The freak twins, Judy Geeson (Jacki) and Martin Potter (Julian) come to London to stay in a house in Chelsea and they immediately hit the party scene thanks to a meeting with Alexis Kanner (Clive) in a pub. Kanner is strange – he's a nasty conman who uses people but he's not as strange as the twins. Geeson and Potter are both child-like with Geeson laughing way too much at things that aren't funny and Potter being obsessively possessive about his sister. Worse, they love each other – and I mean actually love in an incestuous way that includes a physical relationship. So, it's uncomfortable viewing. The twins exact revenge on a couple of people. Are they untouchable? This film is way too weird and not particularly enjoyable. You watch because you don't know where it's going but once watched, I think you get rid. It reminded me a bit of "Beyond the valley of the Dolls" but set amongst a seedy London party scene. Both films are not good and dish out some horror as well as peculiar characters that are scary and hard to relate to. Scary in a sexuality scary kind of way. Michael Redgrave (James) pops up in this as a familiar face on TV whilst Mike Pratt (Rodd) is probably the best in the cast as a debt collector.As a Londoner, I recognized the locales – I spotted Cheyne Walk, Notting Hill Gate and Shepherds Bush Market and I know for a fact that there were hotels like that in Paddington in the 1980s. Dodgy ones. The central characters of the twins were just too weird.

"Goodbye Gemini" has Nehru shirts, large ties, hair helmets and sideburns, old guys hanging around with young birds, wall-to-wall partying, a dash of transvestitism, a little incest, and an atmosphere of anything goes as long as it's outrageous. It could only be the Swinging Sixties, and as they say, if you remember them, you weren't there.The film is hard to define. It's a thriller, but with a unique vibe. Julian (Martin Potter) and Jacki (Judy Geeson) are an unnaturally close twin brother and sister who play games and live in a make-believe world. As Michael Redgrave's character says, "They carry their own universe with them". But Julian has a stronger attraction towards his sister than she has for him.When they move to London to live in a large house arranged for them by their father, things start to unravel. We learn that all is not right when Julian viciously gets rid of the housekeeper who is in charge of the household. With the run of the house, they gravitate towards the London pub and party scene.They meet some unsavoury characters especially Clive (Alexis Kanner), a bi-sexual pimp whose sadistic streak threatens to destroy the pair. At a party, Jacki also encounters politician, James Harrington-Smith (Michael Redgrave) who helps her when her life spirals out of control. As Jacki and Julian attempt to free themselves from Clive, it leads to a violent murder and a bleak ending.I first became aware of this movie when I bought the soundtrack record for a few dollars back in the 1980's. Apparently it became a bit of a collector's item before it was eventually released on CD. The music and songs catch the flavour of the 60's, and composer Christopher Gunning's lyrical main theme weaves its way through the film. Gunning is a brilliant composer, mainly for television, and hasn't done many films - this was his first - but he had great range; under the right circumstances, he could have been another John Barry.If there is one reason to watch this film it is the delightful Judy Geeson. Cute and nymph-like, she breezes through the movie for much of the time in hip-hugging satin pants, captivating all the males around her whether young, old, or closely related.The mood in the film changes just a little too abruptly in places, but it has a similar feeling of accumulating decadence to Joseph Losey's "The Servant" - although it takes its own course towards it's depressing, typical late 60's ending.Beautifully filmed, "Goodbye Gemini" captures London at a certain time, but to be honest, with its offbeat story and slightly hysterical treatment, it's probably more of a novelty item these days.

The film starts off well. We are on a bus. As the Peddlers sing and play the song "Tell the World We're Not In," We see a carefree pair of star- crossed lovers. As the film progresses, we find out that the pair are actually twins. They are both immature. And they talk to a teddy bear named Agamemnon. In one scene the male twin uses the teddy bear as an oracle, which is probably how the source novel is called "Ask Agamemnon". In real life, twins can shut the world out even to the point of constructing their very own language. This pair have not got that far, but they have reached the point where incest is very much in evidence. Jenni Hall, the novelist also wrote: My Son, My Lover, which also touches on incest.The pair fall into the Swinging London scene. There are drugs, scotch whisky, very camp gays, transvestites to add to incestuous twins. The impression I get is that the whole thing is to shock people for the sake of shocking them...under the guise of Swinging London. I was up and about in Swinging London. If you were at a party, chances were you would be drinking wine or beer, dancing with someone of the opposite sex,and dressed according to your own gender. People even smoked tobacco. And I can't say I ever witnessed anyone conversing with a teddy bear.The male twin is the most unstable of the two, and wants to shut the rest of the world out; he just wants to be with his sister. That does not stop him for going out for the night with his sister's boyfriend to a seedy hotel, where he is seduced by transvestites. His sister's boyfriend photographs the proceedings, and uses it to blackmail the male twin,so that he can pay off a large sum of money to a violent loan shark, played by a moustachioed Mike Pratt.The male twin challenges his sister's boyfriend to tell the twins apart. While the latter is out of the room, the twins dress in bedsheets where eyeholes have been cut with a sword. The sheets of course conceal the sword as well. The boyfriend is invited back in....Having been through incest, violence, smoking illegal substances, cross-dressing, male-on- male rape; then murder and subsequent suicide are mere bagatelles.Quoting from Dame Edith Sitwell has not been fashionable for years. But her criticism of "that insignificant, dirty little book" which is how she described "Lady Chatterley's Lover," is what comes to mind when seeing this film. There comes a time in life when you stop pretending to be open-minded, and say: "Look I don't want to see this. I really don't want my nose nailed to other people's lavatories." We all know that there are people who have minds like sewers. The problem comes when they ram their filth down other people's throats. And Society really does degenerate as a result. Fortunately, the Peddlers made a record of "Tell the World We're Not In;" so you can enjoy the best bit of this "insignificant, dirty little" film without having to watch it.

This is a very decent movie directed by Alan Gibson, who would later become a second-rate Hammer director responsible for such dreck as "Dracula AD 1972" and "The Satanic Rites of Dracula". It features Judy Geeson, at the height of her loveliness, and Martin Potter, one of the pretty-boys from "Fellini's Satyricon", as a pair of seemingly innocent fraternal twins who come to London and are preyed upon by a crowd of jaded hedonists led by a guy named Clive (who sports flaming red mutton-chops and the strangest English accent I have ever heard).Most of the movie resembles a more serious version of Pete Walker's "Cool It, Carol", and probably a more historically accurate one too as far as the Swinging London Era of the 1960's is concerned. The movie then veers into psycho territory, however. The twins have an unusually symbiotic relationship and display some psychopathic tendencies, like playing a nasty prank that causes their landlady to fall down the stairs. In the most memorable scene they dress up in bedsheets with only their eyes showing and challenge Clive to tell them apart. The childish game shockingly winds up with an ornamental sword going through one person's neck and everything unravels from there. Some may find the sheer pathos and the unresolved ambiguity of the end a little frustrating, but it makes for a memorable movie is nothing else.I'd recommend this period because it is genuinely unique movie, but if you like films about Swinging London like "Blow Up" or "Cool It, Carol", or British psycho movies like "Peeping Tom" or "Twisted Nerve" this one should be especially enjoyable