IMDb RATING
6.9/10
3.9K
YOUR RATING
A traditional girl (Lynn Redgrave) resists the advances of a swinger (James Mason) who wants her as his mistress in 1960s London.A traditional girl (Lynn Redgrave) resists the advances of a swinger (James Mason) who wants her as his mistress in 1960s London.A traditional girl (Lynn Redgrave) resists the advances of a swinger (James Mason) who wants her as his mistress in 1960s London.
IMDb RATING
6.9/10
3.9K
YOUR RATING
- Director
- Writers
- Margaret Forster(screenplay)
- Peter Nichols(screenplay)
- Stars
- Director
- Writers
- Margaret Forster(screenplay)
- Peter Nichols(screenplay)
- Stars
- Nominated for 4 Oscars
- 6 wins & 17 nominations total
Jolyon Booth
- Registry Office Clerk
- (as Jolyan Booth)
Jack Arrow
- Party Guest
- (uncredited)
Hyma Beckley
- Party Guest
- (uncredited)
Alec Bregonzi
- Beauty Salon Manager
- (uncredited)
Pauline Chamberlain
- Wedding Guest
- (uncredited)
Norman Fisher
- Wedding Guest
- (uncredited)
- Director
- Writers
- Margaret Forster(screenplay) (novel)
- Peter Nichols(screenplay)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaVanessa Redgrave backed out of the role of Georgy just before shooting started. Her sister Lynn picked up the part instead.
- GoofsIn the early scene at the piano where Georgy's father has brought her a dress to wear to a birthday party, she's wearing glasses when he starts to say, "Oh, please yourself," but not wearing them before he finishes the line.
- Quotes
Ted: Your wife is at peace, Mr. James. A quick and merciful death. I don't suppose she ever knew what hit her.
James Leamington: Something hit her?
- ConnectionsFeatured in The Lady with the Torch (1999)
Review
Featured review
60s London well worth a (re)visit
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."
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."
helpful•495
- warrenk-2
- Jan 24, 2006
Details
Box office
- Budget
- $400,000 (estimated)
- Runtime1 hour 39 minutes
- Color
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