HARDEEP, RASHMI and ATUL are brothers and sisters. Which means they can say anything they like to each other, no matter how honest. Mad, Sad and Bad is a 90-minute comedy about mixed race ... See full summary »
A light-hearted retelling of the true story of future prime minister Margaret Thatcher, during the fifties when, working as a research chemist, she begins her attempts to be selected for parliament, and meets her future husband Dennis.
'Diamond' Dave Matthews works for a ruthless firm providing mortgages to families denied credit, regardless of whether they can afford the repayments. Divorced City banker Gus sells ... See full summary »
"Promised Land" tells the story of a group of young unwitting Estonian girls smuggled through Egypt to be auctioned off as prostitutes in Israel, and of their initiation into this trade of ... See full summary »
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 (firstname.lastname@example.org)
During the television premiere on 9th March 2013, the BBC experimented with the first ever Twitter-based director's commentary, whereby Nigel Cole and composer David Arnold live-tweeted along with the film. See more »
In the shot of the housing blocks, a satellite dish is visible on the roof of one. See more »
[Peter Hopkins is entertaining Ford boss Robert Tooley at home. He clearly regards Lisa as a wife whose only purpose is to look pretty and to be a cook, but Robert sounds out her opinions]
Lisa. Do you mind if I call you Lisa? You must have quite a head on your shoulders. Peter tells me that you read history at Cambridge.
Yes I did.
Mind if I ask: what do you think of our little problem over at the factory? Do you think maybe he's a bit too much velvet glove, not enough iron fist?
[...] See more »
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 »
Sunday Will Never Be The Same
Written by Cashman, Terry / Pistilli, Gene Thomas
Performed by Spanky And Our Gang
Published by Universal / MCA Music Ltd Courtesy of Island Def Jam Music Group
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.
26 of 30 people found this review helpful.
Was this review helpful to you?