During the sixties, despite having an awful economy, the UK at least had some industries that still managed to produce to a high standard, one of which being the car industry.

It was a time, believe it or not, when cars were actually made by people not robots. Not just Matchbox cars either, proper vroom vrooms.

But although this decade will be remembered mostly for its swinging, it had its share of troubles. Trade Unions were bringing the country to its knees, rightly or wrongly (that’s the great thing about robots, they don’t do strikes. Yet). This film however, focuses on an issue that most certainly needed to be raised and addressed: equal pay between the sexes.

The Ford motor plant in Dagenham had a male workforce of 55,000. However, it also had a female contingency of 187; these women were machinists that put together all the interior fabrics for the cars. They were encouraged by union man Albert, to take umbrage with the management at the fact that their work was described as being unskilled. One woman who was willing to accept being a spokesperson for the group was Rita O’ Grady (Sally Hawkins).

After meeting between the unions and management however, Rita gets the distinct feeling that their grievances aren’t taken seriously by either camp, so decides to take further action – a strike.

With the full support of her peers, the machinists do walk out. Their cause soon snowballs into a bigger issue however, that of equal pay; but with the eyes of the country upon them, they all start to feel the pressure both at work and at home.

I'm not sure what they've put in this flask but it's certainly making me feel giddy that's for sure.

Much like his 2003 hit Calendar Girls, director Nigel Cole has made yet another ‘feel good’ flick, albeit one with less nudity. It’s a formulaic affair that’s for sure; get a great cast of some of the country’s best actresses (including Miranda Richardson, Rosamund Pike, Andrea Risenborough, Jaime Winstone and Geraldine James) and throw in a story-with-a-cause. There’s also some nice supporting work by the men too, including Bob Hoskins, Daniel Mays, Kenneth Cranham, John Sessions and Roger Lloyd-Pack.

The downside of following a formula so closely however is the film’s predictability. Not only is the film’s outcome a given, but so is its journey getting there. The characters are all from clichéd stock and their development offers no shocks or surprises.

Despite all these flaws however, it doesn’t stop the film from being enjoyable; no doubt a strong benefit from following a successful formula so rigidly. Hawkins puts in a truly winning performance and it’s difficult not to get swept up in the warm nostalgia of it all.

The rose-tinted gloss of the era helps reinforce the general cheeriness of the piece. And when the underdogs are as charming and as affable as this lot, there’s very little to dislike.

Overall Made in Dagenham (which was known, rather amusingly, as We Want Sex in Italy and Germany) is yet another fine example of the British film industry at its best; fingers crossed that it doesn’t go the same way as our automotive and other industries.