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 ****
38 Reviews
A scabrous "comedy" about the ugliness of human longing.
reviewerinoimdbino13 November 2007
While there is delicate humor here, as in the movie's satire on the twee reassurances and stereotyping of an English soap opera's portrayal of homely English village life, this movie is in the end an unsettling portrait of the human condition, of the ugliness, the uncontrollable and incendiary nature of our sexual and emotional longings and need.
I spent years wanting to see this movie, if only because of its legendary nature and Coral Browne's presence in the cast, and it's nothing like what I imagined. Given the title and all the talk in books about scenes set in a dark and intense demimondaine world of lesbian bars, I pictured some sort of police procedural about lesbians being killed by a serial killer, a Sidney Sheldon-type story.
Ostensibly a portrait of an aging actress's dying career, the heart of the picture is the competition among the characters for love, for the ruthless quest for success and the money and companionship that go with it.
There is constant sado-masochistic emotional gamesmanship here, with characters playing roles that are alternately passive and active. One character pretends to be not much more than a slip of a girl and sits by and watches as others compete for her attentions.
The sex scene in the movie, while ugly in the extreme, is vital to the film's message. (I'm amazed that this aired, even late at night, on Turner Classic Movies, so that I, thankfully, got a chance to see the movie.) Coral Browne's face, stripped of its mask of demure self-possession, exposing the animal (the monster?) that we all are at the core of our being--that's something to see. And unsettling.
I'll never particularly care for Susannah York. She'll always strike me as a bit of an over-praised, over-successful relic of the 1960s, a kind of prissy relic, but what a film, even with some longeurs. And the towering--both literally and figuratively--Coral Browne: what a presence.
I spent years wanting to see this movie, if only because of its legendary nature and Coral Browne's presence in the cast, and it's nothing like what I imagined. Given the title and all the talk in books about scenes set in a dark and intense demimondaine world of lesbian bars, I pictured some sort of police procedural about lesbians being killed by a serial killer, a Sidney Sheldon-type story.
Ostensibly a portrait of an aging actress's dying career, the heart of the picture is the competition among the characters for love, for the ruthless quest for success and the money and companionship that go with it.
There is constant sado-masochistic emotional gamesmanship here, with characters playing roles that are alternately passive and active. One character pretends to be not much more than a slip of a girl and sits by and watches as others compete for her attentions.
The sex scene in the movie, while ugly in the extreme, is vital to the film's message. (I'm amazed that this aired, even late at night, on Turner Classic Movies, so that I, thankfully, got a chance to see the movie.) Coral Browne's face, stripped of its mask of demure self-possession, exposing the animal (the monster?) that we all are at the core of our being--that's something to see. And unsettling.
I'll never particularly care for Susannah York. She'll always strike me as a bit of an over-praised, over-successful relic of the 1960s, a kind of prissy relic, but what a film, even with some longeurs. And the towering--both literally and figuratively--Coral Browne: what a presence.
A little too long but good
preppy-31 July 2007
Warning: Spoilers
June Buckridge (Beryl Reid) plays a character named Sister George on a popular TV show. She gets word that her character is going to be killed and panics. She is also a lesbian and her relationship with her lover (Susannah York) is falling apart. Network executive Mercy Croft (Coral Browne) tries to help her...or does she?
This movie has problems--it's way too long (almost 2 1/2 hours), has unlikable characters and is pretty depressing. Still it's very well-directed (I love the way the opening credits are done) and has three great performances. Reid had already been in the play on stage so she pretty much knew what she was doing. She's just great--you see her anger but also sympathize with her. York is very good as her lover. Browne is just superb as Mercy Croft.
SPOILERS IN THE NEXT PARAGRAPH!!!! This was (for its time) pretty extreme. It was seen as a lesbian movie. In my opinion it really isn't. It's about an older woman whose behavior and attitude ends up destroying her. She just happens to be a lesbian. Still this was pretty raw for 1968. They shot the bar scenes in an actual lesbian bar in England and there was a sexual seduction in the movie that wasn't in the play. It's when Browne and York get together. York hated doing that scene and it shows. This got slapped with an X rating originally just for the subject matter alone. Director Robert Aldrich fought against that rating for years--he thought it deserved an R. It was re rated to an R in 1972.
I remember it played here in Boston for months on end. Lines were around the block every night despite the rating. Still it was only a modest hit and quickly was forgotten. The stigma of the X rating still haunts this film which is too bad. No great masterpiece but worth seeing for the great acting by the three leads.
This movie has problems--it's way too long (almost 2 1/2 hours), has unlikable characters and is pretty depressing. Still it's very well-directed (I love the way the opening credits are done) and has three great performances. Reid had already been in the play on stage so she pretty much knew what she was doing. She's just great--you see her anger but also sympathize with her. York is very good as her lover. Browne is just superb as Mercy Croft.
SPOILERS IN THE NEXT PARAGRAPH!!!! This was (for its time) pretty extreme. It was seen as a lesbian movie. In my opinion it really isn't. It's about an older woman whose behavior and attitude ends up destroying her. She just happens to be a lesbian. Still this was pretty raw for 1968. They shot the bar scenes in an actual lesbian bar in England and there was a sexual seduction in the movie that wasn't in the play. It's when Browne and York get together. York hated doing that scene and it shows. This got slapped with an X rating originally just for the subject matter alone. Director Robert Aldrich fought against that rating for years--he thought it deserved an R. It was re rated to an R in 1972.
I remember it played here in Boston for months on end. Lines were around the block every night despite the rating. Still it was only a modest hit and quickly was forgotten. The stigma of the X rating still haunts this film which is too bad. No great masterpiece but worth seeing for the great acting by the three leads.
Monumental performance by Reid
danielj_old99927 April 2006
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.
Tough to watch
HotToastyRag14 December 2022
Fair warning: The Killing of Sister George is not for the faint of heart. The subject matter of open homosexuality was very daring in 1968, so while it might not be shocking to modern audiences, it's still shocking when you remember that other movies released that year were Funny Girl, The Odd Couple, and Yours, Mine, and Ours. This British drama received an X-rating for its graphic content and subject matter. Quite frankly, the big scene primarily responsible for the rating is still very graphic even by today's standards.
Beryl Reid stars as a beloved television actress with a sweet persona completely different from her offscreen life. In real life, she smokes, drinks, swears, and lives with her much younger girlfriend, Susannah York. When the television producers announce the termination of her character (hence the film's title), Beryl goes to pieces. She takes her anger and unhappiness out on Susannah, and there are times when we can actually see her mood improve as she harasses her girlfriend.
