I’m writing something very obscene about the British Broadcasting Corporation. June (Beryl Reid) is an actress who portrays the popular Sister George, a district nurse in a popular BBC soap opera. The actress spends her time drinking and engaging in Lesbian sex with her much younger live-in lover, factory worker Alice also called Childie (Susannah York) due to her penchant for baby doll dresses and her devotion to her collection of dolls. A television executive, Mercy Croft (Coral Browne) decides she likes Alice and wants to write Sister George off the show after she’s molested two nuns in the back of a taxi, two Irish Catholic novitiates just off the boat. June watches as her behavior and insecurity and bullying drive Alice away and into the arms of Mercy. George discovers the only job she is likely to be offered is that of a cow’s voice on a kids’ show … I can hardly put through to the Controller your allegation that you may have been bitten by two nuns. Robert Aldrich and screenwriter Lukas Heller broke new ground with this, made directly after The Dirty Dozen. Aldrich’s regular collaborator, Heller added a sex scene between Childie and Mrs Croft to Frank Marcus’ 1964 play which was responsible for the film’s X rating under the newly instituted censorship system in the US. There were also censorship problems in the UK (the BBFC website states that this has by far the largest file of any film submitted with the sex scene “by far the most explicit scene of lesbian physical love that has ever been submitted [for classification].” ). This was also the first film to show the inside of a Lesbian nightclub. It fits into the rather cynical ‘hag’ template the pair pioneered with What Ever Happened to Baby Jane? and Hush … Hush Sweet Charlotte. Beryl Reid’s butch persona (well known from The Belles of St Trinian’s) adds a new twist to the format, with her tweedy randy predator meeting her match in Mrs Croft. Reid had played the role on stage and had its energy and complexity down to a T. This is a confrontational film about ageing, femininity, relationships and career and how they can all converge into a crisis at the whim of an executive’s pen. Fascinating on so many levels, with the central story’s blackly comic claustrophobia expressed through excellent design, this is great entertainment. What’s one looking for then, love and affection?