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It is 1962 Phoenix, Arizona. Sherri Finkbine (Sissy Spacek) and Bob Finkbine (Aidan Quinn) are a happy suburban couple with four little kids. She is the host of a local TV kiddie show. He is a high school teacher. She has been taking thalidomide and is shocked to be told about its effects. Her doctor suggests getting a highly restricted abortion.

This is a very uncomfortable subject matter from HBO. It was important back in '92, but it may be even more important right now. Some characters are rather frustrating, but that is the point. The over-riding feeling is frustration. The drama is not that high, but it is compelling.

The Supreme Court's overturning of Roe v. Wade makes Sherri Finkbine's story all the more important. I had never heard of the story until I watched Joan Micklin Silver's 1992 movie "A Private Matter", starring Sissy Spacek as the pregnant TV host in 1962 who discovered that she had taken thalidomide, deforming her fetus and requiring an abortion.

This is one of the few movies that I know of that focuses on abortion, as the execs usually fear that depicting it will make a movie unmarketable in entire regions of the country. That makes it all the more important for stories like this to get told. Definitely see it.

Also starring are Aidan Quinn, Estelle Parsons, Xander Berkeley and William H. Macy.

Sissy Spacek plays real life Sherri Finkbine in Phoenix Arizona in 1962, Miss Sherri on television's Romper Room. She finds that by having taken thalidomide tranquilisers, she has endangered her unborn baby, and she must decide whether to abort, as there is a strong chance that the child will be severly deformed. The law on abortion in Arizona is that it can only be done when the birth presents a risk to the mother's life, and the sentence for an illegal abortion is 2 - 5 years in jail. The teleplay by William Nicholson initally presents Sherri as a progressive woman, working against the wishes of her husband (Aiden Quinn), though we might think the cost of feeding their 4 children would demand both parents be employed. However as the narrative enfolds and the stress of the situation impacts on the couple, we observe the weaknesses in the base relationship. Her mother (Estelle Parsons) praises Sherri as a "good girl", someone who has been selfless, but Sherri reveals that this has been something she has created to conceal her true rebellious nature. Sherri also feels disempowered by the patriarchal system of husband and doctors and judges who want to control what she does with her body. Nicholson uses the Finkbone husband and wife to reinforce stereotypes of men as unemotional and rational, and women as the opposite. He also repeats Quinn's line "Do we have to do this now", as "We don't have to do this now" in variation, which still doesn't free it from being false dialogue, on the level of "We can get beat this thing". Director Joan Micklin Silver's approach seems to determined not to sensationalise that she overdoes the 60's kitsch, opening with When I Fall in Love, giving the women unflattering hairstyles, using a banal music score by James Newton Howard, and even hackneyed slow motion as Sherri battles through crowds so we can see how heroic/tragic she is. Apart from Spacek's bursts of edgy anger, and the use of a glove puppet called Krazy Cat which allows her to use a different speaking and singing voice, the only unexpected thing is a girl children fight. The best scene is when Spacek baits Quinn in frustration, screaming in their backyard at 3am, calling him a coward and taunting him to hit her, even if Silver resolves the argument in dull sentimentality. Watch for William H Macy in one scene, here billed as WH Macy, funny as a psychiatrist assessing Spacek.

Powerful and knockout. See it Spacek ... 10 Quinn ...9 Parsons... 8