In the seventies, Pauline Collins appeared as a smart, funny, and youthfully attractive female actor. She developed into a recognisable figure on each side of the Atlantic thanks to the blockbuster British TV show the Upstairs Downstairs series, which was the equivalent of Downton Abbey back then.
She portrayed Sarah, a pert-yet-vulnerable servant with a questionable history. Sarah had a romance with the handsome chauffeur Thomas, portrayed by Collins’s real-life husband, John Alderton. It was a on-screen partnership that viewers cherished, which carried on into follow-up programs like the Thomas and Sarah series and No Honestly.
Yet the highlight of her career arrived on the big screen as the character Shirley Valentine. This liberating, mischievous but endearing story opened the door for subsequent successes like Calendar Girls and the Mamma Mia series. It was a uplifting, comical, optimistic comedy with a superb character for a seasoned performer, broaching the theme of women's desires that was not limited by usual male ideas about modest young women.
Collins’s Shirley Valentine prefigured the growing conversation about perimenopause and ladies who decline to being overlooked.
It originated from Collins taking on the main character of a her career in Willy Russell’s 1986 theater production: the play Shirley Valentine, the yearning and surprisingly passionate ordinary woman lead of an fantasy midlife comedy.
She turned into the toast of London’s West End and New York's Broadway and was then successfully chosen in the highly successful movie adaptation. This very much mirrored the comparable transition from theater to film of actress Julie Walters in Russell’s 1980 theater piece, Educating Rita.
Her character Shirley is a practical scouse housewife who is weary with life in her middle age in a dull, uninspired nation with uninteresting, predictable individuals. So when she receives the opportunity at a no-cost trip in the Mediterranean, she seizes it with enthusiasm and – to the astonishment of the unexciting English traveler she’s gone with – continues once it’s ended to live the genuine culture outside the resort area, which means a wonderfully romantic fling with the mischievous local, Costas, acted with an outrageous moustache and speech by Tom Conti.
Cheeky, open the heroine is always speaking directly to viewers to share with us what she’s pondering. It got big laughs in cinemas all over the UK when her love interest tells her that he loves her body marks and she remarks to viewers: “Men are full of nonsense, aren't they?”
After Valentine, the actress continued to have a active professional life on the stage and on the small screen, including appearances on the Doctor Who series, but she was not as supported by the film industry where there seemed not to be a author in the class of Willy Russell who could give her a true main character.
She appeared in Roland Joffé’s decent Calcutta-set film, City of Joy, in the year 1992 and featured as a UK evangelist and captive in wartime Japan in filmmaker Bruce Beresford's the film Paradise Road in 1997. In director Rodrigo GarcĂa's transgender story, the 2011 movie the Albert Nobbs film, Collins returned, in a manner, to the Upstairs, Downstairs world in which she played a servant-level maid.
But she found herself often chosen in dismissive and overly sentimental older-age entertainments about seniors, which were beneath her talents, such as care-home dramas like Mrs Caldicot’s Cabbage War and Quartet, as well as poor located in France film The Time of Their Lives with Joan Collins.
Woody Allen offered 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 clairvoyant alluded to by the movie's title.
But in the movies, her performance as Shirley gave her a tremendous moment in the sun.
Elara is a passionate gamer and tech writer with years of experience covering industry trends and game analysis.
Timothy Haynes
Timothy Haynes
Timothy Haynes
Timothy Haynes
Timothy Haynes
Timothy Haynes