THE DRESSMAKER
UK, 1988, 91 minutes, Colour.
Joan Plowright, Billie Whitelaw, Jane Horrocks, Pete Postlethwaite.
Directed by Jim O'Brien.
The Dressmaker is based on a novel by Beryl Bainbridge, about the British response to the Americans coming to Liverpool during World War Two. The setting is 1944. The film was directed by Jim O'Brien.
It is the story of two sisters, expertly played by Joan Plowright and Billie Whitelaw, as well as their niece, played by Jane Horrocks. The two sisters are opposites - one serious and introspective, the other very much outgoing. Their lives are affected by their young niece being infatuated with an American GI.
The film re-creates the atmosphere with great interest as well as tension: the daily life in the house, the dressmaker, the sister working in the munitions factory, the brother a butcher, the singsongs and parties, the outings, the presence of the well-fed and wealthy Yanks. The film offers a critique of the very Britishness of the British. (The film could be compared with many of the films about war - Hope and Glory, Yanks, Hanover Street.)
1. The atmosphere of World War Two, Liverpool and the British cities? The adaptation of the novel for the screen?
2. The atmosphere of Liverpool, the city itself and its streets, the houses? The countryside? The sense of period? The war? The range of songs and the score?
3. The strength of the performances, especially by the two sisters?
4. The title and the focus on Nellie, the ordinariness of the dressmaker, her out of the ordinary behaviour?
5. The framing of the story with the three women in the house, their work, the end of the day, putting out the light, going to bed - and all in order? And the irony of what happened in between?
6. Joan Plowright as Nellie: her age, experience, looking after their mother, preserving the past? Her relationship with Margo, the touch of jealousy? Jack as the younger brother? Her love for Rita and mothering her? Her work in the house, making the dresses? Her religious attitudes? The rations and her not wanting to go against the law? Making the dresses, the dress for Valerie and her party? Control in the house, permission for Rita to go to the singsong, her reaction to Margo's going? Her visits to her brother, the laundry, at the butcher's? Her angers, her looking after the boy who cut his hand, her chopping of the rabbit? Being upset by Margo? Trying to buy the cigarettes and her being upset? Her attitude towards Wesley, meeting him, the formalities of the visit, the meal? Going to the engagement party, her observation, wanting people to behave? Returning home, suspicions, her seeing Wes and Margo, getting the scissors, hitting him, his death? Her taking control, cleaning up, sewing the shroud? Her longing for the old days and everything restored?
7. The contrast with Billie Whitelaw's Margo: at home, a widow, her tension, headaches? At work, extroverted, singing and dancing? Her love for Rita? Inviting herself to the singsong, performing, dancing? The outings and checking on Rita? Worrying, telling Nellie about Wes? The meeting, coming late, her vivacity? Her trying to tell Rita the truth? The sexual encounter with Wes? Found by Nellie, cleaning up? Her future?
8. Rita, Jack's daughter but calling him Uncle Jack, memories of her mother, the pearls? At home, frightened, waking up in the night and coming in with Nellie and Margo? Awkward and shy, meeting Val, the invitation to the singsong, the dress? Shyness, meeting Wes, talking, finishing up in the cupboard? The outings, the movies, the beach? Approving only of kissing? Reticent about sexuality? Not seeing Wes, waiting for the phone calls? The meal and its formality, her awkwardness? His phone call, Margo telling her that he wouldn't be coming back, her anger and not believing her? Going to the engagement party? Her sadness at Wes's going, everything back to normal - but her waking up from a nightmare in the night? The final image of the film?
9. Jack, the butcher, widower, care for his daughter, the visits, concern about Rita and Wes, the meal? His reaction to the human blood? His managing the shop?
10. Wes and the Americans, gawky, the outings, the singsong, his intentions, sexual relationship? Outings, petting and Rita's reactions? His boredom? The meal and its formalities, his response to Margo? The phone call to Rita, wanting Margo to tell her the truth? His letters - and Rita discovering that he couldn't read? The sexual encounter with Margo, his death? A symbol of the other Americans in Liverpool, well received by Val and her family, not well received by Nellie and her family?
11. Val, her exuberance, excitement about the dress, the singsong, the Yanks, her engagement party? Her mother and her vivacity?
12. A portrait of Liverpool, memories of the past, values, principles, prim Britishness, surface behaviour, the reaction to the exuberant Yanks (and Rita telling Wes not to run after the British soldiers exercising), the impact of the war, rationing, the outsiders, Jack's words of racial prejudice? A sense of realism in the critique of British behaviour?
