In 1968 a powerhouse group of female machinists at the Dagenham Ford production factory held the first strike by women in British history. What started out as a seemingly straightforward pay dispute became a fight for equality and ultimately led to the pivotal Equal Pay Act of 1970. It is surprising that it has taken 40 years for this remarkable story of determination to hit the big screen, but now it has in the shape of Made in Dagenham.

The film focuses on the story of Rita O’Grady, the leader of the strike, played by the effervescent (if tiny) Sally Hawkins. Hawkins, who received the Golden Globe for her performance in Happy-Go-Lucky, gives one of those performances which immediately makes you want to run to your video store and borrow her entire back catalogue. And she needs to, as the picture depends on the strength and believability of her portrayal of O’Grady. While perhaps she overplays the reluctant hero too far into the film, it is ultimately the depth and vulnerability which she brings to the role which takes this from a dull British biopic to a worthy international film.

Hawkins’ supporting cast are equally strong, each providing an ‘oh, where do I know YOU from’ moment, ensuring IMDB was checked on the smartphone the minute the credits rolled. Rosamund Pike shows her true beauty as a woman from another world, yet suffering every bit as much as those from the factory floor. Similarly, Daniel Mays as Rita’s husband, Edie, holds his own as the man at the forefront watching the changing nature of the genders from his overfilled kitchen sink.

It is these performances, along with a touching subplot led by the crumbling Connie (Geraldine James) which allows the audience to take full scope of this event. This isn’t just about overcoming adversity or the fight for feminism, but about the true nature of society. It leaves you asking the big questions about rights, equality, entitlement and human relationships and led to several pints worth of engaging chat with my companion afterwards.

However, Made in Dagenham is not all seriousness or politics. There are some truly laugh out loud moments, while the excellent sets and costumes remind the audience of the romanticism of 1960s England. Director Nigel Cole keeps it moving at a healthy pace, neither sacrificing the true story nor tending too far to the side of re-enactment, nor crossing the line into sentimentality as the material could allow.

Perhaps the flaw lies in the skill of his direction however. Cole’s other films include Calendar Girls and Saving Grace which while worthy works, are such defiantly ‘nice, British’ films that it is unsurprising that a similar sheen is cast across Made in Dagenham. This allows it to be a worthy and enjoyable film, but does not take the step to a great one which is perhaps a disappointment given the strength of the material.

Three and a half stars.