Woman In A Dressing Gown [DVD] [1957]

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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. Nield, Anthony (2012). " 'Woman in a Dressing Gown' Review". The Digital Fix. Recent review on the occasion of the 2012 DVD release of a restored version of the film. a group of human beings in the grip of a recognisable situation, and their ordinary human reactions to that situation." 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 and 14 seconds) and he's off. Later in the film Brian does something similar, saying that he has to go somewhere or he'll be late (so why don't you get up earlier, you'll have time

suspect this is one of those films where one's viewpoint and reaction depends partly on the gender of the viewer and also (perhaps more so) on when the film is being viewed. Nearly 60 years on, 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 father Finally I should mention, as I haven't done so yet, that the film is particularly distinguished by a brilliant performance by Yvonne Mitchell, who turns Amy from an She was born Maureen Rippingale in Chelmsford, Essex, but ran away from home at the age of 16, "aiming to become a star". [2] Radio Times Guide to Films (18thed.). London: Immediate Media Company. 2017. p.1036. ISBN 9780992936440.

The song served as a warning to America's housewives not to let themselves go, or some young girl at the office was bound to steal their man. These sentiments are echoed in a British film that pre-dated that song by seven years - Woman in a Dressing Gown - which won a slew of prizes in the 1957 Berlin Film Festival. would have been 44 at the time of the film, Syms 23, with Mitchell 42), who is assured, very presentable (always immaculate in her appearance and clothes) and what we would now call a 'trophy Like The L-Shaped Room, Woman in a Dressing Gown takes place in a dingy London shaped by austerity rather than Macmillan-era affluence. However, the understated sociological agenda of Ted Willis’s screenplay is concerned less with economics than the desensitising narrowness of Amy’s life. A hapless slattern who has given up on herself as a feminine, sexual being, Amy seldom changes out of her threadbare dressing gown, never cleans or tidies the family’s cramped London council flat, and invariably burns the meals she cooks. to Thompson's bold visual style and Steve Chibnall notes that Thompson was keen to work with actors who had this sort of range and that her theatrical extremes were a result of his own direction at a time when naturalism and 'method' were beginning to have an impact with emerging young actors. Merits attention from Doctor Who fans interested in the development of a script by going deep into the story’s genesis and shifts in tone, and the infamous production difficulties which plagued it. The glimpses of Steve Gallagher’s original scripts are fascinating, as are the changes made to them by seemingly everyone from directors to producers to cast members." We Are Cult. 17 June 2019.

J. Lee Thompson later said the film lost money but was well received by critics. [5] Critical [ edit ] The film was one of the most popular at the British box office in 1957. [3] According to Kinematograph Weekly the film was "in the money" at the British box office in 1957. [4] Carole Lesley (27 May 1935 – 28 February 1974), was a British actress who had a short but significant career as a "blonde bombshell". [1]

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The performances of the three key actors are exceptional. Yvonne Mitchell is the disorganised housewife, the woman in a dressing gown; Anthony Quayle is the errant husband, trapped in a prison of his own making; and Sylvia Sims is the beautiful and composed mistress, determined to have her lover all to herself. All secure our sympathies and understanding in their own way. This is the film's success, for we find ourselves caring about each of the characters, despite the hurt they inflict unwillingly but inevitably upon each other. Williams, Melanie, ‘Housewives’ choice’: Woman in a Dressing Gown' in British Cinema of the Fifties. MUP, 2003. husband Jim ( Anthony Quayle) and 'other woman' Georgie ( Sylvia Syms) as they struggle with their feelings for each other and their guilt about the hurt they

The suspense derives from the movie’s problem – will Jim (Anthony Quayle), Amy’s husband of 20 years, with whom she has a factory-worker son (Andrew Ray), stay with her or leave her for his young mistress, Georgie ( Sylvia Syms, right with Quayle)? an audience today would surely take a different view of things than a contemporary audience, who presumably would have found nothing odd or strange in Jimbo coming in and expecting everything to beThe film won four awards at the 7th Berlin International Film Festival including the first ever FIPRESCI Prize and a special mention for "Best Foreign Film". [14] Mitchell won the Silver Bear for Best Actress. [15] The film also won the 1958 Golden Globe Award for Best English-Language Foreign Film. [16] Stage play [ edit ] On the film's re-release on in 2012, Peter Bradshaw, in a five star review for The Guardian wrote that the film's "proto- kitchen-sink drama goes all the way where Brief Encounter loitered hesitantly... and unlike David Lean's film, this one shows people saying the relevant things out loud. An unmissable rerelease." [9] Woman in a Dressing Gown is a 1957 British drama film directed by J. Lee Thompson and starring Yvonne Mitchell, Anthony Quayle, Sylvia Syms, and Carole Lesley. [2] She starred in several films in the late 1950s and early 1960s, [1] including the 1957 film Woman in a Dressing Gown, which won the 1958 Golden Globe Award for Best English-Language Foreign Film. [3] She also appeared in No Trees in the Street, These Dangerous Years, Doctor in Love, Operation Bullshine and What a Whopper, and played Helen of Troy in a television play. [4] [5] Intensely claustrophobic, with an almost oppressive filmmaking dynamic, the film is a simmering tale of the impact of adultery on the psyche of three desperate characters in post-war London. As the eponymous Woman, hanging from a thread while the dishes pile up around her, Yvonne Mitchell won the Silver Bear for Best Actress at the 7th Berlin International Film Festival.