The abusive relationship is sometimes tough to watch. Beryl enjoys that Susannah prances around the house in lingerie and plays with dolls like a young girl. When out for a fight, she accuses Susannah of flirting with men or deliberately enticing them; she's jealous and afraid of losing her because without fame and money, she has nothing to offer. There's a particular scene that will no doubt stay with viewers: as a punishment, Susannah has to get down on her knees and eat a cigar. Another scene just as memorable for me is when the couple dresses up as Laurel & Hardy and goes to a lesbian bar. Filmed on location with non-actors as extras, the sadness and pain on all the women's faces are actually palpable. This isn't a movie that glamorizes lesbianism or pretends that all lesbians look and act like Susannah York. It's a peek inside one couple's world, as we see the immense flaws and dysfunctionality. Very good acting and a realistic script, but it's hard to watch.
Kiddy Warning: Obviously, you have control over your own children. However, due to graphic sex scenes, I wouldn't let my kids watch it.
Beryl Reid stars as a beloved television actress with a sweet persona completely different from her offscreen life. In real life, she smokes, drinks, swears, and lives with her much younger girlfriend, Susannah York. When the television producers announce the termination of her character (hence the film's title), Beryl goes to pieces. She takes her anger and unhappiness out on Susannah, and there are times when we can actually see her mood improve as she harasses her girlfriend.
The abusive relationship is sometimes tough to watch. Beryl enjoys that Susannah prances around the house in lingerie and plays with dolls like a young girl. When out for a fight, she accuses Susannah of flirting with men or deliberately enticing them; she's jealous and afraid of losing her because without fame and money, she has nothing to offer. There's a particular scene that will no doubt stay with viewers: as a punishment, Susannah has to get down on her knees and eat a cigar. Another scene just as memorable for me is when the couple dresses up as Laurel & Hardy and goes to a lesbian bar. Filmed on location with non-actors as extras, the sadness and pain on all the women's faces are actually palpable. This isn't a movie that glamorizes lesbianism or pretends that all lesbians look and act like Susannah York. It's a peek inside one couple's world, as we see the immense flaws and dysfunctionality. Very good acting and a realistic script, but it's hard to watch.
Kiddy Warning: Obviously, you have control over your own children. However, due to graphic sex scenes, I wouldn't let my kids watch it.
A beautiful movie in every way
Crispin-328 June 2007
I don't give many movies 10/10, but this black comedy-drama gets my vote, for fine acting, production values, and of course its place in movie history in the frank portrayal of lesbian relationships.
Others have & will comment on the latter, so I'll point out some of the other aspects of this fine film. The combination of comedy with personal tragedy poses difficult problems both for the writer & director; here they both succeed brilliantly.
The three principals' performances are riveting. I particularly liked the ambiguity of Coral Brown's portrayal of Mercy Croft; watch her carefully in the tight closeups in the gay club, and notice how the down-turned mouth at times hides a hint of a self-satisfied smile.
The cinematography deserves special mention. The use of colour is beautiful; I was reminded of "The Umbrellas of Cherbourg", but it never steps over the line into unreality. On the contrary, the alleys of London, the TV studio and above all the stairs and corridor of the flat are supremely realistic. Most unusual is the use of chiaroscuro, the interplay of light-and-shadow, seldom seen outside of black & white films. In so many colour films the light appears to come from some amorphous omnidirectional source out of science fiction; great for lighting everything and everybody evenly, but unrealistic and DULL. Look at the shadows as Beryl Reid ('George') enters the apartment building and climbs the stairs, or in some of the bedroom scenes. Apart from its other many virtues, this movie held my attention as a fine piece of film-making.
All in all, a masterpiece; my one regret is that it was shown on TV in pan-and-scan. It IS now available in DVD - in several formats & regions - so I look forward to watching it again in its original form.
Others have & will comment on the latter, so I'll point out some of the other aspects of this fine film. The combination of comedy with personal tragedy poses difficult problems both for the writer & director; here they both succeed brilliantly.
The three principals' performances are riveting. I particularly liked the ambiguity of Coral Brown's portrayal of Mercy Croft; watch her carefully in the tight closeups in the gay club, and notice how the down-turned mouth at times hides a hint of a self-satisfied smile.
The cinematography deserves special mention. The use of colour is beautiful; I was reminded of "The Umbrellas of Cherbourg", but it never steps over the line into unreality. On the contrary, the alleys of London, the TV studio and above all the stairs and corridor of the flat are supremely realistic. Most unusual is the use of chiaroscuro, the interplay of light-and-shadow, seldom seen outside of black & white films. In so many colour films the light appears to come from some amorphous omnidirectional source out of science fiction; great for lighting everything and everybody evenly, but unrealistic and DULL. Look at the shadows as Beryl Reid ('George') enters the apartment building and climbs the stairs, or in some of the bedroom scenes. Apart from its other many virtues, this movie held my attention as a fine piece of film-making.
All in all, a masterpiece; my one regret is that it was shown on TV in pan-and-scan. It IS now available in DVD - in several formats & regions - so I look forward to watching it again in its original form.
The Director of Dirty Dozen becomes just a Dirty Director
Sonatine9712 August 2000
Hard to believe that Robert Aldrich directed both Sister George AND the Lee Marvin WW2 action movie Dirty Dozen within two years of each other: the juxtaposition is quite an eye-opener and no mistake.
However, to his credit Aldrich does a relatively good job handling a very hot & controversial topic (for its time) of lesbian relationships in 60s London.
Beryl Reid (Sister George), continues from her stage play adaption with great aplomb. She plays a middle aged radio-play actress for the BBC only to find that her character is to be killed off after many years service.
George has a live-in lover, played by a very young Suzanna York, to whom I felt was a poor choice because I really can't imagine someone as young as York wanting to be a lesbian lover to someone who could be mistaken for her own mother. Perhaps I'm being cynical but I suspect York was chosen with one eye on her astonishingly elfin good looks and the other eye on potential box office takings.
Anyway, York has to suffer the physical & verbal abuse from a frustrated, bitter & twisted George now that she realizes she can no longer get any decent work in these changing times of fashion & sex appeal. George eventually becomes so paranoid that she believes York is having an affair with another woman which only adds to her defragmented middle-aged life!
The story, although controversial for its time, is quite gentle, and would probably pass into a typical soap opera these days without a whimper of protest, such are the changing times & political attitudes to gayness. But back then taboo subjects such as homosexuality & lesbianism was a positive no no as far as Hollywood was concerned.
