Howie
09-01-2005, 12:09 AM
"Business As Usual" (1987)
Review by Roger Darlington (http://www.rogerdarlington.co.uk/)
"This is a rarity – a British film which portrays the Labour movement in a positive light – and it is surprising that so few people have heard of it. Set in Liverpool, it is the story of the successful fight of a shop manageress called Babs against her peremptory dismissal, following her complaint about the sexual harassment of her colleague Josie by the Area Manager. Babs is played by Glenda Jackson – a native of the Wirral – then best known for “Women In Love” (1969), but now a Labour Member of Parliament and former Minister. The Josie character is portrayed by the then new but talented black actress Cathy Tyson who was so impressive as the prostitute in “Mona Lisa”.
“Business As Usual” is a woman’s film in the sense that the central role is taken by a woman and both the writer/director, Lezli-Ann Barrett, and producer, Sara Geater, are woman. However, the issue at the heart of the work – sexual harassment – is equally relevant to both sexes, although it is men who have the most to learn about it.
“Business As Usual” is based on actual events in Liverpool in 1983 when Audrey White was sacked by the management of “Lady At Lord John”. Both Audrey White and Lezli-Ann Barrett were supporters of Militant – the sectarian faction subsequently expelled from the Labour Party - and such activists are depicted in the film as the real force in the campaign against the sacking.
The strengths of “Business As Usual” are its relevance as a British film about an actual incident, its novelty in raising the subject of sexual harassment in what was then an unprecedentedly direct way, and its appeal in showing that the trade union movement could fight and win a dispute even in Thatcher’s Britain. The weaknesses of the film are twofold. First, there is a certain amateur air about it, reflecting the lack of experience of the director and producer and some of the younger actors and actresses. Then there is the mono-dimensional nature of the film, with each of the characters so obviously ‘good’ – trade unionist or picket – or ‘bad’ – manager or policeman – with very little subtlety or complexity of characterisation, a fault so common to many well-intentioned pro-labour movies."
See also http://www.timeout.com/film/68642.html
Review by Roger Darlington (http://www.rogerdarlington.co.uk/)
"This is a rarity – a British film which portrays the Labour movement in a positive light – and it is surprising that so few people have heard of it. Set in Liverpool, it is the story of the successful fight of a shop manageress called Babs against her peremptory dismissal, following her complaint about the sexual harassment of her colleague Josie by the Area Manager. Babs is played by Glenda Jackson – a native of the Wirral – then best known for “Women In Love” (1969), but now a Labour Member of Parliament and former Minister. The Josie character is portrayed by the then new but talented black actress Cathy Tyson who was so impressive as the prostitute in “Mona Lisa”.
“Business As Usual” is a woman’s film in the sense that the central role is taken by a woman and both the writer/director, Lezli-Ann Barrett, and producer, Sara Geater, are woman. However, the issue at the heart of the work – sexual harassment – is equally relevant to both sexes, although it is men who have the most to learn about it.
“Business As Usual” is based on actual events in Liverpool in 1983 when Audrey White was sacked by the management of “Lady At Lord John”. Both Audrey White and Lezli-Ann Barrett were supporters of Militant – the sectarian faction subsequently expelled from the Labour Party - and such activists are depicted in the film as the real force in the campaign against the sacking.
The strengths of “Business As Usual” are its relevance as a British film about an actual incident, its novelty in raising the subject of sexual harassment in what was then an unprecedentedly direct way, and its appeal in showing that the trade union movement could fight and win a dispute even in Thatcher’s Britain. The weaknesses of the film are twofold. First, there is a certain amateur air about it, reflecting the lack of experience of the director and producer and some of the younger actors and actresses. Then there is the mono-dimensional nature of the film, with each of the characters so obviously ‘good’ – trade unionist or picket – or ‘bad’ – manager or policeman – with very little subtlety or complexity of characterisation, a fault so common to many well-intentioned pro-labour movies."
See also http://www.timeout.com/film/68642.html