This sees Mike Leigh delving a little deeper and a little darker than in some of his earlier films. The subject matter is loosely the same, a dysfunctional family living on the bread-line, with well drawn divisions between the characters. Lots of heart-aching and lots of laughter, this is a beautiful if uncomfortable modern-day saga. It is not a film that anyone should regret seeing.
The beauty of this film is the characterisations. Some are quite bazaar but utterly convincing. The gentle interactions and reactions. The problem is that the plot rambles on never really in any way gripping and pulling the senses.
While the box office rewarded American gross-out comedies through the '90s, Mike Leigh continued to make acutely observed crystallisations of the state of England, often profound and carrying a huge emotional undertow. This one is about a family in Essex about the time Margaret Thatcher lost power.
Jim Broadbent plays the comical father, the sort who got on his bike to look for work, and never gave up, but wasn't cut out to be an entrepreneur. He has two daughters, the excellent Jane Horrocks as a secret bulimic, and Clare Skinner, a plumber who looks to America for cultural inspiration.
The heart of the story- and its hero- is Alison Steadman as the wife and mother who keeps all these diverse fragments together, with resourcefulness and untutored eloquence that no one will ever recognise or reward because they are spent in the home. Her performance is inspirational and hugely poignant.
The centrepiece is a scene where the mother tries to motivate her depressed daughter (Horrocks) with a description of her own struggles, the only time she shows her heart. And her selfless pragmatism. It's a fine film anyway, with a subtext which reflects on the impact of Thatcherism. But Steadman's portrayal lifts it up among the best of UK cinema.