Margaret Thatcher: The Long Walk to Finchley

Thailand is a place of my political background. It has been shifted back and forth between half-cooked democracy and full-fledged dictatorship. King Bhumibol Adulyadej of Thailand and his network try to be perceived as impartial and above, but ultimately and stupidly sided with the latter, who preserves the monarchy's personal interests, in their narrow view, better. It is him who allows Thailand to be off the global chart, whenever his personal security seems threatened. We adopted Great Britain's parliamentary system mainly because the system allows the monarchy to co-exist, not because we believe in it. This is why a film like this one is marvelous in my eyes. No matter how playful the tone of the film is, as contrasting to the real Margaret Thatcher's seriousness, I still feel the sacredness of the parliamentary institutions and why it must be protected at all cost. All characters shown here, villainous or otherwise, are abided by such thought. Candidates can come and go, and the democratic institutions live on. This is a piece of communication that deepens the love for democracy and people's democratic traditions, without uttering the word democracy even once. This is we work so hard to ridding ourselves of those who undermine Thailand's era of infant democracy. Hopelessly shallow generals must be put back in place. The king and his nosy network must be put back in place, or risk losing it all this time. People had been too kind to them in the 1932 when a revolution took place. We allowed a snake with its backbone half-broken to crawl back and breed more little snakes over the years. Now, all the snakes have ganged up against democracy, we must study the sacredness and humour in a film such as this one and use the good blend as weapons. We do not have to agree or even like you, Mrs. Thatcher, but we respect your and your people's sense of self worthiness and make that clear in your political way.

I loathed Margaret Thatcher. I loved this film. It's perhaps the best political movie I've ever seen, certainly far far ahead of even the best American political films. It's an interesting approach to document Thatcher's early years rather than her later fame as prime minister. Yet the future leader is strongly evident in Andrea Riseborough's brilliant interpretation of Thatcher as an iron willed flirt. No small feat to transpose the well known Thatcher haughty expression, purposeful gait and swinging handbag to the younger and sexier woman of an earlier era. Rory Kinnear has captured Dennis Thatcher's bumbling anonymity perfectly. And Geoffrey Palmer... The wonderful and versatile Geoffrey Palmer... His curmudgeonly establishment Tory character is priceless. I stumbled on this film on TV Ontario. Rather than watch it, because I was tired, I recorded it. I'm glad I did because the DVD now has a place of honour among my "keepers."

Before she became Prime Minister or Britain's "Iron Lady", there was an ambitious young woman named Margaret Roberts, later to be known as Margaret Thatcher, who sought to become a Member of Parliament. Margaret Thatcher: The Long Walk to Finchley, with the subtitle "How Margaret Might Have Done It", is the BBC's 2008 film depicting the ten year journey of a young grocer's daughter straight out of university to the beginning of her rise to Prime Minister.

The film's heart is its young Margaret played by Andrea Riseborough. This isn't the Thatcher who became so well-known some thirty years after the film begins but a much different woman. This Margaret is young, feisty and above all incredibly ambitious. In that case, Riseborough is perfect casting as we watch this young future Prime Minister put her ambition above all else including job and family. Riseborough plays the role to the utmost of her ability and she serves the film well.

The supporting cast is splendid as well. Rory Kinnear is perfect as the young Denis Thatcher and much the same can be said of Philip Jackson as Margaret's father Alfred. The supporting cast also includes Samuel West as Edward Heath (himself a future Prime Minister), Michael Cochrane as Sir Waldron Smithers, Sylvestra Le Touzel as Patricia Hornsby-Smith and Geoffrey Palmer as Finchley's outgoing MP Sir John Crowder. Palmer's appearance in particular is in fact quite small but makes a huge impression during his time on screen. The result is well acted film all around.

The production values of the film serve the film well. In particular the cinematography of Jan Jonaeus and the score from composers Srdjan Kurpjel and Mario Takoushis serve the film's light hearted tone well. The music is particular is superb at setting the feel of any particularly scene in the film. The film also is well served by its sets and costumes which believably present the 1950s setting of the film. The production values serve the film well and little more can be asked of them.

