BBC Play of the Month: Season 8, Episode 1

The Millionairess (25 Sep. 1972)

TV Episode  -   -  Drama
7.6
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Ratings: 7.6/10 from 93 users  
Reviews: 2 user | 2 critic

Epifania is the richest woman in England. She's also strong-willed, highly intelligent, fiercely determined and an expert at Judo, which makes her hard to live with. She's also married, but... See full summary »

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Title: The Millionairess (25 Sep 1972)

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Episode complete credited cast:
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James Villiers ...
...
Priscilla Morgan ...
...
Donald Pickering ...
Hotel Manager
John Garrie ...
The Man
Avril Angers ...
The Woman
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Storyline

Epifania is the richest woman in England. She's also strong-willed, highly intelligent, fiercely determined and an expert at Judo, which makes her hard to live with. She's also married, but her husband is now in love with another woman. She's also seeing another man socially, but he seems to be more interested in his food than her. Will or can this poor little rich girl ever find true happiness? A chance meeting with an Egyptian doctor may prove interesting... Written by Tony Scheinman

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25 September 1972 (UK)  »

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1.33 : 1
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Quotes

Dr. Ahmed el Kabir: [referring to Epifania] There is no Might and no Majesty save in Thee, oh Allah, but oh most great and glorious... is this another of Thy terrible jokes?
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Version of The Millionairess (1960) See more »

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User Reviews

 
The wealthiest woman in England finds a new kind of love when she leaves her useless husband for an Egyptian doctor who only tends to the poor.
12 May 2007 | by (United States) – See all my reviews

A late comedy from G. B. Shaw about . . . wait for it . . . Economics: or How Britain's Wealthiest Heiress Dumped Her Useless Philandering Husband, Her Useless Ne'er-do-well Escort and Found Happiness With an Egyptian Doctor to the Poor. Shaw wrote this one to be acted in UPPERCASE and that's just how the cast plays in this BBC Play of the Month production. You have to hang in there during the opening scene as Shaw carefully lays out the relationships & themes, but this gives us time to adjust to the larger-than-life theatrical style the stellar cast use. It's no surprise to find Maggie Smith a mannered marvel, but note how subtly she trims her style as the play deepens in feeling & philosophy into a more naturalistic mode without losing Shavian attitude or altitude. (She must prove herself to the good doctor by living for six months on just her wits & labor.) By Act II, Smith's become a warm beauty after her off-putting entrance. Only Wendy Hiller has equaled her at turning Shaw's female paradoxes into people. The play remains minor Shaw, but it grows on you. Nice shiny transfer from the original PAL video system, too.


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