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🎙️ EPISODE 577: 10.17.22
I know I promised a deeper reading in written form of this insane and truly unclassifiable 1970 film on the podcast, but ladies and gentlemen, I don't think I have it in me. I suppose, on the simplest of levels, it's a commentary on the flawed, superficial nature of "the happy family." How we often put forth this great facade when in reality there's a large swath of pain and personal horrors beneath the surface. Maybe there's also a weird feminist angle (or vice versa!) here as well. One could see this as a fable of sexual control/conquest, where the most desirable woman "wins" (again, this could have positive or negative connotations depending on your point of view).
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Look, I think that's sort of the fun of this one. It becomes a kind of a psychological "choose your own adventure" at times. It's also extremely British, if you're into that sort of thing (and I don't think you can fully remove that aspect from any thematic reading as well). I finally settled on "black comedy" for its genre tag after much internal debate. "Horror" was my initial reaction, but its too damn fanciful for that label. It's never LoL-funny, but it's definitely striving for a satirical bend which falls beneath the umbrella of humor. It's a fucking weird-ass movie!
Mumsy, Nanny, Sonny, and Girly, released as Girly outside the United Kingdom, is a 1970 British horror-comedy film. The film originated as a dream project for renowned cinematographer-turned-director Freddie Francis, who wanted the opportunity to direct a film over which he had complete creative control, instead of working on assignment from a studio (as was the case with his previous directorial efforts). Francis teamed with writer Brian Comport to build the movie around Oakley Court, which Francis had used for exterior shots in previous films. The script was based on a two-act play by Maisie Mosco entitled Happy Family, which was later adapted into a novella by screenwriter Brian Comport as "Mumsy, Nanny, Sonny, and Girly". Though the film fared poorly in British cinemas, it enjoyed a brief but successful run in North America before going on to achieve status as a cult film. It was released on February 12, 1970.
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