PTSD (Post-traumatic stress disorder) is a term that became prominent in 1980 when the American Psychiatric Association recognized it as a mental health diagnosis that was often used to describe Vietnam War veterans and Holocaust survivors. Although PTSD could also apply to survivors of violent crimes, natural disasters and other calamities, it is more often association with war victims. Shellshocked is an earlier term for this disorder and was common in describing afflicted soldiers returning from battle during World War I. The Return of the Soldier, Rebecca West’s debut novel (published in 1918), was unique for featuring a shellshocked war veteran whose return home exposed his fragile mental condition to those who knew him before he went to battle. West’s novel was also significant for addressing such prevalent concerns in the narrative as class differences, Freudian psychoanalysis (which was popular at the time) and the lives of women living in a patriarchal society. All of this was skillfully integrated into the overlooked 1982 film adaptation of The Return of the Soldier, which faithfully captures the spirit and central focus of West’s narrative, one that utilizes the shellshocked protagonist as a means to examine three important women in his life and their response to his war trauma.
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Soldier in Skirts

In the spring of 1943 on a rural farm in Wiltshire, England, Alice Charlesworth (Glenda Jackson) encounters a trespasser on her farm land by the name of Barton (Brian Deacon). He turns out to be an army recruit who is stationed at a nearby military base and the two strike up a friendship that turns into something deeper. Barton proves to be quite adept at helping Alice with work chores as he was raised on a farm and his presence is a comfort to Alice (her husband is currently a prisoner-of-war in Japan). When Barton’s military leave ends, he opts to go AWOL and stay on with Alice but takes on a new identity with Alice’s encouragement. He disguises himself as the farmwife’s sister Jill and for a while they lead a blissful existence as lovers/companions until a sergeant (Oliver Reed) from the nearby army camp and his buddy Stan (Gavin Richards) pay them a surprise visit and become regular visitors to the house as potential romantic suitors.
The idea that an army deserter in wartime England would resort to such a strange masquerade to avoid military duty might seem like an outlandish premise for a movie but The Triple Echo aka Soldier in Skirts (1972) avoids what could have been an unintentional campy comedy and creates instead an oddly compelling and tragic human drama. The film, which was based on a novel by H.E. Bates (The Daring Buds of May), was mostly overlooked by critics in the U.K. and the U.S. during its initial release but it holds up remarkably well today and is significant as the first feature film from director Michael Apted.
Continue readingSwinging Down the Street So Fancy Free
A frumpy woman in her early twenties dreams of being loved but despite her continual attempts to have a romance finds herself observing life from the sidelines, barely noticed by those around her. Reduced to a one sentence description, Georgy Girl (1966) sounds dreary and depressing but on-screen this tale of a desperately lonely woman unfolds as a madcap, often irreverent farce which at times is cruelly indifferent to the sad-sack characters it parades before us. This is a film where tone is everything and Georgy Girl, directed by Silvio Narizzano, is distinctively different in this respect, standing out from countless other cinematic tearjerkers about ugly ducklings and lonely spinsters. The film also captures London at the height of the Swingin’ Sixties when everything seemed like a put-on or a come-on.
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