Ladybird, Ladybird

Director: Ken Loach
Year: 1993
Country: UK
Running time: 102 mins
Great Britain
Director: Ken Loach
Production Co.: Film Four International/Parallax Pictures
Producer: Sally Hibbin
Screenplay: Rona Munro
Photography: Barry Ackroyd
Editor: Jonathan Morris
Production design: Martin Johnson
Sound: Ray Beckett
Music: George Fenton, Mauricio Venegas
Stereo/35mm

Cast
Maggie Conlan: Crissy Rock
Jorge Arellano: Vladimir Vega
Simon: Ray Winstone
Mairead: Sandie Lavelle
Adrian: Mauricio Venegas
Jill: Clare Perkins
Sean: Jason Stracey
Mickey: Luke Brown
Serena: Lily Farrell
Maggie's father: Scottie Moore
Maggie's mother: Linda Ross
Maggie, aged 5: Kim Hartley

Festivals: Berlin (Best Actress Award), Sydney, 1994.
This is a fictionalised account of the true story of a working-class woman, abused as a child, who has her six children, by five different men, taken away from her by the Social Services. The woman is not considered so much a bad mother as a bad bet by the social workers concerned - what with a court order against her after a fire in her flat and a history of attracting violent lovers. She also has a temper that does not endear her to anyone trying to sort out her case. The film is not an attack on the hard-pressed social services but a plea that there should be a better understanding of the cases of such women, often given little or no chance to prove themselves as reliable mothers and providers. At its center is an astonishingly passionate and arresting performance from Crissy Rock, a stand-up comedian acting for the first time, and a portrait of contemporary Britain that drives home a few good necesary lessons - like the thought that humanity and even well-meaning bureacracy are often irreconcilable. Ladybird, Ladybird is very much a political film with its heart on its sleeve, written by Rona Munro with great skill and directed by Ken Loach with his usual flair for finding large truths in small details, But it is Rock who makes it, as David Thewlis set up Naked's triumph for Mike Leigh. - Derek Malcolm, The Guardian, 22/2/94