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Georgina Beyer is a transexual of Maori descent who was elected in 1999 to represent her district in New Zealand's National government. Beyer has been a showgirl, a sex worker and now a politician. This is her story.
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A homely but vivacious young woman dodges the amorous attentions of her father's middle-aged employer while striving to capture some of the glamorous life of her swinging London roommate. Written by
Rick Ferncase <firstname.lastname@example.org>
Adapted as a Broadway musical ("Georgy"), opening at the Winter Garden Theater in New York on February 26, 1970 and running for 4 performances. Dilys Watling as the title character was nominated for the 1970 Tony Award (New York City) for Actress in a Musical. See more »
When Meredith returns home after playing in the orchestra, and sits in the chair talking, the violin case goes from right side up to upside down several times. See more »
[to children's dance class]
One and two and one and two! One and two and one and two. Everybody go round! Very good! Faster! One and two. One and two and one and two! One and two and one and two. Very good. All right, everybody round me, come on! Quick, quick! One more quickie to finish. You're things in space! Right. Spin into space! Blblbl. And one two three, one the floor, quick!
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I enjoyed "Georgy Girl" at the time of its original release, but hadn't thought about it until I recently viewed the DVD version. This revisit was well worth it: "Georgy Girl" is a delightful film.
Charlotte Rampling's Meredith is my favorite of the four main characters. Rampling has always been physically stunning, but it's her moody intellect within that keeps Meredith modern rather than a 60s icon who looks sensational in Mary Quant mini-dresses, a darker version of Julie Christie in "Darling" (a character who didn't have too much of a light side herself). Meredith is cool, in control, self-serving, brutal, and surprisingly honest about who she is. "You take me as me," she tells Jos (Alan Bates) as she cajoles him into marrying her, not so much because she's pregnant but because she's bored. It seems in Meredith's view, you can easily get rid of a pregnancy, but boredom requires more skill and is potentially a worse situation in which to find yourself. Other actresses could have successfully made Meredith a bitch, but Rampling makes her fascinating and thus strangely likable. When she exits the film, things go a bit limp, but then there's little left than to move the story to its inevitable conclusion.
Alan Bates plays Jos with such high physical and verbal energy he seems to be all the Marx Brothers rolled into one. His facial expression at the culmination of his strip during the 'I Love You' sequence suggested to me a nod to the great Harpo.
Lynn Redgrave made the role of Georgy so much her own it's difficult to believe the story that Vanessa Redgrave had been originally intended for it -- and even more difficult to imagine Vanessa playing scenes with Rampling.
The title song became a big hit at the time. In the film, the lyrics vary somewhat from the pop version, serving to set up the plot during the opening credits and then comment on its resolution at the end. In between, the song politely vanishes, leaving the classically influenced score by Alexander Faris to take over with its harpsichord riffs and its subtle playfulness. I especially liked the violin solo that accompanies the transition from orgasm to morning sickness.
The dialogue is often fast, overlapping, thrown away, or contains obscure (to me) cultural references, so it's worth enabling the English subtitles for DVD viewing. You wouldn't want to miss "Moss Bros", or Alan Bates' rapid-fire disrobing monologue, or Meredith's contempt for the concert at which she has just played violin: "Beethoven night. They're like animals."
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