The Killing of Sister George

Released in 1968, The Killing of Sister George is a film that remains significant in queer cinema for its portrayal of lesbian relationships during a time when such topics were considered taboo or barely discussed in mainstream media. It was directed by Robert Aldrich and is based on the 1964 play by Frank Marcus with the performances by Beryl Reid, Susannah York, and Coral Browne leading a stellar cast.

At its core, The Killing of Sister George explores the intersection of personal identity, acting career, relationships, and social perceptions. It stars Beryl Reid, reprising her role from the original play, as June "George" Buckridge, an actress who plays the beloved character of Sister George, a district nurse, in a popular radio soap opera. Sister George is a beloved character on the radio show, offering kind-hearted aid to those in need, but off-stage, June Buckridge cuts a stark contrast to her on-air persona. Buckridge's public facade is slowly disintegrating due to her unrefined, brusque, and frequently intoxicated personality. Complicating matters is the news that the BBC plans to kill off her character, Sister George, in the show.

The struggle between one's public image and the reality of their private life is brilliantly displayed through Reid's intricate portrayal of George's character. It delves into George's relationship with her much younger, passive, and somewhat naive lover, Alice 'Childie' McNaught, expertly played by Susannah York. Their relationship becomes a twisting maze of power dynamics, tenderness, and manipulation. Yet, despite its complexities, the film was one of the first to depict an openly gay couple without leaning into stereotypes or stigma usually tied to homosexuality in the era.

The tension in their relationship is heightened with the introduction of their nosy and intimidating neighbour, Mercy Croft, portrayed by Coral Browne. Mercy seems determined to involve herself in George and Childie's life, plunging them into a whirlpool of uncertainty, fear, and heartbreak. Browne's portrayal of Mercy Croft is chilling yet alluring as she navigates the fragile balance between meddling and concern.

In 1968, the film's explicit theme and approach were groundbreaking. The Killing of Sister George's value declined in later years due to its then-controversial portrayal of lesbianism. Still, it is important to understand the movie in the broader context of its time, when homosexuality had been decriminalized in Britain just a year before its release.

Although packed with drama and tense personal dynamics, the film's narrative is interspersed with moments of humor, displaying Marcus's playwriting genius and Aldrich's directorial skills. They present a compelling examination of the women's lives, unapologetically showcasing their jarring dysfunctionality while simultaneously evoking the audience's empathy.

Robert Aldrich's direction captures the gritty reality of London in the late 60s and the escalating anxieties about changes in the British media industry. Aldrich brilliantly uses a blend of distinction and blurring between the fiction of the radio show and the reality of the characters' lives. As George's character dies on the soap opera, her own life wanders into realms of uncertainty and tumult. This mashup of reality and fiction adds a unique dimension to the film, adding layers to an already complex narrative.

The Killing of Sister George is an unconventional, shocking film which invites its viewers to think deeply about identity, relationships, and societal norms. For their respective roles, Beryl Reid, Susannah York, and Coral Browne offer compelling performances that bring their complex characters to life. Together, they present a stark contrast to the stereotypical representation of women's roles in 1968. It remains an intriguing piece of cinematic history, notwithstanding its controversial reception. It is a film that dares to tread where few had ventured at the time and accomplishes it with an undeniable ferocity that keeps viewers enthralled from beginning to end.