writers_reign The first feature film written by Ted Willis was Good-Time Girl in 1947 and within the decade he was chronicling the other side of the coin and the conclusion would seem to be that Sinner or Saint it's not much fun being a girl. By 1957 the 'kitchen sink' school of drama was firmly established on both stage and screen courtesy of plays like Look Back In Anger, which John Osborne unleashed in 1956 and films not a million miles away from Good-Time Girl and The Blue Lamp, also the work of Willis. Anthony Quayle and Sylvia Syms had been involved in Ice Cold In Alex yet there's an odd lack of chemistry between their semi-adulterous (she isn't married, he is) lovers as indeed there is between Quayle, a Shakespearean actor never fully at ease in modern dress, and Yvonne Mitchell, who walks away the the film, slipping easily around a wooden Andrew Ray as the son of herself and Quayle. It was probably seen as a taut, gripping drama in its day but that day wasn't yesterday or even the day before and time could have been kinder, nevertheless it will reward a look.

BOOWAH In the late sixties (Pre-VCR) we had three UHF stations in our area, and they all signed off at 12 midnight. Unfortunately I worked second shift at a local factory and was just getting out at that time. One of our stations, bowing to public pressure, agreed to remain on after midnight and show movies. "Great...Right? "No, Not so great!!! They purchased four films, one of which was "Woman In A Dressing Gown", and showed them over and over again. "My God, It was just like "The Rocky Horror Picture Show" I still have the dialogue running through my head even today. (He covers everything I make in sauce...Dollops of sauce) The remaining films were(in order of boredom):The Burning Hills, Teenagers From Outer Space,and Dangerous Youth

donaldgordon797 To me this movie must be the first of the "kitchen sink" dramas of post war Britain as it came out in the fifties,long before the sixties made the genre popular. Woman in a Dressing Gown has been described by film historian Jeffrey Richards as "a Brief Encounter of the council flats", taking the scenario of a extra-marital affair and relocating to a less middle-class setting. However, writer Ted Willis described it more simply, as a film about " good honest fumbling people, caught up in tiny tragedies". As its female-focused title suggests, the film spends a lot of time on Amy, the wife whose devastated when her husband asks for a divorce. She gives it the works as the drudge who fights to rekindle the affection of her husband. There's a great bit when her new hairdo gets ruined by the rain, but it's heavy weather throughout. Amy is anything but the model '50s housewife: she burns food, never finishes the housework, always has the radio on too loud, and rarely has time to get dressed properly. But the film allows us to see reasons why she might have become that way (grief,loneliness,boredom) rather than simply demonising her. Do not watch this film if your at a low and feeling depressed as it will definitely not help. Yvonne Mitchells bravura performance won her the Berlin Film Festival's Silver Bear award for best actress

LaDonna Keskes I have seen this film exactly once, when I was about 15, on television about 35 years ago. It's unforgettable for its searing depiction of the life of postwar Britons of the middle class.Jim Preston (Quayle) is married to a woman who appears nearly helpless as a housekeeper and could be suffering from chronic depression after the death of a child. The cramped flat where they live is a suffocating mess, cabinets spilling debris, sinks filled with dishes, dustbins crammed, through which his bathrobe-clad wife drifts in a logorrheic, ash-dropping haze. By contrast, the young woman he is infatuated with is elegant and pristine, and their encounters are marked by a tranquility and privacy lacking in his domestic life.He makes one attempt to break free, causing his wife to decompensate into a hysterically sobbing invalid. His teenage son is fiercely protective of his mother and furiously rejects Preston. His life begins to come apart, and the freedom and love he yearns for slip away. He sinks back into his life, resurrecting his wife, and all goes on exactly as before--only worse.It was utterly unlike anything I had seen before, completely real, unflinching, passionate and hurtful. The B/W cinematography is done with a dingy look that captures the sooty city perfectly.This movie should come out on VHS, at least.