The club owner, Gerald, and Dave all mention the show being on Friday, but the Hot Metal posters they put up list the show being on Saturday, May 25. See more »
Told 'ya, robbing pipes, that's all.
Gary, my friend, no bugger robs pipes in the buff.
We do. Don't get your clothes dirty, do you?
Oh well, don't fret, gents. There's a right good laundry in Wakefield Prison!
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The film shown behind the opening credits is "Sheffield...City on the move", made in 1971 for the Sheffield Publicity Department. See more »
Moving On Up
Written by Paul Heard & Mike Pickering
Performed by M People
Used by permission of BMG Ent. Int. UK & Ireland Ltd.
Published by EMI Music Publishing Ltd./BMG Music Publishing Ltd. See more »
The Full Monty offers a seductive, playful piece of comic gumption: Six unemployed steel workers become amateur male strippers, baring themselves as an antidote to the dole. The title is British slang for "buck naked," but the film isn't about nudity, or lust, exactly. It takes as its subject the free-falling sense of desperation provoked by unemployment. As these flaccid bodies strive to exude "sexiness," director Peter Cattaneo turns their struggle into a blue-collared survival reflex, which yields a thin yet agreeable amount of emotional weight.
Robert Carlyle plays a bitter but devoted divorced father trying to meet his support payments so his son will trust him, and Mark Addy just wants to provide for his nurturing wife, who worries about the secret G-string buried in her flabby husband's underwear drawer.
Suffering ritual-humiliation for the sake of loved ones, these men pawn their dignity for economic survival. Cattaneo allows the script to hint at the social and fiscal conditions endured by the working-class under Thatcher, but mostly he avoids politicizing the material. Instead, he aims for rowdy, laugh-out-loud passages about awkward pseudo-debauchery. Perhaps The Full Monty settles for rather broad, coarse humor, but it has intensely pleasing charms and Cattaneo gives it an unexpected deadpan consistency. He exposes the comedy of shame, and then the comedy of shamelessness.
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