What Every Woman Wants

It's a crowded Manchester home, with grand dad, the married couple, their two grown children, one of whom has married the communist at the mill. The son of the house has an understanding with the girl next door, and they have trouble finding a spot for their courting. And then cousin William Sylvester shows up, with a leg shot off in battle, and the daughter of the house and he spark spark at each other. Will Patric Doonan decide there are things more important than class warfare, or will local gossip destroy the family.

It's a fabulous cast, including Brenda de Banzies, and a Prunella Scales so young she's unrecognizable to those who know her from playing John Cleese's long-suffering wife, and Joan Hickson as the sharp-tongued and small-minded neighbor. Under the direction of Maurice Elvey, we are introduced to the characters, and while some don't have as much screen time as I'd like, the story bumps along in an explication of a fairly broad-minded and caring famil

This is the film version of a play,with most of the action taking place in the front room of the family house.William Sylvester returns as an army veteran who was the former lover of the daughter of the family.However she is now married to a rather unsympathetic character who is more interested in speaking at strike meetings than taking his wife dancing.There is a courting couple played by a very young Brian Rix and a young Prunella Scales.A youthful Joan Simms also makes an appearance.There is a copious use of stock footage for exteriors.Also at the political meetings you see the platform speakers but not those in the hall.Despite these limitations it is entertaining maybe because it took the path that will be taken by television soap operas.

The faux saucy title combined with the fact that it's an Adelphi production, the name in the credits of director Maurice Elvey and future 'Carry On' writer Talbot Rothwell - soon followed by the extraordinary sight of Brian Rix and Prunella Scales in cycling shorts - suggests a comedy.

However, the scenes shot on location in a factory more accurately belong in a drama about industrial relations with many of the cast, notably Brenda de Banzie as a sort of Mancunian Mother Courage, William Sylvester as the prospective son-in-law wounded in Korea and Patric Doonan railing against "this capitalist war" seeming to to be taking it all very seriously indeed.