The Killing of Sister George

1968
R
2h 18m

IMDb RATING

7.0/10

2.6K

YOUR RATING

Coral Browne, Beryl Reid, and Susannah York in The Killing of Sister George (1968)

The life of a soap opera actress begins to unravel as she fears her character will be written out of the series.

Play trailer3:01

1 Video

44 Photos

Drama

The life of a soap opera actress begins to unravel as she fears her character will be written out of the series.The life of a soap opera actress begins to unravel as she fears her character will be written out of the series.The life of a soap opera actress begins to unravel as she fears her character will be written out of the series.

See production info at IMDbPro

IMDb RATING

7.0/10

2.6K

YOUR RATING

See production info at IMDbPro

Awards
- 1 nomination

Videos1

Trailer 3:01

Trailer

Photos44

+ 36

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Storyline

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Did you know

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Trivia
The lesbian lovemaking scene so disgusted Robert Aldrich's longtime composer friend Frank De Vol that he quit the production and didn't work with Aldrich for several years.

Goofs
When George asks for a pint of beer the waiter arrives with it on a tray and it is half full with half a glass of head but when he puts it on the table it's much fuller, with only about an inch of head on it.

Quotes
Alice: Not all women are raving bloody lesbians, you know.
George: That is a misfortune I am perfectly well aware of!

Crazy credits
During the opening credits, the picture distractingly flips from left to right as the main character travels through claustrophobia-inducing alleyways.

Connections
Featured in Before Stonewall (1984)

User reviews38

Review

Featured review

an overlooked gem...

I did not see the stage play upon which this film is based (too young) but, based on its own merits, this film surely deserves a closer look.

The central trio of performers (Reid, York, Browne) provide career "bests" and there are some amusing vignettes from the others (Fraser, in particular, as a truly odious soap actor).

The much-discussed sex scene is, by today's standards (and, it would seem, even those of the 1960s stage play), tame, but its real value as a display of the shift of power between the three central characters is very neatly worked through in the closing quarter.

The final five minutes of (self-) destruction is heartbreaking, with excellent use made of the music track.

In short: miss it and miss out.