MADE IN DAGENHAM

UK, 2010, 114 minutes, Colour.
Sally Hawkins, Andrea Riseborough, Jaime Winstone, Lorraine Stanley, Nicola Duffett, Geraldine James, Bob Hoskins, Miranda Richardson, Daniel Mays, Roger Lloyd- Pack, Andrew Lincoln, Rosamund Pike, Joseph Mawle, Kenneth Cranham, Rupert Graves, Richard Schiff.
Directed by Nigel Cole.

The title probably says a lot for British filmgoers, but most of world audiences will ask ‘where is Dagenham?’. This enjoyable film will go a long way to answering the question.

It is a film about industrial action in 1968. And, Dagenham is a suburb of London.

Interesting to wonder why this story was greenlit for the screen at the time of the global financial meltdown and released in October 2010, a period when the newly elected British government introduced austerity measures to bring down the budget deficit. Has this kind of working-class film and its appeal to some idealism, as well as pragmatism in the workplace, a role to play in 21st century financial and industrial crises? And how does it play to other cultures, especially western countries, where strike action and industrial demands have a long history? And what of other countries, especially in Asia, with the sweat shop conditions that are far worse than those that the women of Dagenham fought against in the 1960s.

Made in Dagenham is the story of the strike by the women who worked, 187 of them compared to the thousands of men, making coverings for the car seats in Ford’s London factory.

In many ways, the film is quite conventional in its story of the factory, the episodes with the women, their inexperience of industrial unrest, the cavalier attitudes of the capitalist bosses, the arrogance of the American company heads, the stalwart action of the women (characters in themselves), the repercussions on families, the animosity of many of the men who objected to equal pay for women, the background of the Labour government and of minister, Barbara Castle, the emotions, the urgency, the victory. And many of the plot developments are signalled in advance, familiar scenes of husband clashing with wife or inept ministerial assistants who get their comeuppance.

That said, the film is still highly entertaining, except for those who see communists under the bed and social improvement as the first step towards a socialist state. Perhaps Americans who are suspicious of National Health benefits, Medicare or medical insurance as a surrender to the proletariat won’t warm to the film. Actually, billionaire company directors may not like it much either!

The Dagenham strike led to demands for equal pay for women (which the US Ford representative (Richard Schiff) assures his listeners the company could never afford (and threatens Barbara Castle with withdrawing manufacture from the UK). This equality in pay was achieved by legislation in 1970.

The women are those familiar from so many working class films of the past, Thora Hird, Irene Handl, Dora Bryan.... But, the solid cast bring them to life. Sally Hawkins won acclaim and awards for her exuberant performance in Mike Leigh’s Happy Go Lucky. She brings the same zest to her role here as Rita O’ Grady, wife and mother, who found a voice and was able to lead the striking women. She makes this kind of unexpected leader both credible and sympathetic while not ignoring the nervousness, the possible cost to her family, and affirming the decency and honesty that she brought to the campaign.

Geraldine James is moving as the shop steward with a war-damaged husband (Roger Lloyd Pack different from his role in The Vicar of Dibley). Rosamund Pike is the well-to-do wife of a Ford executive (Rupert Graves) who treats her as a trophy wife and servant. Miranda Richardson obviously relishes the political bumptiousness of Barbara Castle. Most of the men are given less attention. Daniel Mays is Ed O’ Grady who comes to terms with what his wife is doing. Bob Hoskins is the union man who supports the women while Kenneth Cranham is convincing as the quite self-serving union official. Harold Wilson (John Sessions) does not come off too well as a less than assertive, more pragmatic than hoped for PM.

This is a film that reminds its audiences of the dignity of women, the rights of women, women’s equality. Many audiences and reviewers will be making comparisons with director Nigel Cole’s other entertaining film about women, Calender Girls.

1. British industrial stories? The history of British industry? The 1960s, strikes, rights? The Labour government? Later history of industrial relations (in the light of Margaret Thatcher)? World industrial situations?

2. The light treatment, in the tradition of British working-class comedies? Communicating the serious message?

3. The 20th century and women’s rights, 1914 and the suffragette movement? The role of women during the wars, factories? Post-war England? Still working in the factories, issues of equal rights, equal pay? The attitudes of the bosses, the union leaders, the workers? The achievement and the change of the law in 1970?

