| Beryl Reid | ... | June 'George' Buckridge | |
| Susannah York | ... | Alice 'Childie' McNaught | |
| Coral Browne | ... | Mercy Croft | |
| Ronald Fraser | ... | Leo Lockhart | |
| Patricia Medina | ... | Betty Thaxter | |
| Hugh Paddick | ... | Freddie | |
| Cyril Delevanti | ... | Ted Baker | |
| Sivi Aberg | ... | Diana | |
| William Beckley | ... | Floor Manager | |
| Elaine Church | ... | Marelen | |
| Brendan Dillon | ... | Bert Turner | |
| Mike Freeman | ... | Noel | |
| Maggie Paige | ... | Maid | |
| Jack Raine | ... | Deputy Commissioner | |
| Dolly Taylor | ... | Tea Lady | |
| Meier Tzelniker | ... | Mr. Katz | |
| Cicely Walper | ... | Mrs. Coote | |
| Byron Webster | ... | Jack Adams | |
| Rosalie Williams | ... | Mildred | |
| rest of cast listed alphabetically: | |||
| Joe Gray | ... | Party Guest (uncredited) | |
| Nigel Kingsley | ... | Extra (uncredited) | |
| Sam Kydd | ... | Taxi driver (uncredited) | |
| Derek Partridge | ... | Personal manager (uncredited) | |
| James Payne | ... | Man in traffic jam (uncredited) | |
| Velvet Rhodes | ... | Lesbian (uncredited) | |
Directed by | |||
| Robert Aldrich | |||
Writing credits(in alphabetical order) | ||
| Lukas Heller | writer | |
| Frank Marcus | play "The Killing of Sister George" | |
Produced by | |||
| Robert Aldrich | .... | producer | |
| Walter Blake | .... | associate producer | |
| Edgar J. Scherick | .... | executive producer | |
Original Music by | |||
| Gerald Fried | |||
Cinematography by | |||
| Joseph F. Biroc | |||
Film Editing by | |||
| Michael Luciano | |||
Casting by | |||
| Lynn Stalmaster | |||
Art Direction by | |||
| William Glasgow | |||
Set Decoration by | |||
| John Brown | |||
Costume Design by | |||
| Renié | |||
Makeup Department | |||
| Jean Austin | .... | hair stylist | |
| William Turner | .... | makeup artist (as Bill Turner) | |
Production Management | |||
| David Bennett | .... | production manager | |
| Eddie Saeta | .... | unit manager | |
| George Tobin | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Daisy Gerber | .... | assistant director | |
| Dennis Robertson | .... | first assistant director: London | |
Art Department | |||
| Jack Holden | .... | assistant art director | |
| Ygnacio Sepulveda | .... | property master | |
Sound Department | |||
| Richard S. Church | .... | sound mixer (as Dick Church) | |
| Robin Gregory | .... | sound mixer: London | |
Camera and Electrical Department | |||
| Bernie Abramson | .... | still photographer | |
| Wally Fairweather | .... | camera operator: London | |
| Laurie Shane | .... | gaffer | |
| Herbert Smith | .... | camera operator: London (as Herbie Smith) | |
| Brian West | .... | lighting camera operator: London | |
| Keith Blake | .... | clapper loader (uncredited) | |
| Gary Boren | .... | assistant camera (uncredited) | |
| William N. Clark | .... | assistant camera (uncredited) | |
| Ned Davenport | .... | camera operator (uncredited) | |
| Bill Hannah | .... | gaffer (uncredited) | |
| Joe Jackman | .... | camera operator (uncredited) | |
Costume and Wardrobe Department | |||
| Marie Osborne | .... | wardrobe (uncredited) | |
Editorial Department | |||
| Frank J. Urioste | .... | assistant film editor (uncredited) | |
Other crew | |||
| Adell Aldrich | .... | script supervisor (as Adele Bravos) | |
| William Aldrich | .... | assistant to producer | |
| Robert Sherman | .... | dialogue supervisor | |
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| When Will I Be Loved | Closer | Stage Beauty | Mulholland Dr. | Gemini Affair |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
| Add this title to MyMovies |
I don't give many movies 10/10, but this black comedy-drama gets my vote, for fine acting, production values, and of course its place in movie history in the frank portrayal of lesbian relationships.
Others have & will comment on the latter, so I'll point out some of the other aspects of this fine film. The combination of comedy with personal tragedy poses difficult problems both for the writer & director; here they both succeed brilliantly.
The three principals' performances are riveting. I particularly liked the ambiguity of Coral Brown's portrayal of Mercy Croft; watch her carefully in the tight closeups in the gay club, and notice how the down-turned mouth at times hides a hint of a self-satisfied smile.
The cinematography deserves special mention. The use of colour is beautiful; I was reminded of "The Umbrellas of Cherbourg", but it never steps over the line into unreality. On the contrary, the alleys of London, the TV studio and above all the stairs and corridor of the flat are supremely realistic. Most unusual is the use of chiaroscuro, the interplay of light-and-shadow, seldom seen outside of black & white films. In so many colour films the light appears to come from some amorphous omnidirectional source out of science fiction; great for lighting everything and everybody evenly, but unrealistic and DULL. Look at the shadows as Beryl Reid ('George') enters the apartment building and climbs the stairs, or in some of the bedroom scenes. Apart from its other many virtues, this movie held my attention as a fine piece of film-making.
All in all, a masterpiece; my one regret is that it was shown on TV in pan-and-scan. It IS now available in DVD - in several formats & regions - so I look forward to watching it again in its original form.