We Want Sex Equality

I am disappointed to read some of the negative vibes about this film. I saw a screening at Vintage Goodwood yesterday and the enjoyment of the audience was overwhelming complete with outbreaks of applause. Some really excellent cinematography especially the extreme close-up of Sally Hawkins in one of her most desperate moments provided a very authentic backdrop to a really believable time-piece movie. Bob Hoskins, Rosamund Pike and Sally Hawkins excel. I came out of the cinema having been educated, entertained and emotionally touched. I wonder just how many of the negative reviews have been written by men who of course may just be feeling rather embarrassed by the roles of their historical alter-egos.

The movie gets to convey the atmosphere of those months in 1968, where 187 women joined together and went on a strike to ask for equal salaries to men, and better conditions of work. We as viewers really feel the cohesion, the solidarity, as well as the tensions of this group. Never pedantic, or too dramatically committed, the movie gets to make the public, mainly the female one, reflect upon the hard struggle women had to face before getting some basic rights, when still actual and necessary is the reflection about today's condition of female workers, when some kind of discrimination is still to be faced. However, the movie proceeds with a soft and entertaining pace, maybe at some points too entertaining, the sparkling character of Rita O'Grady herself was invented in order to make the story more cinematographically involving. No doubt however the cast makes a difference, the actresses offer single heart-felt interpretations, in the same way as the choral shots show intensity and strong emotion.

From the director NIGEL COLE (Calendar Girls, Saving Grace), MADE IN DAGENHAM tells the tale of the 187 women that worked at the Ford Motor companies Dagenham factory - and their struggle to earn equal rights and pay with the 55,000 male workers at the factory.

Set in 1968, the economy was used to frequent union uprisings and strikes – but this was the first time that it was the women upholsterers who sewed car seat covers that took the initiative … after being "down-graded" to a non-skilled status – the women rose as one to walk out, in an action that brought them into direct conflict with the management, their own unions and their own husbands … eventually brought the Ford motor company to it's knees

Many laughed at the women's actions … until their strength of feeling … and reality set in … forcing the unions and the management to take increasingly desperate measures to get the women back to work … as factory production ground to a halt.

Rita O'Grady (played admirably by SALLY HAWKINS), a shy, pleasant worker working in sweat shop conditions, found her voice when asked to stand up for the women's views, and gradually became more and more empowered as the rest of the women stood behind her in a crusade that became synonymous with equal rights

The story climax's nicely in an emotional showdown, as the situation finally comes to a head and the chief participants (Ford, the Government, the Women, the unions and the men workers) all realise that things have gone too far … and none of them can back down.

As well as Sally Hawkins, there are some strong performances by other members of the cast – specifically, Bob Hoskins as Albert, Miranda Richardson as an exuberant Barbra Castle, the lovely Rosamund Pike as Lisa, Geraldine James as Connie, Kenneth Cranham as Monty (Unions) and Richard Schiff as Robert Tooley (Ford).

The music, costumes and the locations set up the tone of the times nicely, and the direction is solid throughout. The camera work is able, and is interspersed with footage from the actual era giving it more gravitas.

In a phrase, it's … "Girl Power – union style"

Social drama and comedy can be a tough balancing act. In telling the story of how a small group of women working in a factory in the late 1960s began a minor industrial dispute that rapidly escalated into a spearhead movement for gender equality in employment, Made in Dagenham plays it mostly for drama and keeps the laughs low-key and naturalistic. A closer kin to say, Billy Elliot, than to The Full Monty.

Sally Hawkins, best known so far for her breakout role in Happy Go Lucky, becomes the accidental spokesperson in this dispute, and delivers a beautifully nuanced performance of a woman who is angry and frustrated at the injustices of her situation, but has never felt able to voice them until now. In her quiet, sometimes faltering delivery we can sense the well of deep-seated conviction that has been struggling to find its voice. However, it is in the relationships of the women that the film finds its most compelling moments. Few movies these days even attempt, and very rarely succeed, in painting such an honest and heartfelt picture of female relationships and interaction.

By comparison to the core group, some of the surrounding roles (Bob Hoskins magnificently excepted) are rather more coarsely sketched. A pair of dopey civil servants in particular seem to be intended (although certainly not succeeding) as comedy sidekicks and feel rather out of place.

However the story is told in such an understated manner, easy on the grandstanding, and rather working its way under the skin with warmth and honesty; that after being little more than mildly entertained for much of the running time, I was genuinely caught off guard by how I was suddenly seething with anger at the unfairness of their plight, or elated with each little success. In a tale with huge nationwide consequences, it's the personal victories that count the most.

Greetings again from the darkness. The first thing that strikes you about this movie is that it looks and feels like ancient history. In fact, it is based on the real life happenings in 1968 - only about 40 years ago. Sally Hawkins (so wonderful in Happy-Go-Lucky) portrays Rita O'Grady, the Ford sewing machinist who reluctantly takes on the leadership role in the battle for equal pay for women.

Director Nigel Cole tells this story minus the heavy-handedness of the times. In fact, it's a very entertaining tale of right vs wrong - because "that's how we have always done it". He uses actual archival footage of Ford plants, cars and workers, as well as general footage of England circa 1968. These cuts give the film a feel for the times and prevent any over-analysis of wardrobe and sets in the movie. Mr. Cole clearly has an understanding of women based on this film and his previous work in "Calendar Girls".

The cross-fire between the unions, Ford, the workers and the government really bang home the notion of just how ridiculous this entire argument was (and is). Rita O'Grady was so effective because she cut through the muck and made it what it really is ... a simple case of right vs. wrong. Rights vs. privilege. This was never more apparent than in her meeting with Secretary of State Barbara Castle (Miranda Richardson). Madam Secretary is attempting to negotiate a settlement that will keep Ford happy, but quickly realizes ... with help from O'Grady ... that there is really only one correct course of action.

Supporting work is excellent from Bob Hoskins, Ms. Richardson, Daniel Mayes (as O'Grady's husband), Rupert Graves and Rosamund Pike (husband and wife on different teams) and the rest of the cast of women, as well as the Ford executives and Union leaders. The film mostly rests on the shoulders of Sally Hawkins, who breezes through with a natural energy that just makes you want to pull for her. She was terrific in Happy-Go-Lucky, and even better here.

The film stops short of detailing the massive battle that escalated the following year between Secretary Castle and the Labor Unions. Most attribute these fights to the downfall of the Labour Party in 1970. However, Ms. Castle's contributions are very clear in these all important topics and led directly to England's Equal Pay laws of 1970, which in turn paved the way for most other countries to follow.

This is a very uplifting film and shows the bravery and determination required of those who change the course of history. Whenever you hear talk regarding the lack of strong female movie roles, this film is exhibit number one that fact can be even stronger than fiction!