Georgy Girl (UK, 1966)

Not Georgy

Not Georgy

I’m planning to teach ‘sixties UK cinema this year so took the opportunity of watching Georgy Girl for ‘free’, via a PS3, as part of my Lovefilm subscription. I ended up shoving another 19 items onto my ‘watchlist’ including a number of tasty ‘world cinema’ offerings. As in music, we live in a time that offers a cornucopia of films and finding time to watch them all, and listen to the music, almost makes me yearn for the days of ‘drought’. In the 1970s there were three terrestrial television channels in the UK which meant there were three channels available. The system of ‘barring’ meant it was five years before films could be shown on television after it was released. There was a decent library of 16mm films for hire but that required specialist equipment.

So, no I’m not yearning for the ’70s. During that decade videocassette started the revolution in home entertainment that is now moving online; there’s little point in buying DVDs unless you’re going to study the film. This dip into the past was partly instigated by watching Georgy Girl as I remembered The Seekers’ theme tune being a hit at the time (I was four!). According the wikipedia, the film was too.

It was funded by Columbia Pictures who, along with other Hollywood studios, assumed that because London was ‘swinging’ it was also ‘where it’s at’ and money could be made appealing to young people. Robert Murphy (in Sixties British Cinema) names Georgy Girl as one of the few genuinely ‘swinging’ films, and the last in black and white, but it also starred James Mason which, presumably, appealed to an older audience who might have looked askance at the antics of the young people.

Lynn Redgrave plays the titular character, who’s supposedly over-weight and so not attractive, with great verve and she does embody a character who is capable of breaking stultifying tradition. She’s contrasted with her friend, the definitely good-time girl Meredith (Charlotte Rampling – above), who the film does, I think, condemn for her selfishness but Murphy’s also correct when he states: ‘her defiance of conventions of marriage and motherhood gives the film a shocking frisson’ (p. 143).

The film remains engaging, 47 years later, though the (obligatory?) ‘swinging’ scene of a young person running through the streets shouting (and stripping in this film’s case) in defiance of convention does look dated. Alan Bates, looking startlingly like Mel Gibson in his prime, performs the role of Jos with great conviction even when he is stripping off when running through the underground walkways.

Today’s release of the annual Social Trends survey, in the UK, shows how much more tolerant we are, as a nation, of difference. That, I think, is certainly a positive legacy of the 1960s.

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