The story is very well handled, and tries not to fall prey to cheap exploitation. But the love scene between York and Corale Brown, although cleverly done, is perhaps a little graphic - one wonders why Aldrich had to be so detailed & time-consumed with this particular scene. A lesbian act is a lesbian act, it really doesn't warrant so much time going over every detail of sexual foreplay as portrayed here. Again, in my cynical mind, I suspect such controversial titilation had more to do with box office than any serious indictment of the subject matter in question.
All in all, Sister George is a very warm & caring movie, the characters are firmly cliched into a typical English Country Cottage lifestyle where everything is tea, cakes & roses. Reid & Brown are both excellent and York does her best with a difficult character.
I feel the movie would have been taken on its merits at a critical level had it not being for the rather tacky love scene, but generally it offers an interesting study into how such a taboo subject was handled during a time of massive social change during the so-called Swinging 60s, which didn't quite swing far enough to include the homosexual community.
***/*****
However, to his credit Aldrich does a relatively good job handling a very hot & controversial topic (for its time) of lesbian relationships in 60s London.
Beryl Reid (Sister George), continues from her stage play adaption with great aplomb. She plays a middle aged radio-play actress for the BBC only to find that her character is to be killed off after many years service.
George has a live-in lover, played by a very young Suzanna York, to whom I felt was a poor choice because I really can't imagine someone as young as York wanting to be a lesbian lover to someone who could be mistaken for her own mother. Perhaps I'm being cynical but I suspect York was chosen with one eye on her astonishingly elfin good looks and the other eye on potential box office takings.
Anyway, York has to suffer the physical & verbal abuse from a frustrated, bitter & twisted George now that she realizes she can no longer get any decent work in these changing times of fashion & sex appeal. George eventually becomes so paranoid that she believes York is having an affair with another woman which only adds to her defragmented middle-aged life!
The story, although controversial for its time, is quite gentle, and would probably pass into a typical soap opera these days without a whimper of protest, such are the changing times & political attitudes to gayness. But back then taboo subjects such as homosexuality & lesbianism was a positive no no as far as Hollywood was concerned.
The story is very well handled, and tries not to fall prey to cheap exploitation. But the love scene between York and Corale Brown, although cleverly done, is perhaps a little graphic - one wonders why Aldrich had to be so detailed & time-consumed with this particular scene. A lesbian act is a lesbian act, it really doesn't warrant so much time going over every detail of sexual foreplay as portrayed here. Again, in my cynical mind, I suspect such controversial titilation had more to do with box office than any serious indictment of the subject matter in question.
All in all, Sister George is a very warm & caring movie, the characters are firmly cliched into a typical English Country Cottage lifestyle where everything is tea, cakes & roses. Reid & Brown are both excellent and York does her best with a difficult character.
I feel the movie would have been taken on its merits at a critical level had it not being for the rather tacky love scene, but generally it offers an interesting study into how such a taboo subject was handled during a time of massive social change during the so-called Swinging 60s, which didn't quite swing far enough to include the homosexual community.
***/*****
This defies the year it was made. Classy film.
Sleepin_Dragon23 October 2015
Beryl Reid plays June 'George' Buckridge, an actress who's appeared for many years on BBC soap Applehurst as the lovable Sister George. In the world of soaps everything changes, fearing she's due to be written out she begins behaving more and more unreasonably, making her partner Childie's life a misery along the way. George becomes horrendously insecure and keeps hitting the bottle, but soon her worst fears are realised.
I have to start by saying this film totally defies the period it came from, I had to keep checking it was made in 1968, it feels incredibly modern, and incredibly relevant. Wonderful black humour, some of George's cutting remarks and put downs are so funny. Mrs Croft's arrival at the club is so funny, her facial expressions were priceless.
The acting is absolutely phenomenal, I love Beryl Reid, and this has to be the crowning glory of her career, her performance is exquisite, the hold she has of Susannah York's 'Childie' is amazing, and her drunken acting is sensational. York herself got into the role fabulously well, very much up to Reid's charismatic George.
I love the scenes of 60's London, it looks amazing, great to see the London buses too. It's a long film, coming in at over two hours, but I promise it's so good it holds your attention.
An absolute gem of a film. 10/10
I have to start by saying this film totally defies the period it came from, I had to keep checking it was made in 1968, it feels incredibly modern, and incredibly relevant. Wonderful black humour, some of George's cutting remarks and put downs are so funny. Mrs Croft's arrival at the club is so funny, her facial expressions were priceless.
The acting is absolutely phenomenal, I love Beryl Reid, and this has to be the crowning glory of her career, her performance is exquisite, the hold she has of Susannah York's 'Childie' is amazing, and her drunken acting is sensational. York herself got into the role fabulously well, very much up to Reid's charismatic George.
I love the scenes of 60's London, it looks amazing, great to see the London buses too. It's a long film, coming in at over two hours, but I promise it's so good it holds your attention.
An absolute gem of a film. 10/10
A time capsule, a great drama, a great film
meathookcinema27 June 2018
One of the earliest British gay-themed films ever made, this tells the tale of June 'George' Buckridge, the soon to be eclipsed star on the TV soap opera Applehurst. We see her relationship with the Baby Doll-like Childie and also the interventions of television executive Mrs Crofts. But does Crofts have her own agenda?
This lesbian drama has the amazing tagline 'The story of three consenting adults in the privacy of their own home' which obviously mimics the mantra of liberals and homophobes alike regarding 'the gays'. It's also a reference to the wording of The Sexual Offences Act of 1967 decriminalising homosexuality.
There's something aesthetically pleasing about Beryl Reid in all of the films and TV programmes I've seen her in. This film is no exception. She plays George and she dominates proceedings whenever she is on screen. Her character is irreverent, rambunctious and a sheer delight. She's 'punk' years before the punk movement actually erupted. Also, notice how she plays her rebellious character to perfection and got under the skin of George. This is very evident in her body language. No unconscious crossing of the legs or keeping them together when she sits down. She can manspread with the best of them. This is a headstrong woman who lives life on her own terms rather than conforming to societal norms regarding how a 'lady' should act.
Part of the film takes place in the real life lesbian bar The Gateways Club which was then in Chelsea, just off The Kings Road. The film used the real patrons as extras and it feels so natural it's as if the crew just went in and filmed without warning. The wide range of cast extras show that the uneducated myth about lesbians being either 'butch' or 'femme' is a fallacy and the locale provides a fascinating peek inside not just 1960's Gay London but specifically Lesbian London. George and Childie are also dressed as Laurel and Hardy in this scene which makes it even more joyous, surreal and brilliant.
