As Sufragistas

It can be risky critiquing a film homage to heroines of feminism, especially one with a star cast that includes Carey Mulligan, Helena Bonham Carter, Ben Whishaw and a Meryl Streep cameo. Respect for the cause, however, does not guarantee respect for the film, and this one chooses a very limited lens with which to view this episode of history. It does have high production values, narrative authenticity and sensitivity for the feminist struggle in early 20th century Britain. But it gets lost in balancing the broader sweep of history that shapes gender relations and the impact of particular individuals.

The story line is uni-linear, the atmosphere dark and claustrophobic, and much of the acting is melodramatic, with long close-ups of Mulligan's finely nuanced expressions recording her progress from an abused laundry worker to what today would be called a radicalised political terrorist. The historical lens is so myopic that you could walk away believing the vote was won by a few protesting women, the bombing of some public letterboxes and a suffragette who threw herself under the King's horse. No more struggle…job done! Of course, that is not true and the struggle continues.

Despite these limitations, it's a finely crafted British film. The fictional heroine Maude Watts is an avatar for the British working class women who risked everything, including their lives, in fighting for the vote. Men of all classes are the demons of this tale, and one of its chilling insights is how the most dangerous enemies of suffragettes were husbands. Patriarchal governments left it to ordinary menfolk to sort out their unruly women in an era where wives were legally subordinate to husbands. Maude's contempt for her treatment at work and home propels her into the swirling orbit of violent protest where "war is the only language men listen to". Evicted by her husband for shaming him, she is left with nothing; by law, even her son was her husband's property. During the struggles, over one thousand British women were imprisoned and treated shamefully, a fact only acknowledged in the film's closing credits. Admittedly, historical judgement is difficult to translate into cinematic language, but many films have done it better. If you are interested in the history of feminist struggle from the viewpoint of the small people who made up the bigger story you will like this film.

Biographical movies are always fascinating. If it is not something worthy, the movie would have not taken up the shape. It was a very good movie, and a very important historical subject. It has been 100 years since and now the world we live-in is much different and better. I think after thousands of years, now the women got their freedom.

I thought I knew this story very well, but it was 'Made in Dagenham' which is quite similar to this which is also based on the real. Both the stories take place 50 years apart, but this one was the beginning of a new era for women, not without sacrifices and sufferings.

Great actors, great actings, awesome storytelling, cinematography at its best, direction was amazing and the music was so pleasant, but the method of dealing was a bit gruesome, and sometimes brutal. I thought the terrorism is a new word, but this movie gives a different perspective and meaning to that.

You would definitely love this film if you respect women. All women cast movie, including the director, but for everyone. It might have begun in the UK, but the entire planet saw a drastic change and still taking place in some places. I don't see any reason why I should not recommend it to you.

8/10

'SUFFRAGETTE': Four Stars (Out of Five)

Historical drama flick; about the beginning of the first feminist movement, in early 1900's Britain. It was directed by Sarah Gavron and written by Abi Morgan. It stars Carey Mulligan, Helena Bonham Carter, Brendan Gleeson, Ben Whishaw, Anne-Marie Duff, Natalie Press and Meryl Streep (in a cameo appearance). The film has received mostly positive reviews from critics, and it could possibly become an upcoming awards contender. I found the movie to be educational, somewhat emotional (at times) and inspiring.

The film tells the story of a 24-year-old young woman, named Maud Watts (Mulligan). Maud was a wife, mother and laundress; in the UK, during the early 1900's. One day, while trying to deliver a package, she recognizes a co-worker, named Violet (Duff), who's involved in a suffragette riot (destroying windows). Maud is later asked to testify, for the right to vote, in place of Violet; due to the fact that Violet's husband severely beat her. After that, Maud gets extremely caught up in the movement; much to the disappointment of her husband, Sonny (Whishaw), who kicks her out of their house, because of it. Maud continues to sacrifice more and more, for the fight, including losing contact with her young son, George (Adam Michael Dodd).

