British retirees travel to India to take up residence in what they believe is a newly restored hotel. Less luxurious than its advertisements, the Marigold Hotel nevertheless slowly begins to charm in unexpected ways.
The story of King George VI of the United Kingdom of Great Britain and Northern Ireland, his impromptu ascension to the throne and the speech therapist who helped the unsure monarch become worthy of it.
Helena Bonham Carter
Acting under the cover of a Hollywood producer scouting a location for a science fiction film, a CIA agent launches a dangerous operation to rescue six Americans in Tehran during the U.S. hostage crisis in Iran in 1980.
In 1968, the Ford auto factory in Dagenham was one of the largest single private employers in the United Kingdom. In addition to the thousands of male employees, there are also 187 underpaid women machinists who primarily assemble the car seat upholstery in poor working conditions. Dissatisfied, the women, represented by the shop steward and Rita O'Grady, work with union rep Albert Passingham for a better deal. However, Rita learns that there is a larger issue in this dispute considering that women are paid an appalling fraction of the men's wages for the same work across the board on the sole basis of their sex. Refusing to tolerate this inequality any longer, O'Grady leads a strike by her fellow machinists for equal pay for equal work. What follows would test the patience of all involved in a grinding labour and political struggle that ultimately would advance the cause of women's rights around the world. Written by
Kenneth Chisholm (email@example.com)
Sandie Shaw who sang the film's title song used to work as a punched-card operator in the Ford plant at Dagenham several years before the events depicted in the film. See more »
The Mark 1 Cortinas shown as being manufactured in new and archive footage ceased production two years earlier in 1966, when the squarer Mk 2 was introduced. See more »
[following her talk with Rita, Connie and the rest of the Dagenham women, Barbara Castle makes a statement to the waiting journalists]
I am delighted to announce that, following our talks this afternoon, the 187 Ford machinists *will* be going back to work on the 1st of July. They will receive an immediate pay rise of seven pence an hour which will put them at 92 percent of the male rate. However this is not all. As a result of our discussion, I can confirm that the Government is in full support...
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Captions in the closing credits: "Two years later in May 1970 the Equal Pay Act became law. Similar legislation quickly followed in most industrial countries across the world. Ford Motor Company Limited went on to effect changes in its employment practices and is now used as an example of a good practice employer." See more »
Written by Desmond Dekker (as Dekker)
Performed by Desmond Dekker and The Aces
Published by Universal / Island Music Ltd and Sparta Florida Music Group Ltd
Courtesy of Sanctuary Records Group Ltd
Under license from Universal Music Operations Ltd See more »
After a summer of endless animations and shlock-horror here - at last!
is a film with real heart.
Sally Hawkins is a revelation as Rita who becomes the striking machinists' spokeswoman; her speeches to co-workers, union chiefs, management and the press all start out tremulous and gain in confidence as she hits her stride. Geraldine James who usually plays upper-class ladies (I'm still trying to forgive and forget her breast-feeding David Walliams in Little Britain!) here plays a kind of 'upper-working-class' woman with a husband still shell-shocked from WW2. John Sessions does a Spitting Image turn as Harold Wilson, and Miranda Richardson morphs her Blackadder Elizabeth I into a fiery Barbara Castle (dressed by C&A).
In my Gap Year (date withheld) I worked in a Sussex factory that had a sewing-room. The movie gets the atmosphere exactly right but I don't think working women were quite as free with the f-word back then as they are in this script. The end credits run against pictures of the original Dagenham strikers who all look like clones of Corrie's Ena Sharples and Florrie Linley. Some of the film machinists are more Carnaby Street than Coronation Street, but that's OK. These girls make you laugh, they occasionally bring a lump to your throat, but most of all they make you want to cheer.
A small slice of 1960s history, this film packs a big punch. Do not miss it.
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