Girls Will Be Girls (film) - Plot

Plot

Evie Harris (Jack Plotnick) is a washed-up, alcoholic, aging C-List actress (star of kinetoscope, stage, television, and film in such works as the TV special "Christmas Evie," vaudeville-era appearances promoting 'Dr. Vim's Miracle Elixir,' "Court TV: Celebrities Who Kill," Tabitha (TV series) and the sad '70s disaster epic Asteroid ). She lives in a tackily out-of-style bungalow with Coco (Clinton Leupp), a homely, lonely, doormat of a spinster who carries a torch for the handsome young doctor who performed her abortion years ago.

Evie's life is turned upside-down by the arrival of a new roommate, Varla Simonds (Jeffery Roberson), the voracious, starry-eyed daughter of Evie's rival, late actress Marla Simonds (whose claims to fame included playing Chesty on "Fill Her Up," the short-lived but widely acclaimed spinoff of "C.P.O. Sharkey," and almost being cast as the lead in "Asteroid" before Evie captured that "breakout" role). Evie acts very competitive around Varla, especially as she recognizes the growing chemistry between the young up-and-comer and her sweet, handsome and microscopically endowed son and "ambulance chasing" lawyer, Stevie (Ron Mathews). When Varla snags a plum starring role in commercials for "Bizzy Gal dinners," tensions and jealousies amongst the three women reach a boiling point and treachery soon rears its ugly head.

Read more about this topic:  Girls Will Be Girls (film)

Famous quotes containing the word plot:

    The westward march has stopped, upon the final plains of the Pacific; and now the plot thickens ... with the change, the pause, the settlement, our people draw into closer groups, stand face to face, to know each other and be known.
    Woodrow Wilson (1856–1924)

    There saw I how the secret felon wrought,
    And treason labouring in the traitor’s thought,
    And midwife Time the ripened plot to murder brought.
    Geoffrey Chaucer (1340?–1400)

    James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.”
    James Thurber (1894–1961)