Connecting Rooms is a 1970 British drama film written and directed by Franklin Gollings. The screenplay is based on the play The Cellist by Marion Hart.^[1] The film stars Bette Davis, Michael Redgrave, and Leo Genn.^[2]

The plot explores the relationships shared by the residents of a seedy boarding house owned by dour Mrs. Brent. Among them are busker Wanda Fleming, who is flattered by the attention paid her by rebellious pop songwriter wannabe Mickey Hollister, and former schoolmaster James Wallraven, who has been accused of pedophilia and reduced to working as a janitor in an art gallery.^{[citation needed]}

• Bette Davis as Wanda Fleming
• Michael Redgrave as James Wallraven
• Alexis Kanner as Mickey Hollister
• Kay Walsh as Mrs. Brent
• Leo Genn as Dr. Norman
• Olga Georges-Picot as Claudia Fouchet
• Richard Wyler as Dick Grayson
• Mark Jones as Johnny
• Gabrielle Drake as Jean
• Brian Wilde as Ellerman
• John Woodnutt as Doctor

The Paramount Pictures release was filmed on location in Bayswater in 1969. It was given a limited release in the United States in 1970, then had some regional UK showings in 1971 but only appeared in London in 1972.

Scenes in which Wanda Fleming played the cello featured close-ups of the hands of British classical cellist Amaryllis Fleming.^[3]

In a scene set in the West End theatre district, a theatre marquee lists Margo Channing as one of the cast of the play it is housing. Margo Channing was the name of the character Bette Davis portrayed in All About Eve.

In his review in Film Threat, Phil Hall describes the film as "a compelling and often heartbreaking drama" and adds "Redgrave, who was never the most subtle screen actor...manages to reign in his hammy tendencies and find the angst and isolation in the disgraced teacher's existence." Regarding Davis, Hall writes: "When her secret is revealed, Davis' character says absolutely nothing. Instead, her body freezes slightly while her eyes (yes, those Bette Davis eyes) give a look which is initially shameful, but then suddenly appear to present endless relief. In her silence and her ocular expression, Davis achieves a state of grace which is astonishing to behold."^{[citation needed]}

Time Out London wrote "Riddled with act and scene pauses...it's a fairly classic condensation of several fetishistic concerns endemic to British cinema."^[4]

TV Guide calls it a "dull, sappy melodrama."^[5]