

Language:

|

Release Date:

21 January 1965 (Italy)  »

Also Known As:

A Rapariga dos Olhos Verdes  »

Filming Locations:

 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

In the montage of the girls getting ready for their dates near the movie's beginning, the 45 r.p.m. record is "Fell In Love On Monday" by Fats Domino, who is also the topic of the magazine article near the record. See more »

Quotes

Malachi Sullivan: Ah, the milk of human blindness.
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Soundtracks

Walking in the Wheatfield
(uncredited)
Music by Johann Sebastian Bach
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User Reviews

New Wave Washes Up On Irish Shores
31 May 2002 | by (Austin, Texas) – See all my reviews

Long into watching this studiously "small," slice-of-life portrait of a naive young woman, I was still wondering if the film would turn out, in the end, to have been worth watching. Earnest in its desire to be grittily true-to-life, in the neo-realist manner of the Angry Young Men, it is also clearly intoxicated with the quotidian lyricism and plain-spoken poetry of la nouvelle vague. It attempts to be charming and brutally frank at the same time, and manages, to some extent, to carry it off.

But will we end up caring about Tushingham's somewhat obtuse small town escapee, or Finch's sophisticated cold fish? Or will we be left with the rather sodden sensation that we've wasted our time eavesdropping on bores? For my part, I was pleasantly surprised. The story ends with the palpable sense that Kate has grown up a bit, and Eugene has grown a little older and sadder. We've looked on as two people have lived their bittersweet lives, much as we live our own -- and we're a little sad to bid them adieu.

To sum up: not as fresh and appealing today as it probably seemed in its time, but still rewarding and worthwhile.


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