Made in Dagenham 2010

The film begins with a glimpse into the Ford Dagenham factory, highlighting the working conditions and the demographics of its employees, a considerable number of whom are women. Against the rhythm of Desmond Dekkar’s “The Israelites,” we see the women hard at work in the sewing room, creating seat covers and door panels while often wearing only their underwear due to the heat. The union shop steward, Albert, enters the room, momentarily taken aback by their scant attire. He informs the women that the only way to advance their case regarding their classification as unskilled workers is to initiate industrial action. In unison, they agree to partake in an overtime ban and a one-day strike.

Later, the narrative shifts to a party where the women celebrate a birthday; amidst the festivities, a girl sneaks away for a brief encounter in a Ford Corsair before returning to be swept up in the revelry, which leads to a night of drunken antics. We then meet Rita, who is presented in her home life, waking her husband Eddie with a splash of cold water. Rita’s domestic challenges are portrayed realistically; her son expresses frustration about a teacher who struck him, sparking her determination to address the issue directly.

At the school, Rita confronts Mr. Clark, an overconfident teacher clad in academic attire, who dismisses her concerns with a condescending attitude. Angered, she exits only to encounter another parent, [Lisa], who shows understanding but is quickly met with Rita’s harsh retort. Back at the factory, the absence of proper facilities is illustrated as a leak drips onto the workers while [Connie] points out issues regarding [Sandra]‘s workmanship. Albert soon announces an impending meeting at Ford HQ in Warley, where they decide that Rita and Connie should represent the women.

Back at home, media snippets of a protest underscore the era’s turmoil, and we learn that Eddie is also employed at Ford. Before heading to the meeting, a standard stop at the Berni Inn for dinner introduces Monty Taylor, the works convener, whose advice is superficial at best. Upon their arrival at the meeting, it becomes apparent that the union leaders are betraying the women. Taking charge, Rita passionately argues for the recognition of their skills, prompting a pivotal shift in their stance from acceptance to action as she rallies the women with the emphatic declaration: “Everybody out!”

As the film unfolds, [Barbara Castle] steps into the political arena, expressing frustration over the deteriorating industrial relations in British factories. This leads to a vivid depiction of the women’s picket line, where they battle inclement weather but show unwavering determination. Albert supports Rita’s new role as shop steward, citing the urgent need for equal pay. The complexities of home life begin to surface, revealing Eddie’s struggles to manage household duties as the strike intensifies.

Rita’s mission to advocate for fairness escalates to demonstrations outside Parliament, creatively declaring on a banner that they seek “sex equality.” Tensions at home mount as Eddie feels the strain on their finances. The climax reaches a turning point when union leaders face mounting pressure from management, showcasing the devotion of the women who refuse to back down—even as the challenges of poverty loom large.

When tragedy strikes, the community’s grief deepens the emotional stakes. [Lisa’s] unexpected visit to Rita reveals layers of pain and shared frustrations, ultimately serving as a galvanizing force for Rita. Despite familial strife, she passionately addresses a union conference, winning over delegates and garnering support.

The culmination of their struggle unfolds as Rita and her allies engage directly with powerful figures like Barbara Castle, leaving a lasting impression on the political landscape. Rita’s steely determination and leadership lead to a groundbreaking agreement for the women of Ford Dagenham to receive 92% of male pay, heralding a historical shift in the quest for equality in the workplace.

As the credits roll, the return of the women to the factory signifies not only a personal victory but also a collective empowerment, emphasized by the uplifting strains of Jimmy Cliff’s “You Can Get It If You Really Want,” alongside real footage that cements the film’s place in history.