This third-act meeting reveals that Jim is the weakest of the three and that Georgie, who has coldly rationalised why Jim should leave Amy, is not quite the “fish” Amy dubs her. She apologises to Amy for the trauma the affair with Jim has caused her, but it’s Amy’s reasoning that has moral weight behind it. “Didn’t you have the strength to leave him alone?” she demands of her rival.

with Trevor Howard. The moment passes, but at least Jimbo has put the situation 'out there', and the next day Amy decides to have a confrontation with the three of them, asking that Georgie I have recently become fascinated by the minutiae of certain aspects of film; spotting little-known actors who have become familiar to me for example. My fatherAndrew Ray) and 'the other woman' Georgie (Syliva Syms). Amy is a walking disaster area in terms of her role as a housewife; the flat is a mess, with endless clutter about the place My obsession at the moment is watching people pretend to eat in films and TV, with 'The Big Bang Theory' currently the worst offender. Have you noticed that Sheldon, Leonard et al never S o in WIADG we find basically a four hander; Amy Preston (Yvonne Mitchell, right), her husband Jimbo Preston (Anthony Quayle), their teenage son Brian While director J. Lee Thompson's legacy might lie in the thrillers and action films of his post-British work - from the heights of The Guns of Navarone (1961) and Cape Fear (1962) to the exploitation lows of Death Wish 4 (1987) - his reputation, and ability to diversify, was certainly qualified in the post-war films made in Britain and his contribution to the so called 'social problem' genre. Something of a half-way house between this genre - maturing with the introduction of the X certificate in 1951 - and the arrival of the 'social realism' of the British New Wave is his once neglected but now well regarded Woman in a Dressing Gown(1957). She was born Maureen Rippingale in Chelmsford, Essex, but ran away from home at the age of 16, "aiming to become a star". [2]

Matching the movie’s mise-en-scène to its critique of the retrograde notion that a woman’s place is in the home, Thompson’s cinematographer Gilbert Taylor constantly frames her like a caged beast between table legs or behind window panes. Amy noticeably comes alive outside the mean confines of the flat – raucously so when she goes to the pub with Jim on a Sunday night after one of his secret liaisons with Georgie, later on an expedition to get her hair done in a heartrending attempt to make herself freshly attractive to him. he is clearly a weak character, whereas Amy is shown to have hidden depths) and although the film has a happy ending of sorts it doesn't feel like that now. Wil Amy really change? It The Radio Times Guide to Films gave the film 4/5 stars, writing: "This painfully honest drama, based on a play by Ted Willis, was light years ahead of its time in its treatment of women and their place in marriage. Yvonne Mitchell stars in a role that should have seen her showered in awards. Her portrayal of clinical depression is stunning in its depth and understanding, and director J Lee Thompson pulls no punches in his exploration of a partnership gone sour with the intrusion of a younger woman. In many ways this movie heralded a new dawn in gritty British film-making which culminated in the "kitchen sink" social dramas of the 1960s" [13] Awards [ edit ]Willis and Thompson embraced the notion of independent film production and recognised that working as independents within the ABPC studio system would enable them to test the commercial viability of a film "which has been made because someone really wanted to make it and devoted time and talent and salty sweat to its conception". He and Willis formed a partnership with Frank Godwin, a freelance producer and former Rank production assistant, with the intention to make "socially aware films about the lives of ordinary people". 3 Their involvement in Godwin-Willis and, later, Allegro to produce Woman in a Dressing Gown and another Ted Willis script, No Trees in the Street (1959), was scuppered by ABPC's Robert Clark whose impenetrable contracts allegedly tempered their radicalism when neither of them saw very much of the money that the films made for the studio. I think the ending is quite a cop out, with no real reason for Jimbo to change his mind over Georgie; having got the worst of it over he then seems to just give in Devoted housewife Amy is distraught when her husband, Jim, announces he is leaving her for another woman. Show full synopsis The opening of the film establishes the family at the centre of the narrative, the scruffy Amy (Yvonne Mitchell) in her stained dressing gown, husband Jim (Anthony Quayle) preparing to shave and son Brian (Andrew Ray) getting ready to go out. There has been no theme music to accompany the titles, only the pealing bells to indicate it is Sunday, the crying of children and a layer of light classical music booming from Amy's radio which, perhaps in an effort to deny her reality, she turns up higher throughout the film. There is no dialogue. Just Amy trying to complete a newspaper competition as she burns the toast, Jim shaving and Brian wanting his breakfast.

Frank Collins has produced a book that is fiercely idiosyncratic, displays a wide-ranging intellect the size of a planet, but which is also endearingly open and inclusive in its desire to share its expansive knowledge..." 4/5 - Horrorview.com In 1964 Burt Bacharach won the Grammy Award for his song "Wives and Lovers", the lyrics of which began: "Hey, little girl, comb your hair, fix your make-up. Soon he will open the door. Don't think because there's a ring on your finger, you needn't try any more". The film is remarkable for its combustible atmosphere, centring around Mitchell’s performance as Amy Preston, the woman beset by the dowdiness she possesses in her husband’s eyes.The main characters are typical rather than exceptional; the situations are easily identifiable by the audience....I am just now becoming aware of this area, this merchants, with Jimbo, which is where they met and apparently fell in love. It is hard to work out what the future might hold for them, as we never get any closer to Georgie as a character, This is what happens in WIADG, as can be seen from the scene above. Extremely unappetising though the food is, Jimbo and Brian actually don't eat any wife'. What we are less sure of is whether this is the right move for Georgie - would she really go for a man like Jimbo, 20 years her senior, ignoring all the men her own age, without

at her replacement and a husband on the defence. It is consistently good and at some moments finely tuned with a great use of physical tics and body language and as Syms explains, in her interview on the disc, women hadn't really been portrayed like this on the screen before. Whether you’re a fan of the show under Moffat or not, it offers an intriguing, insightful look at all aspects of the series" 7/10 - Starburst, January 2014 suppose) in her flat, she is putting pressure on him to tell Amy that he is going to leave her. That evening Jimbo tries half-heartedly, but the moment never arises, and on the Monday morningLeslie Halliwell said: "Classic British TV play adequately filmed but now rather dated and irritating." [11] had two things which he always used to comment on in this respect; one was that when people looked in the phone book for a name and number they always alighted on the one they wanted immediately, the This is a film that is difficult to sell to those who haven't seen it - especially as the eternal triangle has been hammered out in countless soap plots, or real lives, since then. But the social context is fascinating and, shortly after the scene-setting at the beginning, the film suddenly exerts a vice-like grip on the emotions, as the wife realises what she has to do to save her marriage, but her approach seems pitiful and doomed to fail.