Business as Usual (1988) Online

Here's a deeply obscure British drama that you may want to check out, especially if you're interested in films directed by women: Business As Usual was written and helmed by Lezli-An Barrett, and remains her only film to date. It stars Glenda Jackson as Babs, a woman who manages a chain store branch in Liverpool whilst recently laid-off factory worker hubby Kieran (John Thaw) keeps house. When a slimy supervisor starts pawing the help, Babs gets her back up and ends up losing her job, too. What to do, what to do? This being Thatcher-era Britain, it's definitely a job for the union, and a little working-class solidarity goes a long way when fighting workplace sexual harassment. Business As Usual won the Grand Prix at the Creteil International Women's Film Festival and co-stars Mona Lisa's Cathy Tyson. Think of it as distaff Ken Loach or a politicized Coronation Street and proceed accordingly.

This film sacrifices character development in the name of thinly veiled political statement. Craig Charles was frankly superb, and I'm disappointed that he hasn't worked in film again. Glenda Jackson gave an all round good performance, despite being hobbled by the script and direction.

I enjoy watching this film as a reminder of the halcyon days of the mid-eighties, and to see just what the McGann brothers used to do, before their sit-com days.

The story concerns the plight of a young shop assistant, and her problems with an over bearing boss. When our heroine, Glenda, steps in she is fired and embarks on a transformation from meek shopkeeper to socially right-on campaigner for rights in the work place. Frankly, I am tired of this sort of preachy nonsense.

Barrett's direction was as good as could be expected, given that this is her debut feature. Girl power? Hmm. It's not enough to build a film around, I feel.

This debut feature from Leslie-An Barret is commendable for it's attempt to address pertinent social issues of the day. Glenda Jackson, herself politically motivated, does little more than sleepwalk through her role, and, with supporting players reduced to ciphers, propelling the narrative, she ends up floating along with no real purpose or drive.

This movie typifies the sort of things being produced at the time, Cal, Paper Mask, Diamond Skulls, which, like the decade in which they were made, are triumphs of style over substance, albeit, low-budget, cardboard cut-out versions of style.