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Cast And CrewStarring: Rosamund Pike,
Miranda Richardson,Sally Hawkins,
Daniel Mays,Bob Hoskins
Director:Nigel Cole
Writer:Billy Ivory
Studio: Sony Pictures Classics
Genre:Drama
Official Site: sonyclassics.com/
madeindagenham
Rating: R for language
and brief sexuality.
Runtime:1 hour 53 minutes
Release Date:November 19th, 2010
Hollywood movie online English movie online Comedy movie Romantic movie online movie Review movie story Fantasy Movie Adventure Movie Made in Dagenham English Movie Made in Dagenham Directed By Nigel Cole
Movie Plot Summary:
Set against the backdrop of the 1960s, Made in Dagenham is based on a true story about a group of spirited women who joined forces, took a stand for what was right, and in doing so, found their own inner strength.
Although far from the Swinging Sixties of Carnaby Street, life for the women of Dagenham, England is tinged with the sounds and sights of the optimistic era, heard on their radios and seen on their TV sets. Rita O’Grady (Sally Hawkins) reflects that upbeat era, along with her friends and co-workers at the city's Ford Motor Factory -- Sandra (Jamie Winstone), Eileen (Nicola Duffett), Brenda (Andrea Riseborough), Monica (Lorraine Stanley) and Connie (Geraldine James) -- who laugh in the face of their poor conditions. Lisa (Rosamund Pike) is a fiercely intelligent Cambridge-educated woman who feels a bit trapped, tending to the home with a husband that suggests she keep her opinions to herself. She may not live in the same world as the other women, but she shares their views. No one thought the revolution would come to Dagenham, until one day, it did.
Rita, who primarily sees herself as a wife and mother, is coerced into attending a meeting with shop steward Connie, sympathetic union representative Albert (Bob Hoskins) and Peter Hopkins (Rupert Graves), Ford’s Head of Industrial Relations. What she expects to be simply a day out of work, complete with a free lunch, turns into much more when she and her colleagues become outraged by the lack of respect shown in the meeting to the women employees.
With humor, common sense and courage Rita and the other women take on their bosses, an increasingly belligerent local community, and finally the government, as their intelligence and unpredictability proves to be a match for any of their male opponents. Daring to stand up and push boundaries, the women changed a system that no one wanted to admit was broken.
Movie Review:
Andrzej Wajda's superb Man of Iron (1981) was shot in the Gdansk shipyards at the very heart of Solidarity's activities, gave Lech Walesa a brief role as himself, and became part of the political process it commented on. It was a rare case of a feature film based on a major episode in the history of organised labour made close to the actual events. More typically, Mario Monicelli's The Organizer (1963) was a bracing reconstruction of a strike in late 19th-century Turin. Bo Widerberg's Adalen 31 (1969) lyrically recreated the violent strike in northern Sweden that ushered in 40 years of Social Democratic government.
There was an even greater gap in the case of Comrades (1986), Bill Douglas's epic account of the Tolpuddle Martyrs, the Dorset labourers transported to Australia in the 1830s for attempting to form a trade union.
There is, therefore, a precedent for the commercial cinema taking 42 years to get around to the 1968 strike by women machinists at Ford's plant at Dagenham, east London, which is what director Nigel Cole and his screenwriter William Ivory have done with Made in Dagenham. It's welcome, though hardly Ken Loach, whose Bread and Roses dealt with a successful strike by Latina office cleaners in Los Angeles, and the Dagenham factory depicted is far from the one controversially observed in 1969 by Jean-Luc Godard in his Marxist documentary British Sounds.
But you would not expect that of the director of the feelgood, rural, middle-class Calendar Girls, of which this is the urban, working-class equivalent. This, too, is largely fictionalised and mostly predictable, yet manages by its heart-on-sleeve openness to be oddly touching.
The strike came about when the 187 women who stitched the seat covers for Ford cars demanded equal pay with men. It was richly justified as they'd recently been reclassified as "unskilled" and worked in appalling conditions, and their action led to the Equal Pay Act of 1970. Though the larger social and historical background is fairly vague, the period is superficially well-evoked. Indeed, what the movie most resembles is the popular sitcom of the 1960s and 70s, The Rag Trade, in which Peter Jones as the boss of Fenner Fashions did constant battle with his all-female staff led by militant shop steward Miriam Karlin, as timid foreman Reg Varney looked on, and the catchphrase was: "Everybody out!"
Peter Jones's equivalent here is the staff at Ford, a crowd of remote, insensitive male chauvinists kowtowing to their American bosses. The Reg Varney figure is a minor union official sympathetic to the women's cause, played in his best twinkling, Dickensian manner by Bob Hoskins. Miriam Karlin's shop steward becomes the working-class mother and housewife Rita O'Grady, who is persuaded to lead the women and eventually gets to say: "Everybody out!"
Rita is played by Sally Hawkins, the overpoweringly cheerful heroine of Mike Leigh's Happy-Go-Lucky, and becomes the film's central character. She is the reincarnation of Gracie Fields, the ever-optimistic millworkers' leader in the feelgood Depression movie Sing As We Go, and apart from her no-nonsense handling of the duplicitous union apparatchiks and the Ford bosses, she has four significant relationships.
The first is with Connie (Geraldine James, prim branch president of the Women's Institute in Calendar Girls), the woman she replaces as shop steward. Connie's husband is physically and psychologically impaired by his heroic RAF service during the second world war and stands for the solid working class who sacrificed themselves to keep Britain free.
The second is with her husband, a decent father and breadwinner who becomes resentful when Rita neglects him and their children to pursue her new career and threatens his manhood. This relationship, which inevitably leads to his consciousness being raised, echoes precisely that between Sally Fields, the politicised blue-collar heroine of Martin Ritt's Norma Rae, and her husband.
The third relationship, involving Rosamund Pike as Lisa, the beautiful wife of Ford's managing director, is the most contrived. Lisa meets Rita when they both come to the local grammar school to complain about the old-fashioned maths teacher beating their sons. It transpires that Lisa, a university graduate (first-class honours at Cambridge no less), is unappreciated by her husband and openly sympathetic to the women's cause. As in Kipling's poem "The Ladies", "For the colonel's lady an' Judy O'Grady are sisters under their skins."
The fourth relationship is with the fiery Barbara Castle, secretary of state for employment in Harold Wilson's government. Impressively embodied by Miranda Richardson in an underwritten role, Castle is attended by a pair of lickspittle officials who would scarcely pass muster in a Carry On version of Yes, Minister, and seems in this context to foreshadow Margaret Thatcher. Her meetings with a pipe-puffing Wilson (played by John Sessions) hover uncomfortably between something Peter Morgan might have written and Mrs Wilson's Diary caricature. Eventually, and anti-climactically, Castle and O'Grady meet, discuss Biba and C&A fashions and pose for the press photographers.
Seeing Made in Dagenham reminded me that in 1987 I reviewed a more serious and politically committed film about labour relations, Lezli-An Barrett's Business as Usual, where Glenda Jackson leads a strike in a Liverpool boutique. I described it as "a cautiously optimistic movie that states that the best hope for the British working class, now as in the past, resides in organised labour and a united community". I was taken to task over this in an editorial in a right-wing broadsheet and derided as a deluded leftie. How long ago and far away that seems now.
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