This film transports us back to the dark ages for women enduring the trauma of an unwanted pregnancy. The age of the back room [or the back alley] abortions. In England. And not as an exchange of polemics [abstractions] either. This is how such things actually did unfold. On both sides of the track.
And, if certain political forces manage to prevail here in America, may well again.
It won’t change many minds of course because there are always countervailing narratives that can be construed just as effectively from “the other side”.
More than anything, it distinguishes abortion as an exchange of abstract political arguments and abortion as your whole fucking world about to be turned upsidedown.
Even so, Vera’s approach to the whole thing [in the first half of the film] is almost surreal. She as entirely matter-of-fact about what she is doing. It throws some of the women off to say the least. This is anything but a matter-of-fact experience from their perspective.
IMDb
Filmed with no script, the film went on to be nominated for Best Original Screenplay for 2005 Oscar. Mike Leigh said that he “had to prepare the screenplay so it can be sent out to academy members. But actually the screenplay that was nominated doesn’t exist. The film is the screenplay.”
wiki
[b]In Vera Drake, Leigh incorporated elements of his own childhood. He grew up in north Salford, Lancashire, and experienced a very ordinary but socio-economically mixed life as the son of a doctor and a midwife. In the book The Cinema of Mike Leigh: A Sense of the Real, Leigh said, “I lived in this particular kind of working-class district with some relations living in slightly leafier districts up the road. So there was always a tension, or at least a duality: those two worlds were forever colliding. So you constantly get the one world and its relationship with the other going on in my films”.
Leigh often uses improvisation in order to capture his actors’ unscripted emotions. When filming Vera Drake, only Imelda Staunton knew ahead of time that the subject of the film was abortion. None of the cast members playing the family members, including Staunton, knew that Vera was to be arrested until the moment the actors playing the police knocked on the door of the house they were using for rehearsals. Their genuine reactions of shock and confusion provided the raw material for their dialogue and actions.
Though much has been made of the controversial subject matter - back street abortion - its main theme is the buried family secret, the ticking time bomb that can lurk underneath even the most stable marriage. Much of the film’s cumulative power lies in its delineation of a rock solid family suddenly rocked to the core by a revelation that is literally beyond their comprehension: the fact that their beloved, and loving, mother is an abortionist. Why, I ask Leigh, does she keep her secret for so long?
The film has attracted some criticism from those who worked in midwifery during the 1950s. The chief concern is the method of abortion used by Vera Drake in the film. This involves using a Higginson bulb syringe filled with a solution of warm, soapy water and disinfectant, which is inserted into the woman’s uterus. This method is claimed by Jennifer Worth, a nurse and midwife in the 1950s and 1960s, to be invariably fatal. She calls the film itself “dangerous”, as it could be shown in countries where abortion is illegal and the method depicted copied by desperate women. However, a letter in response to her article claims a real-life experience of just such an abortion in Notting Hill in 1965.[/b]
trailer:
youtu.be/_5L3hGxHumY
VERA DRAKE
Written and directed by Mike Leigh
[b][repeated line]
Vera: Right dear, take your knickers off.
…
Susan: I have this friend who…she needs some help.
…
Ivy: I should be at work.
Vera: You can’t go to work in this state.
Ivy: Somebody has to earn the money. I’ll lose my job if this goes on.
Vera: It’s not your fault, dear.
Ivy: Try telling that to your boss. They don’t understand nothing, men. Bastards.
…
Psychiatrist: Tell me your feelings towards the father of the child. Do you love him?
Susan: No.
Psychiatrist: Does he love you?
Susan: No.
Psychiatrist: Did you love him at the point of conception?
Susan: No.
Psychiatrist: Did he force himself on you?
Susan: Yes.
Psychiatrist: Miss Wells…if you were to have the child, would you keep it or have it adopted?
Susan: I can’t have it. I’d rather kill myself.
…
Vera: I know why you’re here.
Inspector Webster: I beg your pardon?
Vera: I know why you’re here.
[pause]
Inspector Webster: Why are we here?
Vera: Because of what I do.
Inspector Webster: Because of what you do?
Vera: Yes.
Inspector Webster: What is it that you do, Mrs Drake?
[long pause]
Vera: I help young girls out.
…
Inspector Webster: Can you answer my question, please? How do you help them out?
Vera: When they can’t manage.
Inspector Webster: When they can’t manage?
Vera: That’s right.
Inspector Webster: You mean, when they’re pregnant? So, how do you help them out?
Vera: I help them start their bleeding again.
Inspector Webster: You help them to get rid of the baby? You perform an abortion. Is that right, Mrs. Drake? You perform abortions, don’t you?
Vera: That’s not what I do, dear. That’s what you call it. they need help. Who else are they gonna turn to? They’ve got no one. I help them out.
…
Inspector Webster: Did you help Pamela Barnes in this way?
Vera: Pamela…yes, I did. Is she all right?
Inspector Webster: She nearly died, Mrs. Drake…last night. She’s in a hospital, but she’ll live. Mrs. Drake, I’m arresting you for carrying out an illegal operation on Pamela Mary Barnes, of 37 Flixton Street, London, N1… on the 17th of November, 1950.
…
Inspector Webster: How much did you charge, Mrs Drake?
Vera: What?
Inspector Webster: How much did they pay you?
Vera: I don’t take money? I never take money. I wouldn’t…That’s not why…
Inspector Webster: You do it for nothing.
Vera: Of course I do. They need help.
…
Sid: How could you do those things, Mom? I don’t understand it.
Vera: I don’t expect you do, Sid.
Sid: Why’d you do it?
Vera: I had to.
Sid: It’s wrong though, ain’t it? Eh?
Vera: I don’t think so.
Sid: Of course it is! That’s little babies. I mean, you hear about these things, you read about it in the papers, but you don’t expect to come home to it on your own doorstep with your own mom! You ain’t got no right!
…
Reg: It ain’t fair. Me mum brought up six of us in two rooms. It’s all right if you’re rich. But if you can’t feed 'em, you can’t love 'em, now can you?
…
Vera: Poor Sid.
Stan: I know. Everything’s black and white for Sid. He’s young.[/b]
The judgment:
Judge: Vera Rose Drake, you have committeda crime, the gravity of which cannot be overestimated. The law is very clear and you have willfully broken that law. And furthermore, in so doing, you have put at risk the life of a vulnerable young woman. And but for the timely intervention of the medical profession…you might have been before me on an even more serious charge than the one that has brought you here today. Now… I have heard your plea of guilty, and I have taken that into account… and I have listened very carefully to the submissions of your council. But nothing has been advanced me today on your behalf which would persuade me to take any course other than to impose a custodial sentence. Indeed… the extreme seriousness of your crime is bound to be reflected in the sentence that I am about to pass. And that must serve as a deterrent to others. I therefore sentence you to a term of imprisonment, which will be two years and six months. Take her down.
Of course, had abortion been legal back then, “the vulnerable young woman” would have been considerably less at risk. Though, for the fetus, the results would have been the same.