Set against the backdrop of the 1960s, Made In Dagenham is based on a true story about a group of spirited women who joined forces, took a stand for what was right, and, in doing so, found their own inner strength. At the English town's local Ford automobile plant, Rita O'Grady (Hawkins) is one of only 187 women in a workforce of 55,000 men. Facing overwhelming opposition in this "man's world," Rita rallies her female co-workers to fight for equal pay—a stand that defies the corporate status quo, threatens her marriage, and ultimately exacts a tragic toll. But with the support of the shop's steward (Richardson), the women become the sensation of the nation—and the catalyst for a profound turning point in time. (Gary Reber)
Special features include commentary with Director Nigel Cole, a making-of featurette (SD 13:22), eight deleted scenes (SD 07:32), outtakes (SD 02:17), the theatrical trailer, up-front previews, and BD-Live functionality.
The 2.35:1 1080p AVC picture exhibits a slight tint that stylizes the imagery, for a dated appearance. Yet the color palette is perfectly naturally hued, though, with slightly subdued rich and warm tones and accurate fleshtones. The tint appears ever so sepia-toned. The cinematography projects a standoffish, wide distant perspective, with few close-ups. Still, dimensionality is quite good and appears to be technically perfect. Resolution is quite impressive throughout, especially when perceived in object textures and clothing. Blacks are nicely rendered, as well as shadow delineation, which is revealing. Overall, the picture effectively achieves the period feel and is pleasing to experience. The imagery is pristine as well, which enhances the sense of realism. (Gary Reber)
The DTS-HD Master Audio™ 5.1-channel soundtrack is generally reserved, particularly in the use of .1 LFE energy, except for a few dramatic instances. Otherwise, the sound is nicely produced with excellent Foley and atmospheric sound effects. Surprisingly, though, such effects are at times limited in surround presence and envelopment when the visuals suggest otherwise. In particular, the factory work-floor scenes vacillate from sounding open and enveloping to restricted in spatial dimension, even though the visual shows brick-wall-to-brick-wall machines in action and a chatty group of women. Still, other scenes are nicely executed in this respect. Dialogue is clean, with a track that tends to achieve respectful integration spatially, though, not always. The music score develops nicely, to enhance the sense of spatial dimension, with a more aggressive surround presence that provides effective envelopment and a greater sense of low-frequency strength. Overall, dynamics can be reserved, but the sound is pleasing and nicely supports the dialogue-focused storytelling. (Gary Reber)