Vera Drake

In the early 1950's, Britain is still very much recovering from the war years and the working classes are very much held together by salt-of-the-earth types supporting their families and others. One such woman is Vera Drake; mother, wife, carer, cleaner and part-time back-street abortionist. Vera takes no money for her work and simply wishes to give them the help that they cannot afford to get through legitimate channels. However not everyone shares her view of abortion and it is only a matter of time before Vera's work comes to the attention of the authorities.

Bearing in mind that this film being mentioned in the Oscars, Baftas and general glowing support of critics, it is easy to forget that it raced through the UK's multiplexes so quickly that I had to wedge myself into a sold-out art-house cinema just to see it (sold out, that is, on an afternoon screening). It is even easier to forget that fewer than 1000 people have even voted for this title as I write this review. Certainly watching it yesterday it is easy to understand why it is feted by critics but not the choice of thousands of teenagers for a Saturday night at the movies, because it is a very slow, difficult film that is far from being a bundle of laughs. However it is still a fascinating film throughout even if it is not as strong as could have been expected. The story is basic and it can't quite fill the time, maybe down to the way it was written – that is, it was written as a frame and the dialogue was improvised and workshopped rather than scripted in the traditional fashion (hence Leigh's surprise at one of his Oscar nominations!).

While this weakens the story a little, it seems to have produced great performances from the cast that do more than cover for the slow pace. Staunton is superb and she stands out in the best actress category. She is a complex character that the film never easily pigeonholes and it shows how balanced the film is in the way we are not swayed in her favour by her character whenever her morals come under fire. The film is very much hers and she is totally convincing in her character. She is well supported by natural performances from Graham, Davis, Marsan and Mays among others. Leigh's direction is very intimate and, with sets and costumes, he has painted a convincingly downbeat view of post-war Britain that looks good and adds to the realistic feel of the film.

The film had a lot less debate than I had expected and it doesn't really come down on either side of the abortion issue; I guess that it is better that it leaves it to us to think over rather than preaching to us – how nice (and unusual) to be treated like adults by a film. Overall though, it is the story and Vera herself that make the film so involving, the story is well framed and the workshop approach has produced some very good performances, particularly from Staunton, who outshines all others nominated alongside her in the Oscars. Deserves to be seen by larger audiences than it has had thus far, but just don't expect it to be fast-paced, fun or gripping – it is much more than that.

Vera Drake (Imelda Staunton) is a kind helpful mother and wife to a working-class family. She invites Reg (Eddie Marsan) for dinner and sets him up with daughter Ethel (Alex Kelly). Reg served in the war as well as her husband (Phil Davis) and son (Daniel Mays). She helps the local women with abortions. Unbeknownst to her, black marketeer Lily (Ruth Sheen) charges those women. In a parallel story, Vera also cleans the house of a government minister. The shy daughter Susan (Sally Hawkins) is raped during a date. She is desperate to get rid of her pregnancy and her friend directs her to a higher cost abortion where a psychiatrist uses her aunt's suicide as grounds to terminate.

Mike Leigh delivers a movie full of humanity. Imelda Staunton is simply brilliant. I would have liked Susan's story to be more connected with Vera. Obviously, Leigh is making a point about the state of abortion for the different classes but it's not quite clear enough. Overall, Staunton overwhelms this movie with her humanity and kindness.

I don't think I need to fear rolling pins being thrown in my general direction when I say that powerful women roles are few and far between in Moviedom. That is not to say that there aren't any, it's just that it is rare for a female performance to blow you away in any projector driven screening. This is due more to Hollywood's reluctance to create interesting and powerful roles for the female elite than the actresses' ability themselves. Where studio honchos salivate over the next Jack Nicholson powerhouse or Anthony Hopkins costume drama, there are far far too few Charlize Theron's Monster to counter.

However, leave it up to Mike Leigh to try and correct this trend. In 1996, he wrote and directed the wonderful Secrets & Lies, and his writing for the women leads was so strong, that the Academy awarded nominations for both Best Actress (Brenda Blethyn) and Supporting Actress (Marianne Jean-Baptiste). Now in 2004, Leigh has given us the strongest performance by a male or female of the year with Imelda Staunton as the title character in the new film Vera Drake.

Vera Drake is the story a family in 1950's London. Vera is the Motherhead and she is the jack-of-all-trades within the community. Her days are spend stopping in on elderly people to help them with their lunch, working a various estates as a cleaning lady, slaving at a light bulb producing factory and most notably, as a caring individual who helps young and poor women terminate unwanted pregnancies.