A primary theme of the film is the power play within the character's relationships. This is nicely shown in the 'contrition game' scene in which rather than being degraded by George's task, Childie makes herself enjoy it thus taking away the power from George and being in control herself.
The film depicts it's characters like human beings with all of their foibles rather than as freaks in a sideshow to be leered at and grimaced at by 'them there normal folks'. The film prompts a new discussion on our perceptions of gay people in a Britain in which homosexuality had just been decriminalised (this was carried out in 1967- the year before this film was released). The tagline for the film also references the wording used in The Sexual Offences Act.
The Killing of Sister George was unsurprisingly very contentious with the unenlightened British Board of Film Classification when it was due to be released. The main bone of contention was with the scene between Childie and Mrs Crofts- Crofts kisses and caresses Childie. There is nothing gratuitous about this scene and it is dealt with respectfully and mostly takes place off-screen. From the BBFC Case Study regarding the film-
''(But) the BBFC was adamant that the scene be removed in its entirety. Trevelyan stated that the BBFC was "not prepared as yet to accept lesbian sex to this point.''
It's unbelieveable today that the BBFC saw to not include this scene not because it may corrupt or adversely influence but because they thought the Great British public would have it's collective minds blown by such a scene.
The BBFC Case Study on the film notes-
''The BBFC classified The Killing of Sister George as 'X' in February 1969, with the encounter between Mrs Crofts and Childie deleted. Nevertheless, a number of local authorities across the UK banned the film even in this version. The Greater London Council allowed the film to be shown within its authority area with minor edits. The increase in the age bar for 'X' films from 16 to 18 in 1970 saw some local authorities relent on their previous decision and allow the film to be shown under this higher age restriction.''
Today the film is thankfully uncut. This movie is an amazing time capsule, a perceptive and all too revealing glimpse into human relationships and a groundbreaking slice of LGBT history- a history that generally erases lesbians altogether. This film noisily and joyously bucks this trend. And audiences should be truly thankful for that.
This lesbian drama has the amazing tagline 'The story of three consenting adults in the privacy of their own home' which obviously mimics the mantra of liberals and homophobes alike regarding 'the gays'. It's also a reference to the wording of The Sexual Offences Act of 1967 decriminalising homosexuality.
There's something aesthetically pleasing about Beryl Reid in all of the films and TV programmes I've seen her in. This film is no exception. She plays George and she dominates proceedings whenever she is on screen. Her character is irreverent, rambunctious and a sheer delight. She's 'punk' years before the punk movement actually erupted. Also, notice how she plays her rebellious character to perfection and got under the skin of George. This is very evident in her body language. No unconscious crossing of the legs or keeping them together when she sits down. She can manspread with the best of them. This is a headstrong woman who lives life on her own terms rather than conforming to societal norms regarding how a 'lady' should act.
Part of the film takes place in the real life lesbian bar The Gateways Club which was then in Chelsea, just off The Kings Road. The film used the real patrons as extras and it feels so natural it's as if the crew just went in and filmed without warning. The wide range of cast extras show that the uneducated myth about lesbians being either 'butch' or 'femme' is a fallacy and the locale provides a fascinating peek inside not just 1960's Gay London but specifically Lesbian London. George and Childie are also dressed as Laurel and Hardy in this scene which makes it even more joyous, surreal and brilliant.
A primary theme of the film is the power play within the character's relationships. This is nicely shown in the 'contrition game' scene in which rather than being degraded by George's task, Childie makes herself enjoy it thus taking away the power from George and being in control herself.
The film depicts it's characters like human beings with all of their foibles rather than as freaks in a sideshow to be leered at and grimaced at by 'them there normal folks'. The film prompts a new discussion on our perceptions of gay people in a Britain in which homosexuality had just been decriminalised (this was carried out in 1967- the year before this film was released). The tagline for the film also references the wording used in The Sexual Offences Act.
The Killing of Sister George was unsurprisingly very contentious with the unenlightened British Board of Film Classification when it was due to be released. The main bone of contention was with the scene between Childie and Mrs Crofts- Crofts kisses and caresses Childie. There is nothing gratuitous about this scene and it is dealt with respectfully and mostly takes place off-screen. From the BBFC Case Study regarding the film-
''(But) the BBFC was adamant that the scene be removed in its entirety. Trevelyan stated that the BBFC was "not prepared as yet to accept lesbian sex to this point.''
It's unbelieveable today that the BBFC saw to not include this scene not because it may corrupt or adversely influence but because they thought the Great British public would have it's collective minds blown by such a scene.
The BBFC Case Study on the film notes-
''The BBFC classified The Killing of Sister George as 'X' in February 1969, with the encounter between Mrs Crofts and Childie deleted. Nevertheless, a number of local authorities across the UK banned the film even in this version. The Greater London Council allowed the film to be shown within its authority area with minor edits. The increase in the age bar for 'X' films from 16 to 18 in 1970 saw some local authorities relent on their previous decision and allow the film to be shown under this higher age restriction.''
Today the film is thankfully uncut. This movie is an amazing time capsule, a perceptive and all too revealing glimpse into human relationships and a groundbreaking slice of LGBT history- a history that generally erases lesbians altogether. This film noisily and joyously bucks this trend. And audiences should be truly thankful for that.
Beryl Reid's rascally and a real riot...
tim-764-2918568 May 2012
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.
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.
Bleak drama that has outstanding acting but is not for everybody.
mark.waltz2 June 2011
Warning: Spoilers
I find that some films of the 1960's are very difficult to watch because of their character shattering plot developments. Along with "Who's Afraid of Virginia Woolf?", this is one of them. It happens to a very similar character here, who like Martha in "VW", has begun to isolate many people around her. June (Beryl Reid) is a lesbian soap opera actress in London who plays Sister George, a popular nurse on a serial. She lives with the "Baby Doll" like Katie (Susannah York), and emotionally abuses her when Katie, in her mind, acts up.
On the set, June (called "Sister George" on and off screen) is more than a bit demanding, jealous of other actors whose popularity ratings are going up, and just a bit angry when it is insinuated by one of the crew members that her days are numbered. June gets rip-roaringly drunk, assaults two visiting nuns in a Taxi, and is reprimanded by Mercy Croft (Coral Browne) of the production staff. Her behavior gets more and more out of control until it all caves in on her and she is indeed prepared to be "killed off".
