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The Group (1966)

 -  Drama  -  4 March 1966 (USA)
6.6
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Ratings: 6.6/10 from 862 users  
Reviews: 24 user | 5 critic

It's 1933, and eight young women are friends and members of the upper- class group at a private girl's school, about to graduate and start their own lives. The film documents the years ... See full summary »

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Title: The Group (1966)

The Group (1966) on IMDb 6.6/10

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Nominated for 1 BAFTA Film Award. Another 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
...
Dottie
...
Priss
...
Polly
...
Kay
Mary-Robin Redd ...
Pokey
...
Libby
Kathleen Widdoes ...
Helena
...
Dr. Ridgeley
James Congdon ...
Sloan Crockett
...
Harald Peterson
...
Gus Leroy
...
Dick Brown
Robert Emhardt ...
Mr. Andrews
Carrie Nye ...
Norine
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Storyline

It's 1933, and eight young women are friends and members of the upper- class group at a private girl's school, about to graduate and start their own lives. The film documents the years between their graduation and the beginning of the World War in Europe, and shows, in a serialized style, their romances and marriages, their searches for careers or meaning in their lives, their highs and their lows. Written by Gary Dickerson <slug@mail.utexas.edu>

Plot Summary | Plot Synopsis

Genres:

Drama

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

4 March 1966 (USA)  »

Also Known As:

El grupo  »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

(RCA)

Color:

See  »
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Did You Know?

Trivia

Joanna Pettet's first film. See more »

Goofs

When Libby McAusland sits down to lunch at the hospital cafeteria there is spilled coffee in the saucer of her cup. When she picks up the cup in the next shot the spilled coffee is gone. See more »

Quotes

Dottie: Where is the breakfast?
Libby: Brevoort. charming old Hotel. So much more appropriate, don't you think, Lakey?
Lakey: What?
Libby: Kay and Harald giving the breakfast.
Lakey: City Hall would have been more appropriate too I think. Instead of trying to carry it off in Peter Styvesant's church. Harald not to the manor born, exactly.
Libby: How hard you can be, Lakey.
Dottie: Yet Kay adores you. And you used to like her best in your heart of hearts.
Lakey: You might spare me a cliche' like "heart of hearts," Dottie.
See more »

Connections

Referenced in Hollywood Screen Tests: Take 1 (1999) See more »

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User Reviews

 
Busy, bustling, chatty character study-cum-soaper...several stand-out performances
29 June 2009 | by (las vegas, nv) – See all my reviews

Film producer Sidney Buchman also took on the enormous task of adapting Mary McCarthy's well-loved novel to the screen, that of eight Vassar graduates in 1933 who take different paths in life but who always manage to stay in touch. Buchman and director Sidney Lumet almost pull it off, despite insurmountable story obstacles, some awkward and/or frivolous performances, a self-defeating length, and a persistent claim from professional critics at the time that maybe a female screenwriter should have been hired to adapt McCarthy's prose (Pauline Kael of The New Yorker was the most vocal in this area). With much criss-cross 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 without vitriol, without nostalgia. **1/2 from ****


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