“During London’s gay pride parade of June 30, 1984, miners were on strike throughout Britain, harassed by the police and given the cold shoulder by Prime Minister Margaret Thatcher. Mark Ashton (played by Ben Schnetzer) provokes his fellow gays to support the miners financially, as both gays and miners suffer in similar ways. Under the acronym LGSM (lesbians and gays support the miners) the most activist among the gays and lesbians agree, collect funds, and go to South Wales to provide their financial and moral support. But will the miners accept their help? Although the strike fails in early 1985, the bulk of the film is about the reception of gays and lesbians by the miners, most of whom are initially ambivalent or hostile.” (www.polfilms.com)
The above description of Pride, from the website of the Political Film Society in the US, is accurate, but doesn’t convey how very entertaining the film is at the same time as telling its socio-political story. By contrast, Ella Alexander wrote in the Independent: “If Richard Curtis’ British comedies are too saccharine for some, Matthew Warchus’s important romcom about gay activists and striking miners is a heartwarming, faith-restoring antidote”. The film stars Imelda Staunton, Dominic West, Bill Nighy, Paddy Considine and Russell Tovey. (Cert 15)
Dir. Matthew Warchus 120 mins UK 2014
Programme Notes
Pride
UK 2014 119m Cert 15
During London’s Gay Pride parade of June 30th 1984, miners were on strike throughout Britain, harassed by the police and given the cold shoulder by PM Margaret Thatcher. Mark Ashton (Ben Schnetzer) provokes his fellow gays to support the miners financially, as both gays and miners suffer in similar ways. Under the acronym LGSM (Lesbians and Gays Support the Miners), the most activist among the gays and lesbians agree, collect funds and go to South Wales to provide financial and moral support – but will the miners accept their help? Although the strike fails in early 1985, the bulk of the film is about the reception of gays and lesbians by the miners, most of whom are initially ambivalent or hostile.
The above description of Pride, by the Political Film Society in the US (www.polfilms.com), is accurate but doesn’t convey how very entertaining the film is, at the same time as telling its socio-political story. By contrast, Ella Alexander wrote in the Independent “If Richard Curtis’ British comedies are too saccharine for some, Matthew Warchus’s important rom-com about gay activists and striking miners is a heartwarming, faith-restoring antidote.”
Writing in Sight & Sound for October 2014, Ben Walters suggests that “Pride belongs in a lineage, reaching back to Ealing, of plucky British comedies in which sleeves are rolled up, offbeat friendships forged and true colours revealed, while potentially contentious social subjects hover around the edge of the frame.” and mentions such titles as Personal Services (1987), Beautiful Thing (1996), Brassed Off (1996), The Full Monty (1997) and East is East (1999). He adds “In general, a balance is well maintained between a rousing sense of mission, individual lessons learnt and challenges overcome.”
Mark Ashton – Ben Schnetzer
Cliff – Bill Nighy
Hefina – Imelda Staunton
Jonathan – Dominic West
Dai – Paddy Considine
Director – Matthew Warchus
Producer – David Livingstone
Screenplay – Stephen Beresford
Cinematography – Tat Radcliffe
Original Music – Christopher Nightingale
Comments
“Super!”
“Absolutely brilliant and so moving! Thank you”
“Poignant and comical – brilliant!”
“Excellent film. Thought provoking – eg, tolerance – but very funny too!”
“An excellent, well balanced and superbly produced film.”
“A stirring portrayal of the 1980s, when causes and politics mattered to people. Some scenes were surely over the top but the historical record shows that some good things stuck.”
“Really enjoyed it! It worked on several levels – politics of many minds; comedy; history.”
“Quite a few cliches but much enjoyed and appreciated.”
“Good use made of the material – some of the difficult unresolved problems were faced squarely. Avoided being just a feel-good film – but I had real problems hearing the dialogue: only about 50% of it at best.”
“Although the film (probably) glossed over the nastier side of the reactions of the police and the general public, it had a strong story to tell from the points of view of the different parties. Well done – and funny.”
“Slightly romantic interpretation of the events but a great feel-good film. Quite elevating!”
“Whilst the film had its populist faults, it was a bona-fide British crowd-pleaser, with great performances and a pace that never flagged – even though it could well have done. One of the better British films of recent years.”
“All that beer made me thirsty!”