Even that, June can't take with dignity, and makes funny faces at the truck drivers who "killed her off", which sets the cast and crew tittering. It's not apparent whether or not they love her or take pleasure in watching her downfall, but that's what happens here. Katie obviously has had enough, and Mercy, having visited June at a gay bar to tell her the news of her dismissal, sets her sights on Katie. From there it's just a matter of time before June ("Sister George") has her blowout, and ends up having a breakdown herself, much like Martha did in "Virginia Woolf".
I think that you must be of an artistic, serious dramatic viewing mind, to watch "The Killing of Sister George", and familiar with having seen serious dramatic plays on stage. Every actor is outstanding, and the film is riveting to be sure, but it is deep, even if there is a lot of "black comedy" abound. Then, there is the lesbian issue. The films of the 60's have a bleak take on what living openly was like. Take a look at "Staircase" or "The Boys in the Band" to see the male version of this. These are not happy people.
"Sister George" is only happy when she is the center of attention on the set, or when she is humiliating Katie, punishing her by forcing her to eat her cigar butt. Reid is simply amazing to watch with her boundless energy, York is enchanting, and you certainly won't confuse Coral Browne's Vera Charles ("Auntie Mame") with Mercy Croft. The film shows its theatrical routes which indicates why many plays did better on stage and felt like an acid trip when put on screen.
On the set, June (called "Sister George" on and off screen) is more than a bit demanding, jealous of other actors whose popularity ratings are going up, and just a bit angry when it is insinuated by one of the crew members that her days are numbered. June gets rip-roaringly drunk, assaults two visiting nuns in a Taxi, and is reprimanded by Mercy Croft (Coral Browne) of the production staff. Her behavior gets more and more out of control until it all caves in on her and she is indeed prepared to be "killed off".
Even that, June can't take with dignity, and makes funny faces at the truck drivers who "killed her off", which sets the cast and crew tittering. It's not apparent whether or not they love her or take pleasure in watching her downfall, but that's what happens here. Katie obviously has had enough, and Mercy, having visited June at a gay bar to tell her the news of her dismissal, sets her sights on Katie. From there it's just a matter of time before June ("Sister George") has her blowout, and ends up having a breakdown herself, much like Martha did in "Virginia Woolf".
I think that you must be of an artistic, serious dramatic viewing mind, to watch "The Killing of Sister George", and familiar with having seen serious dramatic plays on stage. Every actor is outstanding, and the film is riveting to be sure, but it is deep, even if there is a lot of "black comedy" abound. Then, there is the lesbian issue. The films of the 60's have a bleak take on what living openly was like. Take a look at "Staircase" or "The Boys in the Band" to see the male version of this. These are not happy people.
"Sister George" is only happy when she is the center of attention on the set, or when she is humiliating Katie, punishing her by forcing her to eat her cigar butt. Reid is simply amazing to watch with her boundless energy, York is enchanting, and you certainly won't confuse Coral Browne's Vera Charles ("Auntie Mame") with Mercy Croft. The film shows its theatrical routes which indicates why many plays did better on stage and felt like an acid trip when put on screen.
Beryl Reid gives a terrific performance in this overlooked comedy drama from Robert Aldrich, one of Hollywood's most underrated directors.
Infofreak15 January 2004
Robert Aldrich is a director who rarely gets the attention he deserves. Ridiculously versatile he made the fascinating Film Noir 'Kiss Me Deadly', the gothic black comedy 'Whatever Happened To Baby Jane?', and the macho "tough guys on a mission" action classic 'The Dirty Dozen' to name just three in a long career. Just to emphasize that he could do just about anything, one of the first movies he made after 'The Dirty Dozen' was 'The Killing Of Sister George'. It's hard to imagine two more different movies! George is a very English picture about a much loved soap opera star (played by Beryl Reid) who has to juggle a career crisis with a complex lesbian relationship (her lover being played by Susanna York). Reid was well known to British audiences through her TV work, especially a couple of highly popular John Le Carre adaptations. Reid originated the Sister George role on the stage and she really makes the most of it in this movie. Her performance is terrific, hilariously bitchy and also very sad and pathetic. York is also good, and the lesbian subject matter must have been very shocking for the time. It may look a little dated now, but in context it is quite sensitively handled. There are some great actors in the supporting cast, most notably Coral Browne ('Theatre Of Blood') who plays a TV producer who has her eye on York. 'The Killing Of Sister George' deserves a bigger audience. I highly recommend it and hope that anyone who enjoys it looks further into the career of the Robert Aldrich, a seriously underrated film maker!
The Best of Beryl Reid
JLRMovieReviews30 January 2013
Warning: Spoilers
Beryl Reid gives the performance of a lifetime in this film about lesbian roommates, one of which is an actress. The main plot revolves around the possibility of Beryl Reid's character on a TV show being written off (the show.) Her relationship with roommate Susannah York is very interesting. But, suffice it to say, Beryl is very dominating, possessive, and demanding. She wants to know where she's been all the time and likes to throw her weight around. At middle age and with extra weight, she is no longer the beauty she once was, and, as someone points out to her late in the film, she is not the ideal desired sex object for young women. To describe this film with mere words really doesn't do the film justice. Granted Beryl's performance is the whole show. But the movie is an experience you're not likely to forget, especially with a love scene between two ladies near the end of it. Coral Browne is quite good and memorable in her role as well. But "The Killing of Sister George" belongs to Beryl Reid and this film's hard-to-find status is only hurting people's chances at seeing Ms. Reid at her best.
Aldrich and a flawed humanity
jromanbaker25 June 2018
Warning: Spoilers
This review gets away from the Lesbian content, and mentions a little more about the director Robert Aldrich. There are famous commentators on the cinema that make claims on his decline towards the end of his career. The Killing of Sister George is put into the same category as Whatever Happened to Baby Jane. This I do not agree with (discounting Baby Jane and its own self-contained effectively Gothic world) as I believe Aldrich returns in Sister George to the same emotional depths of pain and endurance as films like Autumn Leaves and above all The Big Knife (perhaps his greatest masterpiece). In The Big Knife, an actor is burnt out of the media system in a similar way; Coral Browne as Rod Steiger. Even the howl of utter anguish at the end is similar if not the same as the cry of horror that Ida Lupino gives in The Big Knife. And the physical abuse that lovers inflict on each other: the cigar butt eating scene in Sister George mirrors the crashing of the typewriter on Joan Crawford's hands in Autumn Leaves. The Aldrich vision is stark and seemingly cold; but it is the burning coldness of fire. This is rightly a bold film on Lesbianism. It is an Aldrich view of it, as mental illness was in Autumn Leaves, and the picture of both are of their time. What is timeless is the consistency of vision and the contemplation of a flawed humanity
Pure and underrated gem
searchanddestroy-14 June 2019
Probably the best movie made among lesbians, and made by a director specialized in pure men's topics. Yes, Bob Aldrich gave us male movies, such as : ATTACK, DIRTY DOZEN, FLIGHT OF THE PHOENIX, TOO LATE THE HEROES, ULZANA'S RAID, LONGEST YARD, EMPEROR OF THE NORTH POLE, TWILIGHT LAST GLEAMING, but he also made movies for women, at least showing mostly women: HUSH HUSH SWEET CHARLOTTE, WHATEVER HAPPENED TO BABY JANE, KILLING OF SISTER GEORGE, LEGEND OF LYLAH CLARE, CALIFORNIA DOLLS...It is a very daring subect, especially for this era, late sixties.
