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However, this "girl power" angle is undermined by the film, regardless of these choices, on account of Sally Hawkins' tearful hyperventilating whenever she gives a speech or stands up to authority. I loved Hawkins in 'Happy Go-Lucky' and rate her as an actress, but here she plays Rita as though she is about to burst into tears whenever things get confrontational which would seem to play into the stereotype (popular at the time) that women are irrational and prone to outbursts of uncontrollable emotion. She is as likable and charming as ever, but doesn't convince as the leader we are told she is. By contrast, the real women of the strike (shown in interviews during the end credits) seem to be made of sterner stuff.
A highpoint for me was the presence of American stage actor (and 'West Wing' alumni) Richard Schiff who completely steals the show in a limited supporting role. Not only is he far more intense, naturalistic and authentic than his co-stars, but he also takes a thankless role as "the big Ford guy" and prevents it from becoming two dimensional. When he makes his point to the unions, and later the UK government, that Ford simply can't afford to play female workers the same as men and that, if forced to, they will pull manufacturing out of the UK, he does so in a way which seems reasonable and motivated by a grasp of economics rather than a burning evil at his core (though there is a case to be made that they are one and the same thing). But, sadly, Schiff has stumbled into a film of dick jokes, thickly layered with images of generic 60's clich: it's less 'Mad Men' and more 'Austin Powers' as Jaimie Winstone struts around the factory in her hotpants.
The thing is though: it somehow works. By the end of the film I was pulling for Hawkins and her friends and found myself having to resist the urge to pump a fist into the air as they overcame the odds. Despite the gloss and its shallow nature, 'Made in Dagenham' is somehow every bit as winsome and heartwarming as it sets out to be. Part of this is down to the film's liberal, socially spirited agenda. It is an overtly political film: a Capra-esque polemic about the little guy standing up against power. It is a film where the good guys quote Karl Marx and our sympathies lie with those taking industrial action. And I'm not about to argue with any of that.
That said, Sturgess delivers a remarkably steady performance, creating a character we do care about, even though we're never quite sure what's real and what's in his mind. The whole cast is effective, while Marsan gives the standout performance, a kinetic turn that fuels the film's only truly scary scene. Everything else feels a little indulgent and repetitive, with jolts coming mainly through film tricks, red herrings or extreme gore. It's the kind of film that generates a dedicated cult audience, but I'd rather not watch it again.