4. The atmosphere of Dagenham, ordinary, the housing estates, the flats, the factories, the conditions, the streets, cafés and pubs? The contrast with school, upper class homes, meeting places, Eastbourne, Parliament? The range of UK classes? The musical score, the final Sandy Shaw song (and her having worked in Dagenham)?

5. The title, information, fifty-five thousand men, one hundred and eighty-seven women? Ford, its cars, reputation? The voice of Henry Ford II and his dominant American approach? The American bosses and their arrogance? Relationship with the British? The American hold over government, threats to withdraw factories and jobs? Liverpool and the other Ford plants? The ramifications of the industrial action, further strikes, layoffs? Budgeting and finances? Pay?

6. UK politics, Barbara Castle and her role as minister, strong personality, her attitudes, her weak staff – in the Yes, Minister vein? Her discussions with Harold Wilson? His pragmatism? Labour in the 1960s?

7. The situation for the women in the Ford factory, sweatshop conditions, taking off their tops because of the heat, the harshness, their cheerfulness? The nature of their work? Being classified as unskilled? Albert Passingham and his support, talking to the women, apprehension (and his memories of not being afraid of Rommel)? The women and their characters?

8. The focus on Rita O’ Grady, Sally Hawkins’ strong screen presence? Her family, at home, with Eddie, with the children, at work, the night at the pub, her friendship with Connie, the routines of her life, going to the meetings, the women going out, Connie as the shop steward, Albert as leader? Their attitudes towards Rita, nominating her? Her talk to the women, finding confidence, calling for votes? The repercussions, managing her children, going to the school, her son being beaten, confronting the teacher, her encounter with Lisa Hopkins? Going to the union meeting, the flash dinner? Her being told when to nod? The meeting, her speaking up, the reaction of the British leaders, the reaction of Monty, Albert pleased? Albert continuing to support her? With her husband, his feeling the difficulties, his growing anger? Connie and her husband’s death, going to the funeral? Sandra and her wanting to model, Rita going to see her, changing her mind? The clash with Eddie, the words exchanged? The American boss, Rita talking straight to him? Her nicking the covers and the material for Eddie? The decision to go to Eastbourne, her speech, Eddie coming to listen to her, the reconciliation? Her images about strikes and the workforce? The visit to Barbara Castle, meeting her, the discussions about dresses? Her meeting Lisa, swearing at her, the rain and the car, the discussions about the dress, her visit to borrow the dress? Lisa’s encouragement? Her husband’s surprise? Barbara Castle, meeting the press, the achievement?

9. Albert, his work, shop steward, his comment about Rommel, his comments about his mother supporting him and her lack of wages, at the meetings, the clashes with Monty, the bosses scapegoating him?

10. Monty, his long work for the unions, a boss, change being slow, in cahoots with the bosses? His controlling Rita, her breaking out? His putting Albert in with the union bosses, scapegoating him? Rita’s reaction, going to Eastbourne? Monty being defeated? The picture of the other union leaders and their chauvinism, their attitudes towards employers? At the Eastbourne meeting?

11. Hopkins, the other UK bosses, at the meetings, their expectations, listening to Rita, Robert Tooley coming from the US? Peter Hopkins inviting him to the house, the meal, expectations of Lisa and treating her as a servant?

12. Tooley, in America, the phone calls, Henry Ford and his dominance? Coming to the UK, observing at the meetings, watching Sandra and his shrewdness about her wanting to be a model? His threatening Barbara Castle about jobs and employment? The American attitudes?

13. Sandra and the other women, their willingness to protest, the hours in picketing, the difficulties with money, distribution of the fruit, sharing, the strong women’s spirit?

14. The men, Gordon and his complaints, the lack of cars and so no work? The layoffs, the anger, the men interviewed on TV?

15. Barbara Castle and her attitudes, with Harold Wilson, with her assistants, tough, wanting the meeting, her attitude towards the Americans? The bargain with Rita, the percentage increase? Talking about the dresses, meeting the press, photo opportunities?

16. The achievement of the women? The photos of the actual women and the video material during the final credits?

17. Audiences, onside with the women or not? Their causes, the principles? Industrial reform?