I really like movies about rebellion; and what's more inspiring than a film about half the population, fighting back against the corrupt system, which oppresses it? In that way, the movie can't miss. It's well directed, decently written and powerfully acted (Mulligan is especially impressive in the lead). Streep is only in one scene of the film; and it's extremely manipulative, for the advertisers to have used her so much to sell the movie (that's not the filmmakers' fault though). I only wish the film would have been a little more emotional; it's very dramatic at times, but it seems like it could have done a little more.

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Whilst most men would agree that giving women the vote was a dreadful mistake (put that stone down ladies…. it's just a joke), the astonishing story behind the UK social upheaval that was the Suffragette movement is well overdue a serious cinematic treatment. And a serious treatment Sarah Gavron's new film most certainly is: you exit the cinema feeling about as wrung out as the linen in the heroine Maud's workhouse-style laundry.

Carey Mulligan plays Maud Watts, an ordinary and anonymous working woman who progressively gets sucked into the anarchic rabble-rousing of an East-end branch of the Pankhurst's Women's Social and Political Union (WSPU). With operations run out of a chemist's shop by Edith Ellyn (Helena Bonham Carter) and her sympathetic husband, Maud risks a criminal record and the shame associated with that to pursue her ideals. Police pressure is applied by special forces copper Arthur Steed (Harry Potter's Brendan Gleeson) and personal pressure is put on her by her husband (played by Ben Whishaw, soon to be seen again as 'Q') and her alleged fitness to be a mother to their young son George (Adam Michael Dodd). As politicians continue to ignore the issue, the actions build to one of the most historic events of the period.

The struggle is seen very much through the limited prism of this select group of women. But where I really liked this film is in the slow awakening of Maud's character. In many ways it is like the germination of a seed that we are seeing on the screen. She starts without any interest in the movement and even mid-way through the film she is adamant that she is "not a suffragette", despite evidence to the contrary. Mulligan is, as always, completely brilliant in the role.

The supporting cast are all strong with Gleeson being particularly watchable as the lawman with a grudging respect for Maud and her cause. Meryl Streep makes a powerful cameo as Emily Pankhurst: but it is a short and sweet performance. Maud's friend Violet (Anne-Marie Duff) is also outstanding, her gaunt face delivering a haunting performance.

Whilst there are some highly emotionally charged scenes in the film, in a political sense the film has a curious lack of passion at times. A keynote speech to Lloyd George for example should have been electric - yet the Abi Morgan's script doesn't quite do the scene justice and if I was the MP I wouldn't have been impressed (which perhaps was the point).

I also had issues with some of the cinematography. Carey Mulligan has such an expressive and photogenic face that extreme close ups should work brilliantly. And yet filming it with a hand-held camera produces a constantly shifting image which was extremely distracting. Elsewhere in the art department though 1912 London is beautifully recreated, through both special effects, costume and make-up.

Alexandre Desplat delivers a touching score with a clever underlying drumbeat of change.

Suffragette is a solid historical drama, that tells an important social tale… a tale that graphically illustrates how much the world has really changed, and changed for the better, in a mere hundred years. Above all, the film concludes with the astounding fact that Switzerland only gave women the vote in 1971 (and in fact with one canton holding out on local issues until 1991). Shameful!

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It's 1912. Peaceful demonstrations have achieved little for suffrage in Britain. Suffragettes are resorting to vandalism. Maud Watts (Carey Mulligan) is a young mother working in a laundry for most of her life. She suffered under her lascivious boss Mr. Taylor. Co-worker Violet Miller recruits her into the movement. After testifying to Minister Lloyd George, the government still refuses to give the vote. Maud is beaten and arrested along with MP wife Alice Haughton (Romola Garai), Violet and Edith Ellyn (Helena Bonham Carter). Police inspector Steed (Brendan Gleeson) leads the effort to suppress the rebels. Suffragette leader Emmeline Pankhurst (Meryl Streep) urges the women to fight. After another arrest, Maud is thrown out by her husband Sonny Watts (Ben Whishaw) and by law, loses her rights to her own son.

One would expect an uplifting feel-good inspirational movie from the subject matter. The fact is that this is a dour, depressed telling of the struggle that is not simply marching and sit-ins. The violence is brutal but it's the overwhelming oppression that is even more brutal. The downtrodden acting by Carey Mulligan is superb. It is a movie of suffering and women with no choice but to rebel.