By Steve Neumann
It’s 1968 in a small town called Dagenham, a mere 12 miles from London. Ford Motor Company has set up a factory that has brought thousands of people to the town. Amid this factory are 168 female machinists. These women are working in conditions so poor that they need umbrellas when it rains, and they are working indoors. The women get fed up with these conditions and have submitted grievances to the union which has been in contact with Ford executives. The women, realizing that nothing will come of their requests decide to go on strike. Not just a strike for better conditions, but for equal pay. Common sense right? Well, the majority of people in 1968 didn’t agree. Story sound famiiar? No? It didn’t to me either. I was shocked to find out that this story is virtually unknown to the vast majority. This film, based on a true story, sheds light on what these women did and how they helped pave the way for the Equal Pay Act of 1970. Not only did they change things in England, but the world began to change as well.
Made in Dagenham stars Sally Hawkins as Rita O’Grady. Hawkins gives a strong performance playing a character that is more of a composite of a handful of the real women the story is based on. The endearing quality that Hawkins brings to Rita is her expression. You can see how Rita surprises herself with what comes out of her mouth just as much as it surprises the dominating male figures in the film. Hawkins makes you feel like you are in Rita’s shoes. You can feel the tension and nerves and the uncertainty of heading into unchartered waters that these women must have felt. Hawkins was accompanied by a well rounded cast. Bob Hoskins plays Albert, the union representative to the women and Miranda Richardson plays Barbara Castle, Secretary of State for Employment and Productivity. Hoskins and Richardson bring a nice touch of humor to the film. Richardson’s scenes berating her male assistants are quite funny. Hoskins’ subtle reactions to Rita’s moments of brilliance are also quite enjoyable.
There were some issues with the writing of the film that bothered me. It seemed that some of the focus was misplaced a bit in moments that were specifically given to Andrea Riseborough, who plays Brenda, and Jaime Winstone, who plays Sandra. The film seems to throw these characters in the mix more than what makes sense. It seems odd that they are in Secretary of State scene. The character of Sandra does have her moment with Rita when she decides to listen to Rita and not continue the modeling gig that Ford is dangleing in front of her. However, Brenda, doesn’t have such a moment in the film and if these characters are based off of compilations of the real women, it gets a bit murky. These characters seemed to lack a strong throughline but also seemed much more than the supporting sidekick. Perhaps an issue with editing?
The real awards possibility in this film is with costuming. Louise Stjernsward does a wonderful job in recreating an era that is known more for some of its glamour. The less glamourous side gets some well-deserved attention in this film but also lends some strong moments that are centered around an important character moment and a recreation of a Biba dress. Biba was an iconic designer of the period. Considering the Acadamy’s love for all things British and period when it comes to costuming, Stjernsward has a decent shot. Not to mention, late 60’s England isn’t an unduly fussed over period. Look for an Oscar nomination in Costuming for Stjernsward.
Give this film a look. It opens Friday in limited release and if you are a working female, you definitely owe it to the history changing moment that made your success possible.