Enthralling 1960s minor classic still works well.
wadechurton9 January 2011
Warning: Spoilers
Firstly, it's not about lesbians per se; it's about these two particular lesbians and the final days of their long, twisted relationship. More importantly, it's about one woman's slow, sad self-destruction. 'TKoSG' was based on a stage play, but rest assured the movie is a satisfyingly 'cinematic' experience, realised with skillful editing and excellent direction. Amazing that director Robert Aldritch went from macho WW2 caper 'The Dirty Dozen' to this female-dominated character-driven 'small-scale' movie. 'TKoSG' bears repeated watching to catch the subtler portents. George is monstrous but not a monster; though petty and self-obsessed to the point of becoming oblivious to the spiraling degeneration of her personal and professional life. The most complex, enigmatic character is George's TV boss Mercy Croft, who a first seems disconcertingly snooty, condescending and unpleasant. In fact, it is the widowed Mrs Croft who (arguably) acts with the most genuine humanity; instantly recognising an abusive relationship and making moves to rescue Alice from it. She constantly endeavours –until finally pushed too far- to break bad news with sensitivity and treat George with due respect, including lining her up a new job. Even the blatant display of homosexual affection at the Gateways Club barely fazes her. Her only miscalculation is that she does not fully see Alice for the unstable, pathologically dependent person she is. While some of the more superficial elements have become dated, the great acting (including the smaller roles) remains a pleasure. Only Susannah York lets the side down just a little with an occasionally self-conscious performance. Also, it may be just me; but the (deliberately?) garish manner in which George's prostitute friend is presented gives an oddly 'David Lynch' vibe (that's not completely unwelcome, though). The ending, when George finally realises just what has happened and how, is unforgettable. All in all, a very entertaining, emotionally engaging movie from the late 1960s with only a thin dusting of 'quaint' to show for all those years. And for aficionados there's the bonus of some truly groovy neo-psychedelic soundtrack music at the Gateways Club party.
Well-Acted, but Don't Expect a Lesbian "Boys in the Band"
ScottAmundsen4 January 2012
Warning: Spoilers
The same year that Mart Crowley's landmark play about Gay men in New York, THE BOYS IN THE BAND, opened off-Broadway, Robert Aldrich, one of Hollywood's brightest and most versatile voices, gave us the distaff version with his adaptation of Frank Marcus's play THE KILLING OF SISTER GEORGE. Two years later, William Friedkin would bring Crowley's work to the screen, with much better results than Aldrich achieves here, but I think it is only fair to point out that, flaws and all, Marcus and Aldrich got there first.
And they brought a cast of heavy-hitters with them: Beryl Reid, a force of nature as June Buckridge ("Sister George," a nurse on a popular soap opera), Susannah York as her somewhat infantile lover "Childie," and the third point in the triangle, a serpentine BBC executive by the name of Mercy Croft, played to a fare-thee-well by Coral Browne, who has a dual agenda: telling June that she's been sacked and stealing Childie from her into the bargain.
The acting by all three of these women is, in a word, sensational. Reid in particular dominates the proceedings: June Buckridge is an unpleasant, loud, obnoxious woman who is abusive to her lover. York, however, it must be said, is no slouch in the role of the submissive Childie; in fact, there is one scene with a cigar butt where Childie turns the tables on "George" with devilish glee. And Browne as Mrs Croft is a perfect foil for the both of them: a serpent in a Chanel suit; oozing style from every pore while scheming to get her way.
The only problem is that the basic situation really isn't enough to hang a two-hour-and-eighteen-minute movie on. With THE BOYS IN THE BAND, setting the proceedings at a birthday party allowed the drama to unfold almost in real time, with room for a cast of nine actors crammed into a fancy Village apartment; the claustrophobic nature of the set actually works in the film's favor.
Unfortunately, GEORGE is a bare-bones story of an aging actress about to lose a job that she has grown to take for granted, much as she takes for granted her lover, a woman who retreats into her dolls when under stress and whom George abuses mercilessly. Childie, as I mentioned, sometimes gets her own back, and once or twice we see some real affection between the two women, but halfway through this thing I found them both quite unbearable and I had a hard time swallowing the notion that either of them would stand for the other's nonsense for so many years. The addition of Mrs Croft to the proceedings does add a little something extra, but though Browne works hard, the part is underwritten and we really don't understand what motivates her. Is she really attracted to Childie, or is she just a bitch out to get George, and taking her lover just an added bit of venom? In the end we are forced to draw our own conclusions. And June, as difficult as she has been, is most certainly the one left with the short end of the stick as the curtain falls.
The sex scene, which garnered a lot of press in its day, and which in fact is a pivotal moment, is frankly the movie's low point. Much was made at the time of Susannah York's reluctance to play the scene; I do not know if there was any truth to that, but Browne's icy-cold approach to the "seduction," her fixation on one of York's breasts as if it were a rare specimen of beetle under a microscope, and York's orgasm, which sounds more like a blood-curdling scream of pain than ecstasy, all add up to what must be the most unpleasant seduction scene in film history.
At the end of the day, this is a film worth seeing for the performances (Reid's in particular), and for its historical importance, but it's a rather unpleasant business, and goes on way too long; frankly, by the time the thing finally ended, I was ready to take a hatchet to all three of them.
And they brought a cast of heavy-hitters with them: Beryl Reid, a force of nature as June Buckridge ("Sister George," a nurse on a popular soap opera), Susannah York as her somewhat infantile lover "Childie," and the third point in the triangle, a serpentine BBC executive by the name of Mercy Croft, played to a fare-thee-well by Coral Browne, who has a dual agenda: telling June that she's been sacked and stealing Childie from her into the bargain.
