With its irresistibly catchy tune and British New Wave trimmings, this off-beat Cinderella story (or is it an anti-Cinderella story?) remains smashing entertainment. Neatly handled, without rubbing our faces in ‘mod’ style or overplaying the whimsical tweaks of conventional mores, director Silvio Narizzano gets the tone just right for sexual roundelay as sentimental farce. Lynn Redgrave is plumply delicious as Georgy, eternal third-wheel, a frump who triumphs thru niceness when the hip couple she rooms with (Charlotte Rampling & Alan Bates) fall apart after marriage & a new baby. Unexpectedly, love is redirected her way. Or rather, comes to her once more as she’s long been the object of affection of her parents’ wealthy/randy employer James Mason. The twists in the plot complicated by the fact that at the time Alan Bates was just about the most appealing fellow on the planet. Everything is deftly handled in Peter Nichols’ extra-sharp script, tucking in character corners like a well-made bed, and nimbly skipping over any trouble spots. Working with book author Margaret Forster, you can’t help but notice echoes from ‘50s classics like GIGI and SABRINA (her teen faves?), but with satisfying flips. A feel-good film without any nasty aftertaste.
ATTENTION MUST BE PAID: Did any classic Hollywood star move as effortlessly and confidently thru changing post-studio era cinematic styles as James Mason?
DOUBLE-BILL: From the same year, MORGAN!, a more iconoclastic tear-down-the-walls piece of rom-com 60s political anarchy (British New Wave division), now looking uncomfortably pushed.
CONTEST: Actor (and HARRY POTTER audio book giant) Jim Dale co-wrote that fab title tune. What’s his other major connection to co-scripter Peter Nichols?
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