The script by Tony Saint is an interesting piece of work in its own right. The film's subtitled "How Margaret Might Have Done It" is an accurate one. The film is without a doubt inspired by the true story of Thatcher's decade long journey into being elected to Parliament yet is also without a doubt a piece of fiction. It is a light hearted piece of fiction as well. The film puts heavy focus on the comedic especially with some nicely done foreshadowing of events still far in the future. These include a young Mark Thatcher saying if he ever went to Africa he wouldn't cause trouble (a reference to his involvement in the 2004 coup attempt in Equatorial Guinea) and a young Margaret saying in an early speech "Every child in the country would have as much milk as they wanted. That would be my promise," in a reference to one of Thatcher's most infamous decisions pre-Prime Minister when she served as Minister of Education to end the serving of free milk in schools. The film also has a fair amount of drama in it as it explores the beginning of the rift that would grow between Thatcher and Heath as well as Thatcher's struggle to overcome prejudice. The result than isn't a political film but an entertaining one about the rise of an ambitious young woman who would one day become her nation's most powerful leader.

Margaret Thatcher: The Long Walk to Finchley is a film perhaps best looked at not without politics in mind. The film is filled with strong performances, strong production values and a first rate script with a light hearted tone to it. This isn't a film about the still controversial Prime Minister but the journey of the young woman who was to become her.

Andrea Riseborough, who reminds me of Claire Hoy in The Crown, sometimes actually looks and sounds more like Queen Elisabeth, than Margaret Thatcher. But, she, along with a number of well-known actors and actresses have done a fairly decent job of portraying her rise to power in this production. It's not a documentary and that shows with the occasional foray into imagined conversations and interactions with various characters and scenarios. An interesting but not great interpretation of how this willful and determined woman overcame many obstacles in her fight to gain a place in parliament. She may not have thought of herself as a 'feminist', but she was certainly not the traditional wife and mother that the Conservative Party expected her to be. However one views her, she is still as divisive now as she was then. Her policies and beliefs shaped her whole life and changed Britain in many ways. An okay production but to be taken with a grain of salt.

It certainly needed that sub-title 'How Maggie Might Have Done It' - freeing the producers to serve up a pick-'n-mix docu-drama that does at least hold the attention happily enough for an hour and a half.

Much is made of the tortured relationship between Margaret Thatcher and Edward Heath, the Conservatives' young-man-to-watch in 1949 when the story starts. But it is stretching credulity too far when Heath tries to fight-down his romantic feelings for the flirty Margaret (which she wasn't, when young) and ends up using his influence to get her a winnable seat in Finchley, just to spite her predecessor, a crusty old-style Tory prejudiced against candidates with working-class backgrounds - like Heath!

But it is prejudice against women candidates that bulks-up bigger in the story, accentuated further by the voters' apparent need to trust a candidate with a good war behind him. (Just count the medals on show at those constituency meetings.) There is a poignant scene where Margaret suddenly collapses in tears at yet another rejection. All her life, she had been assured that talent and hard work would take you wherever you wanted, and now she learns that it's not that simple. At these moments, we see how much she needs the apparently redundant Denis as a shoulder to lean on - realistically played by Rory Kinnear, even though the famous lordly voice is replaced by something closer to John Major's classless delivery. Clearly the producers discouraged the temptation to impersonate rather than act. Samuel West's Heath conveys all of the man's social awkwardness, but stops short of replicating the curious hybrid accent that always seemed to reveal a man uncomfortable in his skin.

Andrea Riseborough, as Margaret, sometimes verges on caricature (those mannerisms!), but the sheer gusto of her performance heightens her credibility in the role, as she shares with us both her soaring ambition and her vulnerability and private self-doubt. And don't miss scene-stealer Georgie Glen as the minor official at the Finchley conservative group, slowly warming towards Margaret, and giving vital encouragement when she seemed to be losing.

As the story ends long before she achieves ministerial office, we have to sit through a whole lot of amateurish nudge-nudge referencing of future events in her career - her demands for a better deal from the EU, the school milk controversy, son Mark's misadventures in Africa, even a suggestion of 'Anyone for Denis?' as he marches proudly into the maternity ward, declaring "We're going to win the Ashes back!"

Also the production values are a bit uneven. Too many lines are simply lost through poor acoustics, especially in the restaurant scene when she is apparently prompting Denis to propose to her. The dialogue is unlikely enough anyway, but the crucial question and answer are literally impossible to catch.