The Prime of Miss Jean Brodie

Jean Brodie is introduced as a charismatic but unconventional teacher at Marcia Blaine in Edinburgh during the 1930s. She openly flouts the school's rigid rules and forms a close bond with her favorite students, the Brodie Set. The film establishes her belief that she can mold promising girls and shape their destinies.

The four 12-year-old girls—Sandy, Monica, Jenny, and Mary—fall under Brodie's spell and form the coveted 'Brodie Set.' They begin frequenting art museums, theatres, and picnics on the school lawn, much to Headmistress Mackay's disapproval. Brodie proclaims that she will only step down if assassinated, underscoring the provocative mentor‑student dynamic.

Emmaline Mackay resents Brodie's pedagogy and the Set's cultivated ambitions, viewing them as distractions from hard knowledge. The two women clash over authority, tenure, and the direction of the school. Brodie's tenure and confidence in her influence become a central source of tension.

Brodie catches the eye of Gordon Lowther, the music teacher and choirmaster, and they spend weekends at his estate in Cramond. Lowther hopes to marry Brodie, while she remains divided by her lingering feelings for another man, Teddy Lloyd. The arrangement illustrates Brodie's pattern of personal affiliations paralleling her teaching.

Teddy Lloyd, the school's art teacher and Brodie's former lover, persists in pursuing her despite being married with children. Brodie's interest flickers, fueling a complex triangle of affection and jealousy within the staff. This sets the stage for Lloyd's portraits of the girls and the entangled relationships.

As the girls advance toward the senior school, Lloyd paints Jenny's portrait in his studio. The painting becomes a visual symbol of beauty and the power dynamics Brodie wields. Jenny becomes a focal point of Lloyd's attention, intensifying the other students' reactions.

Sandy initially rebuffs Lloyd's lecherous advances, recognizing the danger of entangling with an affair. Brodie uses and manipulates the girls, trying to engineer Jenny and Lloyd's affair while coaxing Sandy into spying. The tension reveals the exploitation at the heart of Brodie's mentorship.

Despite her initial resistance, Sandy becomes Lloyd's lover and muse as part of Brodie's manipulative schemes. The relationship deepens under complicated power dynamics and jealousy, heightening the rift among the Brodie Set. Sandy's loyalty becomes increasingly fragile as the plot thickens.

Under Brodie's influence, Mary leaves Marcia Blaine to join her brother fighting for Franco in the Spanish Civil War. The withdrawal from school signals a dangerous blend of politics and personal mentorship. Mary is killed soon after crossing the frontier when the train she rides is attacked.

Mary's death becomes the catalyst for Sandy to reveal to Headmistress Mackay that Brodie has been shaping the girls' political beliefs. The revelation exposes the danger of Brodie's influence and her attempt to steer the students toward fascist sympathies. The school begins to turn against Brodie as consequences unfold.

Brodie is fired from Marcia Blaine amid the scandal and the headmistress's repudiation of her methods. Lowther's engagement to another teacher compounds Brodie's humiliation and marks the decline of her influence. The faculty and students witness the collapse of her carefully curated world.

Before leaving, Sandy confronts Brodie about her manipulation, Mary's death, and the broader harm she caused. Brodie responds with cutting, perceptive remarks about Sandy's character, while Sandy accuses her of cruelty. The moment culminates in Brodie shouting 'Assassin!' as she chases the student down the hall.

Sandy, Monica, and Jenny graduate and depart the school, carrying the emotional scars of Brodie's mentorship. As Sandy departs, Brodie's voice proclaims her well-known motto about putting old heads on young shoulders. The line underscores the film's chilling portrayal of manipulation and power.