Feb 09
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Movie Title: Georgy Girl
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Lynn Redgrave stars as Georgy, an awkward young woman living in 60s swinging London. Her roommate Meredith (Charlotte Rampling) is ravishing and has men lining up to woo her, including her somewhat clownish long-time beau, Jos (Alan Bates) . Dreadful Georgy has only James (James Mason) chasing after her; he’s the remarkable older employer of her butler father. However, clearly Georgy wants noteworthy more – will she purchase chances to catch the life she desires?

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“Georgy Girl” is a suited movie that flawlessley combines comedy and drama. I had keep off watching this movie, as I plan it would be another dated comedy from the era. However, the film is fairly universal in theme and technique. As is typical for movies of this era, there’s a sadness underlying all the wacky shenanigans and a plethora of legal issues bubble under the surface. Many hit movies from the 60s explored correct issues – here it’s all about monogamy and marriage. However, very few movies from that era stand up this well; the film never comes across as preachy or over-reaching.

All elements blend beautifully in “Georgy Girl.” Lynn Redgrave gives the performance of her career – she manages to effect Georgy by turns wacky and vulnerable, but always endearing. She deservedly won the Golden Globe for Best Actress (Musical/Comedy) and was nominated for an Oscar. Alan Bates is also very salubrious, although toward the waste he starts to be a bit grating. He was nominated for a Golden Globe but passed over by the Oscars. Finally, James Mason was Oscar nominated for his role as Georgy’s pursuer. Credit should also go to director Silvio Narizzano who balances all of this craziness, allowing the gloomy to shine through the laughs; unfortunately, his career peaked with this danger – none of his previous or subsequent films made worthy impact.

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Perhaps my well-liked portion of the movie is the title and slay credits, over which the Seekers’ hit song “Georgy Girl” plays. I’ve heard the song a million times, never paying finish attention to the lyrics. However, in the title sequence, the song perfectly sums up Georgy as she walks down a crowded British street. Redgrave’s acting is impeccable here – title sequences don’t usually require grand acting, but she totally scores. Likewise, the song plays over the extinguish credits, again neatly summarizing what has happened and where everyone will go from here. The lyrics for this portion of the song apparently aren’t in the hit single version, so you won’t know the ending unbiased from having heard the song.

In some ways, “Georgy Girl” is a precursor to “Muriel’s Wedding” and any number of other movies about so-called `ugly ducklings’ who catch their confidence before the slay credits roll. However, this genre has never been done so well as here. Overall, “Georgy Girl” is a gargantuan surprise: a nearly perfect comedy that deftly explores some potentially difficult topics. Most highly recommended.

Another of those films from the Sixties that one tends to remember as being better than it really is, Georgy Girl is nonetheless an delightful small comedy – even if its style and attitudes now seem more quaint than innovative or even hideous. If nothing else, it has probably the catchiest theme song of any film from that music-obsessed era.

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Lyyn Redgrave is the title character – an eternal optimist with a hastily wit, an begin mind, and a body that was definitely out of dwelling in a decade when everybody was nearly anorexic. She, of course, wants to be loved but fears that no man would want her. Incredibly, a couple of blokes do. One of them is James Mason, the well-to-do and unhappily married employer of Georgy’s parents – a pair of morally uptight domestics. Mason, who has always had a “fatherly” interest in Georgy, now wants her to be his mistress and puts his proposition in the effect of a business offer. (“Will we have annual meetings? ” asks Georgy.) Her other suitor – albeit initially a reluctant one – is Georgy’s flatmate’s randy boyfriend. As played by Alan Bates, he is a incredible mix of easy charm, hobble, insecurity, lust and entertaining one-liners, and easily steals most of the scenes he’s in. Georgy’s flatmate is the delightful Charlotte Rampling who is not only extremely sexy but manages to raise self-interest to an art gain.

In this atmosphere of free savor and loose morals, Bates gets Rampling pregnant, has a hurry with Redgrave before the birth, then, when Rampling realises she is not the maternal type and walks off, Bates and Redgrave station up house together with the baby. But Georgy, of course, loves the baby more than anyone and responsibility-shy Bates has no more interest in being a father than Rampling did in being a mother. Exit Bates, re-enter James Mason…

Despite these somewhat slow circumstances, the film plays everything mostly for laughs. Stuck in their drab sad and white surroundings, the characters seem to refuse to recall anything too seriously. That is left for the older generation to do, as exemplified by Bill Owen as Georgy’s father and gentleman’s gentleman to Mason. A peer of disapproval sits permanently on his craggy face. This supporting performance is wonderful, especially considering that Owen later became a national favourite by playing a rascally feeble reprobate in a long running British sitcom.

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Georgy Girl remains an scrumptious film primarily because it is filled with wonderfully quirky performances. Support in the Sixties, it seemed rather valiant but it is very tame by today’s standards. It is a typical film of its time – very Sixties and very British. American viewers may have to strain on occasion to procure all the dialogue and bits of slang may remain a mystery. But Georgy Girl remains a more fair and affecting romantic comedy than most of today’s contrived output.
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