Homosexuality, frigidity, abortion, mental illness, contraception... Controversial issues are the subject of "The Group," which is why the oblique way they're treated is so disappointing. To be fair, Larry Hagman's character does use the word Lesbo, but by the time he blurts it out, it's long since been obvious to post-Stonewall audiences that "Lakey" is gay. (Several members of this Vassar '33 clique have silly elitist pet names; it's a blessing there's no "Muffin.")
Mary McCarthy's bestselling novel had courage; this movie does not. Her satiric edge is gone, replaced by earnestness. The background of 1930s world politics remains, but is used only to shape characters, the way cigarettes are used in films in lieu of actual character development (e.g. Fabulous Baker Boys, Body Heat, Thelma & Louise, everything by Joe Eszterhas).
The screenplay by Sidney Buchman ("Mr Smith Goes to Washington," "Holiday") strives for wit, but settles for quips, the worst of which is the tautology, "We madmen are the aristocrats of mental illness." The dialog safely sticks to offbeat subjects like psychoanalysis, or familiar ones like alcoholism and adultery. The biggest issue "The Group" openly tackles is-- believe it or not-- breastfeeding. (Micro-spoiler: they're against women being forced to do it.)
The cast is strong, with a few exceptions. Typical of her performances, Elizabeth Hartman is so underwhelming as "Priss" that I concluded she was bedridden not because of troubled pregnancies but because of literal spinelessness. The career of Mary-Robin Redd ("Pokey") descended with good reason to roles like the nameless "Intellectual-Looking Woman" in "Airplane II: The Sequel." In contrast, Shirley Knight's story line has the best performances. Not only is Knight engaging as Polly (in spite of hairdos not equaled in silliness until Princess Leia's cinnamon buns), but she has many scenes with the marvelous, little-remembered James Broderick. The scene where he proposes marriage is a small masterpiece. He balances pragmatism and romanticism in an utterly believable way, and even a seductive one-- quite an accomplishment for an actor who was never a matinée idol. To paraphrase another memorable movie character, Mike Donovan: "There's not much of Broderick in it, but what's there is cherce."
Mary McCarthy's bestselling novel had courage; this movie does not. Her satiric edge is gone, replaced by earnestness. The background of 1930s world politics remains, but is used only to shape characters, the way cigarettes are used in films in lieu of actual character development (e.g. Fabulous Baker Boys, Body Heat, Thelma & Louise, everything by Joe Eszterhas).
The screenplay by Sidney Buchman ("Mr Smith Goes to Washington," "Holiday") strives for wit, but settles for quips, the worst of which is the tautology, "We madmen are the aristocrats of mental illness." The dialog safely sticks to offbeat subjects like psychoanalysis, or familiar ones like alcoholism and adultery. The biggest issue "The Group" openly tackles is-- believe it or not-- breastfeeding. (Micro-spoiler: they're against women being forced to do it.)
The cast is strong, with a few exceptions. Typical of her performances, Elizabeth Hartman is so underwhelming as "Priss" that I concluded she was bedridden not because of troubled pregnancies but because of literal spinelessness. The career of Mary-Robin Redd ("Pokey") descended with good reason to roles like the nameless "Intellectual-Looking Woman" in "Airplane II: The Sequel." In contrast, Shirley Knight's story line has the best performances. Not only is Knight engaging as Polly (in spite of hairdos not equaled in silliness until Princess Leia's cinnamon buns), but she has many scenes with the marvelous, little-remembered James Broderick. The scene where he proposes marriage is a small masterpiece. He balances pragmatism and romanticism in an utterly believable way, and even a seductive one-- quite an accomplishment for an actor who was never a matinée idol. To paraphrase another memorable movie character, Mike Donovan: "There's not much of Broderick in it, but what's there is cherce."