We Want Sex

Greetings again from the darkness. The first thing that strikes you about this movie is that it looks and feels like ancient history. In fact, it is based on the real life happenings in 1968 - only about 40 years ago. Sally Hawkins (so wonderful in Happy-Go-Lucky) portrays Rita O'Grady, the Ford sewing machinist who reluctantly takes on the leadership role in the battle for equal pay for women.

Director Nigel Cole tells this story minus the heavy-handedness of the times. In fact, it's a very entertaining tale of right vs wrong - because "that's how we have always done it". He uses actual archival footage of Ford plants, cars and workers, as well as general footage of England circa 1968. These cuts give the film a feel for the times and prevent any over-analysis of wardrobe and sets in the movie. Mr. Cole clearly has an understanding of women based on this film and his previous work in "Calendar Girls".

The cross-fire between the unions, Ford, the workers and the government really bang home the notion of just how ridiculous this entire argument was (and is). Rita O'Grady was so effective because she cut through the muck and made it what it really is ... a simple case of right vs. wrong. Rights vs. privilege. This was never more apparent than in her meeting with Secretary of State Barbara Castle (Miranda Richardson). Madam Secretary is attempting to negotiate a settlement that will keep Ford happy, but quickly realizes ... with help from O'Grady ... that there is really only one correct course of action.

Supporting work is excellent from Bob Hoskins, Ms. Richardson, Daniel Mayes (as O'Grady's husband), Rupert Graves and Rosamund Pike (husband and wife on different teams) and the rest of the cast of women, as well as the Ford executives and Union leaders. The film mostly rests on the shoulders of Sally Hawkins, who breezes through with a natural energy that just makes you want to pull for her. She was terrific in Happy-Go-Lucky, and even better here.

The film stops short of detailing the massive battle that escalated the following year between Secretary Castle and the Labor Unions. Most attribute these fights to the downfall of the Labour Party in 1970. However, Ms. Castle's contributions are very clear in these all important topics and led directly to England's Equal Pay laws of 1970, which in turn paved the way for most other countries to follow.

This is a very uplifting film and shows the bravery and determination required of those who change the course of history. Whenever you hear talk regarding the lack of strong female movie roles, this film is exhibit number one that fact can be even stronger than fiction!

I am disappointed to read some of the negative vibes about this film. I saw a screening at Vintage Goodwood yesterday and the enjoyment of the audience was overwhelming complete with outbreaks of applause. Some really excellent cinematography especially the extreme close-up of Sally Hawkins in one of her most desperate moments provided a very authentic backdrop to a really believable time-piece movie. Bob Hoskins, Rosamund Pike and Sally Hawkins excel. I came out of the cinema having been educated, entertained and emotionally touched. I wonder just how many of the negative reviews have been written by men who of course may just be feeling rather embarrassed by the roles of their historical alter-egos.

After a summer of endless animations and shlock-horror here - at last! - is a film with real heart.

Sally Hawkins is a revelation as Rita who becomes the striking machinists' spokeswoman; her speeches to co-workers, union chiefs, management and the press all start out tremulous and gain in confidence as she hits her stride. Geraldine James who usually plays upper-class ladies (I'm still trying to forgive and forget her breast-feeding David Walliams in Little Britain!) here plays a kind of 'upper-working-class' woman with a husband still shell-shocked from WW2. John Sessions does a Spitting Image turn as Harold Wilson, and Miranda Richardson morphs her Blackadder Elizabeth I into a fiery Barbara Castle (dressed by C&A).

In my Gap Year (date withheld) I worked in a Sussex factory that had a sewing-room. The movie gets the atmosphere exactly right but I don't think working women were quite as free with the f-word back then as they are in this script. The end credits run against pictures of the original Dagenham strikers who all look like clones of Corrie's Ena Sharples and Florrie Linley. Some of the film machinists are more Carnaby Street than Coronation Street, but that's OK. These girls make you laugh, they occasionally bring a lump to your throat, but most of all they make you want to cheer.

A small slice of 1960s history, this film packs a big punch. Do not miss it.

From the director NIGEL COLE (Calendar Girls, Saving Grace), MADE IN DAGENHAM tells the tale of the 187 women that worked at the Ford Motor companies Dagenham factory - and their struggle to earn equal rights and pay with the 55,000 male workers at the factory.

Set in 1968, the economy was used to frequent union uprisings and strikes – but this was the first time that it was the women upholsterers who sewed car seat covers that took the initiative … after being "down-graded" to a non-skilled status – the women rose as one to walk out, in an action that brought them into direct conflict with the management, their own unions and their own husbands … eventually brought the Ford motor company to it's knees

Many laughed at the women's actions … until their strength of feeling … and reality set in … forcing the unions and the management to take increasingly desperate measures to get the women back to work … as factory production ground to a halt.

Rita O'Grady (played admirably by SALLY HAWKINS), a shy, pleasant worker working in sweat shop conditions, found her voice when asked to stand up for the women's views, and gradually became more and more empowered as the rest of the women stood behind her in a crusade that became synonymous with equal rights

The story climax's nicely in an emotional showdown, as the situation finally comes to a head and the chief participants (Ford, the Government, the Women, the unions and the men workers) all realise that things have gone too far … and none of them can back down.

As well as Sally Hawkins, there are some strong performances by other members of the cast – specifically, Bob Hoskins as Albert, Miranda Richardson as an exuberant Barbra Castle, the lovely Rosamund Pike as Lisa, Geraldine James as Connie, Kenneth Cranham as Monty (Unions) and Richard Schiff as Robert Tooley (Ford).

The music, costumes and the locations set up the tone of the times nicely, and the direction is solid throughout. The camera work is able, and is interspersed with footage from the actual era giving it more gravitas.

In a phrase, it's … "Girl Power – union style"

Made in Dagenham hit the screen and shows that a not-exceedingly-mega- budget film can be the best of the year.

The factually based story of how the Dagenham women brought Ford to a standstill makes for surprising film material.But it works .The film is authentic to the late 60s down to the tea cups and kitchen cabinets , the clothes and make up.

Miranda Richardson as Barbara Castle steals the film,Bob Hoskins,Geraldine James are all excellent in their roles.

Stay in for the credits though, that part of it had me reaching for the tissues .

This is a film which will have you shaking with anger one minute and crying the next.Highly recommended.