She Knows Y' Know

Because this is a comedy, the social conventions of that time can be laughed at as they are not so in your face or emotive.

My favourite part in this movie comes towards the end. It reminds me so much of the color - 'The Colour Purple'. It's the scene where - or it's the way Marilyn walks in the room brandishing a wedding ring and making the announcement 'I's Married Now' - "I Married Terry 3 Months Ago" - (in a snotty nose voice) - as if that makes everything alright and all the problems go away.

It's hard to believe that back then a woman's worth is/was determined by whether she's married or not and that she is/was judged by all of society by how well she marries - ie: the pay scale of her husband's income.

I think I find it fascinating because of the romantic notions we have about marriage, which are very different for men and women. Also, the idea that individual & personal responsibility can only be achieved through marriage. To me, the two don't equate.

Although we are leaning more & more on how well we manage our finances - ie: Credit History & Credit Scores - that determine how responsible we are as adults, much of today's society still determines responsible behaviour and worthiness through the eyes of marriage. Many application forms asterisk & force us to answer questions that reveal our marital status. At least on paper you can choose not to answer but you can't online. Online application forms won't proceed to the next stage until you answer all the questions that are not optional and the marital status question is seldom optional.

Still, the movie had a happy ending. Marilyn is now deemed a responsible adult & Terry - Marilyn's husband, had a sizeable income: £250.00 per week for signing a record contract.

"She Knows Y'Know" is a comedy set in a working class London neighborhood. As such, the accents are thick, but fortunately there ARE closed captions for this film following its restoration, so be sure to activate them.

The star of this film, clearly, is Hylda (Hylda Baker). She is a VERY domineering woman and what she says is the law in her home. So, when neighbors come to Hylda alleging that Hylda's son impregnated their daughter, Hylda goes into fight mode...and she's bound and determined to keep her son single and working towards finishing his college education.

Hylda is a character who is both likable and truly awful at the same time. She is opinionated, loud and has a tendency to act without thinking...but, down deep, she also loves her family and would fight to protect them like a badger protecting its young. She's also pretty funny...and make the film worth seeing.

Overall, nothing brilliant but an enjoyable family comedy. Again, however, it's imperative that most viewers use their captions, as the accents are thich here.

Putting aside the very subjective perspective that all reviewers have of humour, it seems to me that what is interesting about this film now is the social history that it offers. An insight into a world and class that seems to have all but disappeared completely in the space of two generations. Completely transfigured through major economic and cultural changes, mass immigration and global media. The community described in this film was small and localised, homogenous and poor, the remnants of the 19c in the industrialised north. The whole film is an opportunity to showcase the 'comic character' that actress Hilda Baker who emanated from the mill towns of Lancashire had honed on stage and television for 40 years already. The theatre used to bring forth such artists, performers who built a persona on stage, comedians and dramatic actors, whose 'character' was then used in various revues, plays, and later movies and TVs. Audience familiarity was key, they weren't hired to disappear into their characters, but two bing their 'character' to the part. Audiences gong to see Hylda Baker in this tailored vehicle would have known and loved Hilda's peculiarities before they entered the theatre. Furthermore, they would have recognised the 'plot' that another reviewer can't see, I.e. the strong ambitious mother fighting to secure a better future for her offspring. Fighting against the structures of their community, class, background etc. He's at university, already an extraordinary achievement for a working class northerner in those times, and social convention and the offer of some financial security looks set to be used to pressure him into marriage (unfairly?) when the parents of a young woman 'in trouble' tip up at his mothers doorstep. Many around see the offer as golden (which speaks to the poverty of ambition as well as actual poverty of the time, class and place) even the boy himself, who likely knows he's not the father seems minded to accept his lot, but the mother doesn't believe he's responsible, and won't let his 'life be ruined'. She defies the pressure all around, calls out the blackmail and through various comic machinations does her best to ensure his freedom and his return to study. I grew up with Hylda on TV in Sitcoms in her later years, and I thought her hilarious. The tone of this film is oddly real for such a broad comic character, but in its way it reflects its time and place very well indeed. Some of the other actors are weak and it isn't especially clever, it isn't especially funny either, particularly if you don't 'get' Hylda Baker and aren't familiar with her brand of music hall schtick. But it could be compared to a similar but much more lauded film like 'Sparrers can't sing' from the same year, but set in London's East end. Sparrers is a far better film, but the essence is the same, a view into a disappearing world, perhaps one which we should be glad to see the back of, but one which a film like this can really tell us about in ways that academic study and other more conscious investigations can't. Yet again, we have Talking PicturesTV to thank for looking after this film, you can be certain it would be looked after by the BFI it were set in London or was by some obscure minority auteur. But films like this, which were once mainstream, if regional and working class in their appeal, are rudely neglected by that institution. In my view it hardly stands up as a comedy, it isn't the best testament to a Hylda Bakers comic personae either, but it's a fascinating window on another world, and for some older viewers may even bring a little of the warmth of remembrance for some of the 'real life' stock characters of that time and place, such as 'the lodger' whose life is pinpointed by the mother in a short monologue which she delivers when trying to persuade him to put himself forward and marry the girl. All hail the mother, who behind the nonsense of the form is a character I recognise from my own family (and that generation) strong, ambitious, holding it all together, a dynamic force whose life has been about lifting her chicks out of poverty, whose commitment to betterment is laudable, who is not beholden to nor bowed. By the pressure of religious, social or other conventions. And all hail to Hylda and the writers who subtly gave life to her in this now interesting if clumsy period piece.

It is quite strange that despite the fact that this film has been showing on talking pictures TV,it has not been reviewed by a UK viewer.There is one who says Hylda Baker is as good as Lucille Ball and the other who cannot understand the film.He needs to see a few old mother riley films.This film is a typical vehicle tailored towards the talents of a music hall star.Baker works well with Cyril Smith,which is just as well since some of the cast are pretty dire.Anyway Hylda is really the whole show,and if you don't like her then you are really wasting your time watching this

There's a fuss in the neighborhood in a fictional Lancashire town, where the son of the house, Cyril Smith, is accused of getting the neighbor's daughter, Linda Castle, with child. Her parents want them married ASAP, but his mother, Hylda Baker, is adamant he's going to finish getting his B.Sc and move on. There's fussing and fight and Miss Baker gets to utter her catchphrase, which is also the title of the movie.

It's a lower-class comedy-drama, and the sort of movie that depends more on tropes that were standard in the Manchester school of drama: girls getting caught out of wedlock and parents trying to make sure that the youngsters did the right thing. Most of the energy is provided by Miss Baker, whose combative energy remains high throughout, with some help from Joe Gibbons as the lodger. This one is relatively mild and undistinguished, but harmless at 72 minutes of screen time.