Excellent adaptation.

best movie i've ever seen.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Passed over by men, a dowdy girl in 60's London manages a fairy tale ending with little help from her friends. Looks like this 50-year old ditzy flick has lost its cutting edge, and in the process, now looks plain silly. A frumpy lead, swinging London, and loosening morals may have set a chic tone then, but not now. Now there's nothing to smooth over the annoying Jos, the witchy Meredith, or the implausible James. Georgy's plain-girl plight is sympathetic and trans-generational, but not enough to compensate. Instead, the overdone antics are just too many. Note too, rather surprisingly, that it's ultimately the British establishment that's affirmed and not the swingers. It's businessman James's & his care of the baby that projects the future.Anyway, there are scattered good moments as when Georgy's natural innocence cavorts freely with the kids. Also, given the temptations, expert actress Redgrave refuses to milk her sympathetic part. But overall, the movie resembles a spicy cookie that's since crumbled into too many unsavory bits. But at least the delightful title tune survives.

22-year old Georgina (Lynn Redgrave) is perky and funny and undeniably frumpy. She wishes she were more like her pretty (but self-centered) roommate (Charlotte Rampling) who's always being invited to parties and has a handsome boyfriend (Alan Bates). The only man who seems to want Georgy is her father's boss (James Mason), a rich and married older man who has ogled her for years.This is a sweet comedy/romance that lacks a real Prince Charming but does have a strong woman with a huge capacity to love. Georgy ends up with someone to devote her life to, though whether it is a happy ending is left to the viewer. The spirited theme song by the Seekers was a big hit when the movie came out in 1966; it reflects the happy-go-lucky mod attitude that had taken over the world. Redgrave is endearing as Georgy, Rampling is suitably shrewish, Bates is a very cute cad, and Mason makes for an off-putting but convenient lecher.The movie is engaging, funny, and touching and a good reflection of mid-sixties London.

Georgy Girl is truly an amazing little film. What makes it stand out? The acting. These people are actors. Every actor training today should watch these people. Every glance, every laugh, every move these actors make is real and true and just perfect in it's delivery. The story itself isn't really all that fascinating or attractive. There are some really odd characters here. One would think that Georgy, who is also odd, would want to run as fast as she can to get away from these people. But Georgy takes an awkward situation and turns it into something great for herself and her new baby.Every person who has ever felt lonely or unappreciated despite how hard they try will probably find something here to identify with and that is one reason why people will love this film.

Marvelous film, an extension of the British kitchen-sink dramas from earlier in the decade (but with a friskier spirit), introduced audiences to Vanessa Redgrave's kid sister, Lynn (in an Oscar-nominated performance). She's Georgina, a too-tall, plain and frumpy, kissless clown, a nursery school teacher who plays second-fiddle to her more beautiful flat-mate--and harbors a crush on her pal's sexy boyfriend in the bargain. While dodging the advances of her father's wealthy employer, Georgina also serves as nursemaid to her roommate when she becomes pregnant, never dreaming of the circumstances to follow. From Margaret Forster's novel, which she co-adapted with Peter Nichols, the film is visually alive, stylish and skittering about with "free and easy" abandon (yet with moral choices and a sobering heart at its center). Redgrave is nothing short of fabulous here; her "Georgy" is often slumped over sulking, an easy mark with little sense of humor--she's either completely inflexible or terribly over-eager. The writing is so clever and enticing for everyone on-screen that the supporting characters tend to upstage Redgrave (and, indeed, her moods are exasperating near the end), but Lynn is a wonderful presence. Also excellent: Charlotte Rampling as pregnant Meredith (who gets the film's most viciously funny lines), Alan Bates as her devilish lover, and James Mason as the older man who is the first to harbor a fancy for our heroine. A delightful bit of comedy-drama, one of the few from this era not to use 'mod' touches to set the time and place. It is as fresh and breezy today as in 1966. *** from ****