I never saw this 1966 British comic trifle before, and Bronwen is on a Charlotte Rampling jag, so we watched and enjoyed this one as the period piece it is. It’s heavily influenced by the long history of Brit absurdist comedy that would, in just a couple of years, yield Monty Python. This one sits on the edge of madcap but never commits Lynn Redgrave is an unstylish, full-figured Georgina—Georgie—in Twiggy-town, a musician who joyfully teaches kids to dance and move freely. She’s a free spirit constrained by her own limits and society’s brutal body-consciousness. Her mum and dad are the domestic servants of a millionaire (James Mason) who, in an unhappy marriage, is completely smitten with this young woman. Georgie lives with Meredith (Rampling), a caricature of a bored, narcissistic beauty and party animal. She’s also a joyless, albeit successful, musician who gets pregnant for the third time (two prior abortions) by Jos (Alan Bates), an irresponsible bank clerk/hipster wannabe. Georgie finds her own way, but this is not a feminist primer. It is very much a moment of sub rather than counter-cultural British life. Stick around for the verses of the hit song that you never heard on top forty growing up; they’re almost enough to make your jaw drop. It’s a smart, sweet and sour, funny little film that is fundamentally conservative at heart even as it’s set in London’s cuckoo’s nest. Nice touches include an elite private party where all the men are in tuxes and a vision of Britain’s national health through a maternity ward.