A Sense Of Pride

It’s rare that I feel the desire to applaud when the credits roll at the cinema. In 2014, that sort of over-indulgent behaviour seems to be reserved solely for the theatre and flying with Ryanair. Other than social custom holding me back, that’s exactly the urge I felt after watching Pride. Most reviews of the film have labelled it a British ‘feelgood’ film – which is completely fair – but there’s far greater depth to it than to suggest it is simply feelgood fodder.

I won’t rattle on about the plot, the soundtrack or the political climate of the eighties (you can read that in any newspaper or online article) but I will say that my pride stemmed from the British acting industry. Every once in while, a film comes along (usually produced by BBC Films or Film 4) and it reminds you of the quality and uniqueness of our productions. I’m talking about the likes of Billy Elliott (the obvious comparison), East is East, and Calendar Girls. They might not be blockbusters, but they are incredibly honest portrayals about real people that most of us can associate with. Love Actually did spring to mind but then when would the Prime Minister ever turn up at Martine McCutcheon’s house?

The evening I saw Pride, I had intended to visit Manchester’s Royal Exchange to see Maxine Peak tackle Hamlet. Peake is just one of our current acting greats who would have slotted seamlessly into Pride. My personal highlight of Peake’s screen career is her depiction of Moors murderer, Myra Hindley, in the 2006 Granada production of See No Evil – a subject way before my time but nonetheless inescapable.

I found it fitting then that Pride showcases another actor I remember for their portrayal of a serial killer: Dominic West. Although West is arguably most famous for playing Jimmy McNulty in The Wire, it’s his portrayal of Fred West in 2011’s Appropriate Adult (another of ITV’s trilogy on notorious murderers) which first brought West to my attention. West also featured on stage during my uni years, appearing at The Crucible in Othello. Looking back, to think I missed the opportunity to interview him whilst editing my student union’s arts mag is a bit of a kicker! From Peake to West though, it highlights that our acting industry is alive and well, and that many of our national treasures (no, not you, Cheryl Cole/Fernandez-Versini/Tweedy) have the ability to transition between roles.

Imelda Staunton, deservedly, has received a lot of praise for her role in Pride, as the hugely lovable but steely Hefina. Like West though, this might be considered a relative trough in the trajectory of her career. Most will remember her for Harry Potter or Vera Drake, but I also remember catching her in an accomplished stint as Mrs. Lovett in a brief West End run of Sweeney Todd with Michael Ball, who I won’t share my opinion on.

Then you have Bill Nighy and a whole string of younger starlets like Jessie Cave (like Nighy, Cave took up a part in Harry Potter, as Lavender Brown). Pride also carries with it the scent of This Is England, with its eighties setting, subversive subject matter and, of course, Joe Gilgun (Woody). Not far from that is Fresh Meat’s Faye Marsey, who I immediately mistook for someone from the Inbetweeners Movie (blame the Joe Thomas link) with her character’s Smell-esque appearance.

Add Paddy Considine to that, who links to This Is England through Shane Meadows’ Dead Man’s Shoes, and you have a cast of brilliant headline, established and developing talent.

I began this week by watching a documentary on the late Richard Attenborough; tireless supporter of BAFTA and arguably the great saviour of British cinema. How appropriate to end it watching a film that showcases a blossoming industry.

The miners’ wives singing 'Bread and Roses' may make you well up for the struggles of gay rights, miners and unionism but there’s a lot more to be proud of in this film.