However, if you were to ask Vera Drake what her role was, she would probably admit to being a mother first – a caregiver to her husband and two children.

A selfless woman who has little time for herself and therefore little time to digest the consequences of her illegal actions. Vera is goes about every bit of her business, whether she is down on her knees cleaning the brass around a fireplace or helping a woman perform an abortion without a frown and usually with a smile on her face, a whistling tune on her lips and the kettle on the stove.

Vera's family are equally lovable individuals. Her husband, Geroge (Phil Davis) works with his brother at an automobile repair shop. Her son Sid works as the local tailor and her daughter is a soft spoken lass who falls for a local man Vera invites over to dinner as a kind gesture. Together they make the quintessential family unit that we all envisioned 1950's households to encompass.

But when a local girl has a bad reaction to a Drake endorsed abortion, their world is turned on end. An investigation by the local police lead them to Vera's door on the night of celebration due to her daughters engagement. And as the police take Vera to the local booking station for a statement and sentencing, Imelda Staunton does her best work through the tears and expressions mirroring the suffering at the anguish she has put her family through.

Vera Drake might just be the best picture to be viewed by this critic this year. The characters are so robust and real that every time Vera put the kettle on for a cup of tea, you would think she is doing it for everyone in the audience. We become captivated by their lives and interested in the effects the events have on the family unit. The writing is crisp and you can imagine these people saying these things to one another – a gift not often bestowed upon moviegoers in such a powerful form.

Director Mike Leigh deserves most of the credit. He transforms Vera in front of us and manages to take an illegal action that is generally taboo in conversation and shows us the innocent side of the argument where rich people pay large sums of money to go specialists, but the poor and equally needy require the services of a local underground network. As someone who sits on one side of the abortion issue, I was amazed at the conclusion of the film how non-preaching and argumentative the film ended up being. Vera goes about her business like a friend helping out someone in need. She deals not in the politics or the societal view of her task but rather as someone just doing what is best for those found in situations where this solution is the only viable option.

Leigh's writing and directing however are overshadowed by the incredible performance by Imelda Staunton. This maybe the first film that I can remember where a female should win an Academy Award for a role that didn't harbor any speeches into the camera or voice over dramatization of the situation. With that, I give Vera Drake a very strong recommendation.

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Imelda Staunton is superb and is my bet for the Oscar unless some Hollywood Diva does another "out of character" performance. But she only shines because of the company she keeps.This is ensemble acting at it's finest. No melodramatics, no attempt to steal scenes,and the result is as honest as life itself. This is the way the British talked, almost always indirectly, hedging around issues rather than hitting them head on, and a slave to mannered behavior. Understate, understate, understate.

Having lived in England from 1952 to 1959, and having married someone who was British who grew up during the war and it's aftermath this movie was like "a bit of old home." My mother employed "char ladies" like Vera, although we were "upper middle class" rather than "upper." The class differences were quite distinct in those days, and often determined by accent. What this movie shows is not only the average life of a "lower class" family but the options forced on them that were different from those in the higher brackets of society.

As anyone should know by know the movie is about illegal abortion in a rigid

puritanical society. Illegal, that is, for those without means, but quite available to those who could grease the wheels of the medical establishment who had "legal" ways around the law. In other words if Roe v. Wade goes then Vera's will pop up again.

There is no attempt to make a statement for or against abortion. As Mike Leigh has said: abortion has been in every society for thousands of years. The Vera Drake's who have lived could populate a small city. What this movie does do is emphasize that the Vera's were/are common average people not quasi criminals lurking behind the curtains of some seedy back alley shack, and that legislating morality never addresses the often harsh reality of human society.

One observation: When the police arrive at the home of Vera Drake (Imelda Staunton) to confront her about the allegation that she has been conducting illegal abortions, she and her family are celebrating her daughter's engagement. When the cops enter the room, the camera freezes on Vera's face. Over the course of about 45 seconds in which she doesn't say a word, Staunton's face registers every possible emotion: Joy, confusion, concern, fear, disgust, anger, guilt. It's heart-racing just to watch, and it's what acting -- great acting at least -- is all about. Staunton's is the one female performance of the year not to miss. (On the men's side, check out Morgan Freeman in MILLION DOLLAR BABY.)