During the 70s, Pauline Collins rose as a smart, funny, and appealingly charming performer. She grew into a familiar star on either side of the Atlantic thanks to the blockbuster English program Upstairs, Downstairs, which was the period drama of its era.
Her role was Sarah, a bold but fragile parlour maid with a shady background. Sarah had a connection with the good-looking chauffeur Thomas, portrayed by Collins’s off-screen partner, John Alderton. It was a television couple that the public loved, extending into spin-off series like Thomas & Sarah and No Honestly.
Yet the highlight of greatness came on the silver screen as Shirley Valentine. This empowering, mischievous but endearing story paved the way for later hits like Calendar Girls and the Mamma Mia!. It was a buoyant, humorous, optimistic film with a superb part for a seasoned performer, addressing the theme of female sexuality that was not governed by traditional male perspectives about modest young women.
This iconic role foreshadowed the new debate about midlife changes and ladies who decline to fading into the background.
It originated from Collins playing the lead role of a an era in the writer Willy Russell's 1986 stage play: the play Shirley Valentine, the yearning and unanticipatedly erotic everywoman heroine of an escapist comedy about adulthood.
Collins became the star of the West End and Broadway and was then triumphantly cast in the highly successful film version. This largely followed the comparable stage-to-screen journey of actress Julie Walters in Russell’s 1980 theater piece, the play Educating Rita.
The film's protagonist is a realistic Liverpool homemaker who is tired with life in her middle age in a dull, uninspired nation with uninteresting, unimaginative people. So when she wins the opportunity at a complimentary vacation in Greece, she grabs it with eagerness and – to the amazement of the boring UK tourist she’s accompanied by – continues once it’s finished to encounter the real thing away from the vacation spot, which means a delightfully passionate escapade with the roguish resident, Costas, played with an outrageous facial hair and speech by Tom Conti.
Bold, confiding the heroine is always speaking directly to viewers to share with us what she’s pondering. It earned huge chuckles in movie houses all over the Britain when Costas tells her that he loves her body marks and she remarks to the audience: “Aren’t men full of shit?”
Post-Shirley, the actress continued to have a active career on the stage and on TV, including appearances on Dr Who, but she was not as supported by the movies where there didn’t seem to be a writer in the class of Russell who could give her a genuine lead part.
She appeared in director Roland Joffé's adequate Calcutta-set story, City of Joy, in the year 1992 and played the lead as a UK evangelist and Japanese prisoner of war in filmmaker Bruce Beresford's the film Paradise Road in 1997. In Rodrigo García’s film about gender, the film from 2011 the Albert Nobbs film, Collins returned, in a manner, to the servant-and-master world in which she played a below-stairs housekeeper.
But she found herself repeatedly cast in condescending and overly sentimental elderly films about seniors, which were beneath her talents, such as nursing home stories like Mrs Caldicot’s Cabbage War and Quartet, as well as ropey located in France film the movie The Time of Their Lives with Joan Collins.
Director Woody Allen provided her a true funny character (albeit a small one) in his the film You Will Meet a Tall Dark Stranger, in which she played the shady psychic alluded to by the movie's title.
But in the movies, the Shirley Valentine role gave her a extraordinary time to shine.
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