Mrs. Ratcliffe’s revolution begins, as I suppose many do, by accident. It’s 1968, and countries around the world are experiencing social and political changes of all sorts. But all is mostly well in Bingley where Dorothy Ratcliffe (Catherine Tate) lives with her husband Frank, two daughters, and brother Philip. Well, that’s not entirely true; Dorothy seems to have settled into a stasis, accepting the unhappiness around her but nevertheless trying to make the best of things.
Her eldest daughter, Alex (Brittany Ashworth), is an art student who’s embraced liberation of every kind and doesn’t appreciate her mother’s prudish attitudes. To her younger daughter, Mary (Jessica Barden), she’s a non-entity, her passionately communist husband (Iain Glen) on the receiving end of all Mary’s affections. She also looks after socially awkward Philip (Nigel Betts), who stays at home fiddling with his necktie contraption. When Frank gets an offer to teach English literature in East Germany, she casts the deciding vote that sends everyone packing.
Dorothy hopes that the change will have a positive effect on the family and jolt her out of her ennui. Perhaps with her husband happily living out his socialist dream, he’ll be less inclined to proselytize at home, and they can enjoy lazy dinners and jazz records instead of focusing on the problems of the proletariat. Of course, Frank’s imagined utopia doesn’t deliver on its promises, and it’s not long before things take a Kafkaesque turn, forcing Dorothy to wrestle back control of her family that has been hijacked in varying ways by paranoid government officials, including sexy homewrecker Frau Unger played by Heike Makatsch (Love Actually) in yet another sexy homewrecker role.
If you only know Tate from her variously offended and offensive characters in her self-titled sketch comedy show, you’ll be pleased to see her very able dramatic performance in this film. She is certainly funny, but the humor here is understated – one-liners and split-second expressions delivered more as punctuation than as loud capital letters. And while Tate shows that she can deliver laughs from across the comedic spectrum, she is just as effective as a mousy housewife, desperate to fulfill her role as wife and mother yet feeling like she has failed at both.
It’s through her eyes that we most clearly see the surreal world they’ve stepped into. Although the film begins with Mary as the narrator, her workers’ paradise perspective is dropped in favor of Dorothy’s neutral view. What she comes to learn about her new home is at first funny and peculiar. A phalanx of choristers materializes out of nowhere, for example, and greets them with a soulless rendition of “My Bonnie Lies Over the Ocean.” But you can’t take these crazy glasses off, and before she knows it, she’s assisting in defections and bribing her own way out of the country. But in the end, the film is less about the triumph of capitalism and more a testament to a woman who gets it done.
Prod: Hugo Heppell
Dir: Bille Eltringham
Writer: Bridget O’Connor, Peter Straughan
Cast: Catherine Tate, Iain Glen, Brittany Ashworth, Heike Makatsch, Jessica Barden, Christian Brassington, Nigel Betts, Robert Daniel Lowe, Ottilia Borbáth, Fanni Futár, Imola Gáspár, Karl Kranzkowski
Time: 102 min
Lang: English, some German
Country: United Kingdom