Mike Leigh (deviser)
12 March 1973 (Season 3, Episode 20)
A quiet and put-upon house cleaner breaks her silence. full summary | add synopsis
A time well buried more (4 total)
| Liz Smith | ... | Mrs. Thornley | |
| Clifford Kershaw | ... | Jim Thornley | |
| Polly Hemingway | ... | Ann | |
| Bernard Hill | ... | Edward | |
| Alison Steadman | ... | Veronica | |
| Vanessa Harris | ... | Mrs. Stone | |
| Cyril Varley | ... | Mr. Stone | |
| Linda Beckett | ... | Julie | |
| Ben Kingsley | ... | Naseem | |
| Alan Erasmus | ... | Barry | |
| Rowena Parr | ... | June | |
| June Whitaker | ... | Mrs. Rigby | |
| Paula Tilbrook | ... | Mrs. Thornley's friend | |
| Keith Washington | ... | Mr. Shaw | |
| Louis Raynes | ... | Tallyman | |
| Alan Gerrard | ... | Greengrocer | |
| Diana Flacks | ... | Mrs. Rubens | |
| Patrick Durkin | ... | Frank | |
| Ian East | ... | Dick | |
| Dennis Barry | ... | Old Man | |
| Sonny Farrar | ... | Publican | |
| Surya Kumari | ... | Sikh Lady | |
| Irene Gawre | ... | Sister (as Irene Gawne) | |
| Hal Jeayes | ... | Priest |
| Episode Crew |
Directed by | |||
| Mike Leigh | |||
Writing credits(in alphabetical order) | ||
| Mike Leigh | deviser | |
Produced by | |||
| Tony Garnett | .... | producer | |
Cinematography by | |||
| Tony Pierce-Roberts | (photography) | ||
Film Editing by | |||
| Christopher Rowlands | |||
Production Design by | |||
| Paul Munting | |||
Costume Design by | |||
| Sally Nieper | |||
Sound Department | |||
| Richard Manton | .... | sound (as Dick Manton) | |
| Dave Baumber | .... | dubbing mixer (uncredited) | |
Other crew | |||
| Roy Baker | .... | production team | |
| Roger Bamford | .... | production team | |
| Irene East | .... | production team | |
| Spike Hughes | .... | production team | |
70 min
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| Company credits | External reviews | IMDb TV section |
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'Bleak Moments', 'Hard Labour': the titles of Mike Leigh's early works certainly pull no punches; and at times, when watching the latter, one yearns for the hilarious ambiguity of the later works like 'Life is Sweet', for it's uncomfortable viewing. A portrait of life in a decidedly unfashionable northern town circa 1973, you could be forgiven for thinking that the sixties had never swung; life here is ugly, and riven by divisions defined by class and sex. As always with Leigh, there are some acute observations, and the central character's upwardly mobile daughter-in-law, played by Alison Steadman, provides a hint of a world I recognise (and also a hint of Steadman's later turn in 'Abigail's party'). But there's not many laughs, just unrelenting awfulness. Life is still hard for many, but it's hard to feel nostalgic for this lost world. What should be regretted, however, is the loss of 'Play for Today', and the immense amount of talent that used to go into making dramas like this (to be broadcast to huge audiences by modern standards); in the world of multi-channels and celebrities, something, at least, has been lost.