Susan George

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Damon Hill and Susan George - Peace One Day Gala held at the Hurlingham Club. - London, United Kingdom - Wednesday 3rd September 2014

Damon Hill and Susan George

Susan George Thursday 25th October 2012

Susan George

Susan George - Susan George, Tuesday 10th April 2012 at the World Premiere of Titanic Requiem held at Central Hall Westminster.

Susan George Monday 24th May 2010 attending the UK premiere of Arabia 3D at the BFI IMAX. Susan is introduced to a white stallion horse, also present to promote the film, who at closer inspection, appears to be very excited with all the that's going on around him... And definitely up for it. London, England

Susan George
Susan George
Susan George
Susan George
Susan George
Susan George

Susan George and Elton John - Susan George and Simon MacCorkindale London, England - The Emerald Ball held at Harrods to support the Elton John Aids Foundation. Thursday 5th November 2009

Susan George and Elton John
Susan George and Elton John

Dirty Mary Crazy Larry Review


Bad
A throwaway car-chase flick that squanders the talents of Susan George and Peter Fonda, this 1974 B-movie is mainly of interest to aficionados of car-chase flicks and gearheads who know their way around 1969 Dodge Chargers.

The plot, such as it is, involves Larry (Fonda), a would-be NASCAR driver, and his mechanic, Deke (Adam Roarke), pulling off a heist and then scrambling to get out of an anonymous county - but not before picking up Mary (George). Mary is "dirty" because, we learn, she's had sex on more than one occasion; Larry is "crazy" because he drives recklessly, without a seatbelt. The filmmakers' attempts to create some witty romantic banter between these two crazy kids come are rhythmless and hackneyed, like Sullivan's Travels in a heroin nod; the chase scenes are nothing new to anybody who's caught five minutes of an episode of The Dukes of Hazzard. It finishes off with a ridiculous, insulting final scene that gives new meaning to the term "crashing bore."

Continue reading: Dirty Mary Crazy Larry Review

Straw Dogs Review


Extraordinary
The movies you love best aren't always the ones whose ideas you agree with. D.W. Griffith's Birth of a Nation is easy to admire for its technical innovation but easy to despise for its virulent racism; the Nazi hagiography Leni Riefenstahl's Triumph of the Will has similar pleasures - and problems. Sam Peckinpah's 1971 masterpiece Straw Dogs isn't as overtly problematic as those films. It's not viciously racist, nor does it glorify totalitarianism. But it's messy stuff all the same. The surface violence that made it famous in 1971 looks more or less timid now, but the deep cynicism at the core of the movie - this is a world where intelligence is suspect, murder equals redemption, and rape is almost tolerable - is still chilling.

Dustin Hoffman plays the hero, David Sumner, and at first he seems to be continuing in the string of nebbishy neurotic roles he took previously in The Graduate and Midnight Cowboy. A mild-mannered American college professor, he's arrived in western England with his wife Amy (a brave and brilliant Susan George) so he can have peace and quiet to work on his "astral mathematics." The small town, full of sad stone houses and often cloaked in fog, is where Amy grew up, and she's almost immediately stalked by a passel of alcoholic locals. The film's first five minutes has some virtuosic foreshadowing in it, giving us shots of David and Amy carrying a large and intimidating "mantrap" (basically a man-sized bear trap); tight shots of thuggish locals like Charlie (Del Henney) getting too close to the pair; a shot of Amy's sweatered chest, noticeably bra-less, which will become an important plot point later. Subtly and quickly, Peckinpah announces his three themes: sex, intimidation, and violence. It's gonna be interesting, but it's not gonna be easy to get through.

Continue reading: Straw Dogs Review

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