Love on the Dole

A pre-kitchen-sink UK drama aiming to boost the morale of British Commonwealth during WWII, LOVE ON THE DOLE most importantly marks British cinema's grand dame, Deborah Kerr's very first leading role at a tender age of 19, who sports a cockney accent and still carries some dainty baby fat.

This 1930s Depression-era tale of woe pivots around the mews-dwelling Hardcastle household in Hanky Park, Salford, Mr. and Mrs. Hardcastle (Carney and Merrall, both are excellent in resisting falling into operatics despite of their stereotyped roles) live in immiseration with their two grown-up children Sally (Kerr) and Harry (Hibbert). When the employment rate hits the nadir, and many are taken off the dole by the Means Test, The Hardcastles' life is critically hobbled by their financial difficulty, Sally's impending matrimony with her sweetheart Larry (Evans), an ideal socialist, is abruptly brought to an untimely end by a public demonstration which goes violently awry; and Harry, after marrying his gravid wife Helen (Howard), has an extra burden to carry with the patter of tiny feet and slumps into despondency and despair when no job is available, especially after having won a jackpot and savored a transient flavor of living high on the hog.

But, like in any movies, there is always a way out, the comely Sally gets the attention of a seedy, middle-age bookmaker Sam Grundy (Cellier), so if she is willing to come across, Sam will reward her with material affluence, with two jobs for her father and younger brother, eventually Sally caves in after her marriage plan comes a cropper, after all, under that circumstance, any girl would love to trade their place with her. In her belated fur-donning transformation, Kerr makes an impassioned plea of Sally's inexorable moral corrupt, against her bemoaning mother and infuriated father, morality can be compromised, but dignity retains, no matter what, Ms. Kerr is definitely a revelation!

Journeyman director John Baxter does a presentable job in this studio-bound commodity, establishes its foggy environs and well-superimposed transitional sequences, but to this reviewer's lights, it is the risible quartet of biddies (silent film star Marie Ault makes a wonderful impression here) that gingers up the misery with their undimmed force of life, filtering scuttlebutt, passing snide comments and organizing séances, with subterranean libations to smooth over their troubled days, but when it comes to money, every darn pence counts.

Love On The Dole was Deborah Kerr's third film and the second one where it was British social inequality. I have to say this film completely took me by surprise. Given the title I was expecting some frothy comedy about young people in love trying to make ends meet on public assistance with a happy ending. This film was anything but what I described.

Kerr starred in this coming off Major Barbara which took a less intense view of some of the same issues. Love On The Dole wasn't exactly peppered with Shavian type wit. It makes its points in a far more serious vein.

Not only did the title throw me for a loop, it is one of the most depressing pictures you'll ever see. It's about the United Kingdom during the Depression, set during the early Thirties. The Hardcastle family with father George Carney, mother Mary Merrall and grown children Deborah Kerr and Geoffrey Hibbert are just getting by. Father gets laid off and they go on the dole.

Not after a taste of the good life when Hibbert wins on a longshot bet with bookmaker Frank Cellier and he takes his girlfriend Joyce Howard to the resort in Blackpool and Kerr and her young man Clifford Evans comes along as well. Evans has all kinds of ideas that would find a home in the very left part of the Labour Party and he'd like to marry Kerr, but finances are against it.

In the end Kerr makes a critical decision to take her out of her slum neighborhood and the drab life she can look forward to. Believe me this is a decision you would never see in any American film of that era.

Love On The Dole is as drab as the area and people it portrays. But by no means is it bad. In fact it's one of the most realistic of films you'll ever see.

Monty Python's Four Yorkshiremen have nothing on this! That this was released at the start of the war to boost morale seems bizarre. Superbly made - yes, engaging - yes but it's also one of the most miserable films I've ever seen.

This is not light entertainment - you don't want to watch this after a bad day at work. But if you want an absolutely gritty and authentic, albeit intense depiction of working class life in England in the early thirties then this is a must. It's as far removed from Hollywood or even Gainsborough escapism as imaginable. The weird logic in releasing this just as the horror of the war was beginning was that at least things are better than they were a few years ago. You'd never have got anything as critical of society as this being released in Nazi Germany, or even the USA at this time.

The title, Love On The Dole might suggest that this is a typical 1930s depression movie with a sweet young couple managing to find happiness against the backdrop of adversity: it's definitely not. As you'll realise if you make it through to the end, love in this context is trying to do what's right for those you love even if that's sacrificing your own chance of happiness. It's not a happy film but it does have a really positive message about the goodness of humanity. This isn't about a young couple in love, that type of love is a luxury that can't be afforded. Love and marriage and for many, even happiness is just something that exists at the pictures.

Although it's not easy viewing, it is compelling and gives a first-person, genuine insight into life in Manchester as the English Depression which began after the First World War became even worse as the effects of America's economic collapse hit our shores. Some of you might think that a few of the accents are more 'generic northern' than 1930s Manchester but the current Manc accent hadn't evolved by then so did sound a little more like West Yorkshire. Deborah Kerr in addition to doing a pretty passable Lancashire accent also gives an outstanding performance - you'd never guess this was her first major role.

If you like those 'kitchen sink dramas' which portrayed the social realism of the 1960s, see how it was done in the 30s.

A British drama; A story set in Salford, England, during the depression. A proud miner struggles to provide for his family, while his daughter fends off the advances of two men: a kindly Labour Party representative and an oily bookmaker. Tightly scripted and deeply affecting, it deals with the theme of a classic 1930s dilemma: escape poverty or keep faith with the morality of her class and Lancashire values. The film resonates with a strong feeling for the genuine harshness and brutal truths of poverty and unemployment. There are all-round good performances, especially by Deborah Kerr, who is subtly affecting in her portrayal of personal conflict, and Geoffrey Hibbert, who plays his part with innocence and remarkable poignance. While the film has a gloomy feel, it also has comic relief as well as pathos, and there is a heartfelt feeling throughout the different subplots that avoids mawkishness and over-sentimentality. As an aside, this was an adaptation of the Walter Greenwood novel, scripted by himself, and was censored up until its release for its "sordid" story and comment on social conditions. The film reinforced the view at the time that Britain and its working classes had survived such hardships and would survive others. The outbreak of war was one of the main catalysts for change in housing conditions in communities like Hanky Park due to full employment and a Labour Party landslide victory in 1946.

There were a number of potential films that were unmade until war was declared,and this was one.Directed by one of the great British directors,John Baxter.Starring Deborah Kerr on her way to the top,without as claimed in another review a cockney accent.