At the same time, she believes herself to be plain and overweight, dresses haphazardly, and is incredibly naïve on the subjects of love and flirtation, having never had a boyfriend.
Her parents are live-in employees of businessman James Leamington, who is in a loveless, childless marriage with the sickly Ellen.
On his 49th birthday, Leamington offers her a legal contract, proposing to supply her with the luxuries of life in return for becoming his mistress.
Now that Georgy is the sole caregiver of a child to whom she has no blood ties, Social Services wishes to remove Sara from her care.
[citation needed] The title song, written by Tom Springfield and Jim Dale, was recorded by Australian band The Seekers.
[7] Bosley Crowther wrote in the New York Times: "Georgy Girl is a striking example of what could only be achieved with a uniquely right performer in the crucial rule. ...
The screenplay is generously spangled with truly wonderful throwaway lines, delicious plot surprises and lovely quirks of character.
Bates makes a breezy lover and husband, though the scene in which he pursues his quarry through London, stripping on the way, is rather way out, Charlotte Rampling is fine as the attractive, bitchy flat mate, Bill Owen and Rachel Kempson [sic] add effective contributions as the parents.
"[9] British film critic Leslie Halliwell said: "Frantic black farce which seemed determined to shock, but has a few good scenes once you get attuned to the mood.
The potentially excellent cast and the promising comedienne talent of Lynn Redgrave can do little in the face of such opposition from both script and direction.
It is saved from mere shock novelty by Lynn Redgrave's performance as the dowdy girl pursued by older employer James Mason, who finds her own identity looking after the illegitimate baby of flatmate Charlotte Rampling.
Former TV director Silvio Narizzano piles on the tricks of cinematic trendiness, but it's the acting that stabilises the story into something memorable from a boringly self-conscious era.