The acting by all three of these women is, in a word, sensational. Reid in particular dominates the proceedings: June Buckridge is an unpleasant, loud, obnoxious woman who is abusive to her lover. York, however, it must be said, is no slouch in the role of the submissive Childie; in fact, there is one scene with a cigar butt where Childie turns the tables on "George" with devilish glee. And Browne as Mrs Croft is a perfect foil for the both of them: a serpent in a Chanel suit; oozing style from every pore while scheming to get her way.
The only problem is that the basic situation really isn't enough to hang a two-hour-and-eighteen-minute movie on. With THE BOYS IN THE BAND, setting the proceedings at a birthday party allowed the drama to unfold almost in real time, with room for a cast of nine actors crammed into a fancy Village apartment; the claustrophobic nature of the set actually works in the film's favor.
Unfortunately, GEORGE is a bare-bones story of an aging actress about to lose a job that she has grown to take for granted, much as she takes for granted her lover, a woman who retreats into her dolls when under stress and whom George abuses mercilessly. Childie, as I mentioned, sometimes gets her own back, and once or twice we see some real affection between the two women, but halfway through this thing I found them both quite unbearable and I had a hard time swallowing the notion that either of them would stand for the other's nonsense for so many years. The addition of Mrs Croft to the proceedings does add a little something extra, but though Browne works hard, the part is underwritten and we really don't understand what motivates her. Is she really attracted to Childie, or is she just a bitch out to get George, and taking her lover just an added bit of venom? In the end we are forced to draw our own conclusions. And June, as difficult as she has been, is most certainly the one left with the short end of the stick as the curtain falls.
The sex scene, which garnered a lot of press in its day, and which in fact is a pivotal moment, is frankly the movie's low point. Much was made at the time of Susannah York's reluctance to play the scene; I do not know if there was any truth to that, but Browne's icy-cold approach to the "seduction," her fixation on one of York's breasts as if it were a rare specimen of beetle under a microscope, and York's orgasm, which sounds more like a blood-curdling scream of pain than ecstasy, all add up to what must be the most unpleasant seduction scene in film history.
At the end of the day, this is a film worth seeing for the performances (Reid's in particular), and for its historical importance, but it's a rather unpleasant business, and goes on way too long; frankly, by the time the thing finally ended, I was ready to take a hatchet to all three of them.
Underrated 1960's British black comedy. A must-see
foz-320 June 1999
Anyone who likes gritty, clever, slightly comical drama should see this one. The plot is simple enough - an alcoholic gay actress worried about her future in a top Coronation Street-style soap opera - but the way the film is put together is pithy without being too complex - the characterisations are brilliantly satirical, showing up the worst side of the soap opera industry and its catty, backstabbing nature. You don't find yourself feeling sorry for anyone at the end of it apart from perhaps Susannah York. Lots of London-in-the-1960s location filming and familiar faces - I'm only surprised that John Le Mesurier doesn't appear in it. In a word - absorbing. Why don't they make them like this anymore?
Very amusing with vitriolic dialogue!
bsfraser200320 June 2006
A supremely entertaining film I thought, WAY ahead of it's time for the content and theme. The 'showdown' scene between 'Sister George' (Reid) and 'Mercy Croft'(Browne) was excruciatingly funny! a two way band of vitriolic hatred-the dialogue was bitchy and vitriolic in the extreme, overall an excellent movie that contains pathos/paranoia/jealousy/mind-games/spite and vast amounts of HUMOUR!! The fashions and locations are very 'period' of the time-Late sixties. A very good script that never let's you down-you almost can't wait for the next injurious insult/put-down to be heard-I truly believe the way those sentences were constructed were very over the top, but somehow very real and true to life - even now.
It's a super pre-Stonewall lesbian film!
NicoleBonnet113 October 1998
Only fault - too long
selffamily6 February 2022
Warning: Spoilers
I grew up knowing Beryl Reid as Marlene, the Brummie character, in her comedic sketches. She had perfect timing and could be extremely funny. In this film, she uses that timing skill to perfection and pulls you by the heart strings through her traumas and disasters. She is an older woman, playing a part in a country soap serial on tv, but is being usurped as favourite character by a newly introduced creature, Ginger, the pub landlord. Sensing that her days in the serial are coming to an end, she over indulges with booze, and then runs amok. Reaching home, we learn that she has a partner, a girlfriend, who is extremely emotionally backward and has a huge collection of dolls. It's not an even relationship in most ways, 'George' is a bully; 'Childie' a manipulator.
When the inevitable does happen, George falls apart and her girlfriend deserts her for another. You can't help but wonder if there is a future for George.
This was made in London, in the 60s, and has all the flavours of that time. Beryl Reid is brilliant, Susannah York as Childie less compelling but adequate. Coral Browne as the interloper is barely present. The rest are just scenery.
Wonderfully made, completely absorbing to watch but of course somewhat dated now.
When the inevitable does happen, George falls apart and her girlfriend deserts her for another. You can't help but wonder if there is a future for George.
This was made in London, in the 60s, and has all the flavours of that time. Beryl Reid is brilliant, Susannah York as Childie less compelling but adequate. Coral Browne as the interloper is barely present. The rest are just scenery.
Wonderfully made, completely absorbing to watch but of course somewhat dated now.
WOW - Ultimately Fascinating if you finish it
ARetroworld26 October 2021
This is one of the slowest burning, most difficult films I've ever watched. But it's also one of the most fascinating.
Avoid spoilers, and go in knowing only that it revolves around a lesbian actress (a fact revealed in the first few minutes of the film) whose popular character is possibly going to be killed off from her long-running series, and her relationship with a younger woman. Of course, there's much more involved...
Challenge yourself and stick with it.
You'll always remember this unique film.
Avoid spoilers, and go in knowing only that it revolves around a lesbian actress (a fact revealed in the first few minutes of the film) whose popular character is possibly going to be killed off from her long-running series, and her relationship with a younger woman. Of course, there's much more involved...
Challenge yourself and stick with it.
You'll always remember this unique film.
