From the off, she was pretty much the embodiment of the all-new, empowered yet still slightly floaty post-’60s middle class lady with a first name ending in ‘-ny’, naffing the hell out of Esher to shack up with boho Bruce Robinson in Private Road. Then came that star-studded Under Milk Wood film, porn panic pratfest No Sex Please: We’re British, literary sell-out allegory The Last Chapter and of course McClure-in-a-U-boat rubberfest The Land the Time Forgot.
FINEST HOUR: A toss-up between two horrors – a nurse coveted by a telekinetic mental patient in the Australian weird-in Patrick, and in peril from Anthony Sharp’s priest in Pete Walker’s House of Mortal Sin.