Too long and rather awful, but not uninteresting
bribabylk3 February 2011
"Sister George" turns out to be an unpleasant person to spend 2 1/2 hours with. She's loud and obnoxious, with a hair-trigger temper, and is prone to throwing screaming tantrums over even trivial matters; one wonders how she managed to keep her job as long as she did. This doesn't help the movie, which as a whole is big and broad and overstated; there's a slapstick quality to even the dramatic moments. The dialogue is fatuous and artless; people shout and argue a lot but no one really says anything. I'm no film student, but even the direction seemed bad. As if the words weren't obvious enough, there are lots of lingering close-ups of the actors giving exaggerated facial reactions to slam home the idea of what they're supposed to be feeling. There's a scene in a very small, very crowded lesbian club, and the way the camera weaves through the crowd, showing various same-sex couples slow-dancing, is supposed to be shocking and salacious, but only comes off as rather clumsy. Most of the subtlety in the film is reserved for the glimpses we get of "Applehurst", a gentle soap opera (parody) on which "Sister George" is a featured character. I've read that the author of the play from which the movie is taken has said that it wasn't supposed to be a serious study of lesbianism, and that's good, because it isn't. The relationship between Beryl Reid and Susannah York is distasteful: verbally and psychologically abusive with hints of sado-masochism. The film reinforces those awful stereotypes of older, butch lesbians preying on younger, more feminine women.
One of the few elements of the movie that kept me watching was Coral Browne. She made an interesting contrast with Beryl Reid; Browne is actually more mannish-looking than Reid, with a large, strong face, but this is offset by her elegant style of dress and manner. Whereas Reid is all bombast and outwardly-exploding emotion, Browne's character is controlled and well-spoken, exuding an icy, almost reptilian vibe. Her sex scene with York is the movie's apex of unintentional humor, though; the faces she makes as she's bringing York to climax had me rolling.
I would say the film's chief merit is as a curio of its time, and the then rarity of the subject matter with which it deals, however ridiculously.
One of the few elements of the movie that kept me watching was Coral Browne. She made an interesting contrast with Beryl Reid; Browne is actually more mannish-looking than Reid, with a large, strong face, but this is offset by her elegant style of dress and manner. Whereas Reid is all bombast and outwardly-exploding emotion, Browne's character is controlled and well-spoken, exuding an icy, almost reptilian vibe. Her sex scene with York is the movie's apex of unintentional humor, though; the faces she makes as she's bringing York to climax had me rolling.
I would say the film's chief merit is as a curio of its time, and the then rarity of the subject matter with which it deals, however ridiculously.
Still powerful, relevant, and sensuous
JulieKelleher5730 July 2003
This movie is a heck of a lot more relevant than more recent films dealing with lesbianism -- the shallow, lame DESERT HEARTS comes to mind. Though over two hours long, TKOSG held me with little effort. The action moved freely from the studio to the apartment to the pub. And the seduction scene was totally erotic and ... well ... never mind. Was this particular scene overly long? Only to a generation raised on sex scenes which rarely last as long as it takes to cook a three-minute egg. Explicit? Grow up!
And the performances ... wow! I had no problem with the hold George had over Childie, with Beryl Reid's superior portrayal complemented perfectly by Susannah York's fragile and, at the same time, forceful Childie. I must admit, York was a bit over the top in the beginning, but I wouldn't say that if I didn't count her as one of my all-time favorite actresses. And how about Coral Browne -- she was sensational! Sublty menacing, eerily sensuous -- and when I realized this was the same woman from AUNTIE MAME and LYLA CLARE, well, I nearly fell off my chair. I love this lady!
And the performances ... wow! I had no problem with the hold George had over Childie, with Beryl Reid's superior portrayal complemented perfectly by Susannah York's fragile and, at the same time, forceful Childie. I must admit, York was a bit over the top in the beginning, but I wouldn't say that if I didn't count her as one of my all-time favorite actresses. And how about Coral Browne -- she was sensational! Sublty menacing, eerily sensuous -- and when I realized this was the same woman from AUNTIE MAME and LYLA CLARE, well, I nearly fell off my chair. I love this lady!
Maybe a bit too shocking even in this day and age for some viewers
tony-peterson19 March 2006
The Killing of Sister George (1968) THE KILLING OF SISTER GEORGE tells the story of June Buckridge, a middle-aged actress who portrays "Sister George" in a cosy weekly British TV soap opera called "Applehurst".
In the show June, as "Sister George", is a sweet and charming District Nurse loved by all, but off-screen she has a more sinister side to her personality: she's a hard-drinking, foul-mouthed, cigar smoking lesbian, totally insecure in her relationship with the much younger Alice "Childie" McNaught (Susannah York).
Into this insecure relationship arrives the spidery Mrs. Mercy Croft (Coral Browne), who indirectly gets June sacked from her television role and seduces June's lover into the bargain.
Beryl Reid is sensational as June Buckridge. Using a wide variety of acting skills she makes the character completely her own. It's a memorable performance, but perhaps a bit too theatrical at times.
Coral Browne fairs a bit better and simply oozes fake charm and arch superiority. She's positively malevolent. Her every line of dialogue and facial expression seem to drip with evil intent. What a great performance.
Susannah York is a bit hard to take as "Childie". She's simply the wrong actress for the role because she appears to be too old and her personality is too "strong" for someone who is supposed to have been dominated by her lover.
The film, directed by Robert Aldrich, will be a bit too full-on for most audiences. In the play on which the film was based, the lesbian relationship was only hinted at, never really mentioned. But in the film, however, Aldrich hits you over the head with it again and again.
Be warned: the trip to The Gateways Club (a lesbian bar) maybe a bit too shocking even in this day and age for some viewers.
A good film, but it could do with some pruning, but definitely worth seeing for Beryl Reid and Coral Browne's performances.
In the show June, as "Sister George", is a sweet and charming District Nurse loved by all, but off-screen she has a more sinister side to her personality: she's a hard-drinking, foul-mouthed, cigar smoking lesbian, totally insecure in her relationship with the much younger Alice "Childie" McNaught (Susannah York).
Into this insecure relationship arrives the spidery Mrs. Mercy Croft (Coral Browne), who indirectly gets June sacked from her television role and seduces June's lover into the bargain.
Beryl Reid is sensational as June Buckridge. Using a wide variety of acting skills she makes the character completely her own. It's a memorable performance, but perhaps a bit too theatrical at times.
Coral Browne fairs a bit better and simply oozes fake charm and arch superiority. She's positively malevolent. Her every line of dialogue and facial expression seem to drip with evil intent. What a great performance.
Susannah York is a bit hard to take as "Childie". She's simply the wrong actress for the role because she appears to be too old and her personality is too "strong" for someone who is supposed to have been dominated by her lover.
The film, directed by Robert Aldrich, will be a bit too full-on for most audiences. In the play on which the film was based, the lesbian relationship was only hinted at, never really mentioned. But in the film, however, Aldrich hits you over the head with it again and again.
Be warned: the trip to The Gateways Club (a lesbian bar) maybe a bit too shocking even in this day and age for some viewers.
A good film, but it could do with some pruning, but definitely worth seeing for Beryl Reid and Coral Browne's performances.
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