The Full Monty (1997)
Directed by Peter Cattaneo

Film Review

The massive social impact of post-industrial decline in the north of England in the wake of the Thatcherite reforms of the 1980s is powerfully rendered in several social realist dramas of the early 1990s, most notably Ken Loach's Riff-Raff (1991).  As grim as the subject is it also inspired a spate of social realist comedies, two of which proved to be box office hits and have achieved lasting acclaim.  In a similar vein to Mark Herman's Brassed Off (1996), Peter Cattaneo's The Full Monty (1997) draws humour from the most depressing of circumstances and shows how a disparate ensemble of unemployed men regain their self-esteem in the most unlikely way, by banding together to form a group of male strippers.  When it was released in 1997, The Full Monty was an instant hit and became the most successful British film of all time.  Its success was immediately overtaken by that James Cameron's blockbuster Titanic, which robbed it of the awards it would undoubtedly have garnered, although it did take the Best Film BAFTA in 1997 and won an Oscar for its score.

Set in Sheffield in the mid-90s, at a time when a large proportion of the work force faced a hopeless future living on the dole, thanks largely to automation of industrial processes and a paucity of investment in the region, the film does not shy away from the human consequences of unemployment and a breakdown of social cohesion.  The main protagonists are desperate to find work but have no hope of doing so, and their dignity and family relationships suffer as a consequence.  This all sounds pretty grim but, incredibly, The Full Monty is far from grim - in fact it is one of the most uplifting, life-affirming films you will ever see.  Far from being a cry of despair (as most social realism is), it offers a chorus of hope, the central thrust of the film being that, with sufficient determination and self-reliance, life's obstacles can be overcome, no matter how insurmountable they may seem.

But surely there is something inherently tragic in the idea of ordinary working class men being driven to take off their clothes in public for money, just to earn a bit of cash to help them out of their present crisis?  It is hard to imagine a more demeaning fate for anyone, a more visible sign of the failure of the state.  Yet what first appears to be an act of desperation turns out to be something far more worthy, an attempt by a group of men to lift themselves off the floor and regain their own self-worth.  Working as a team, they discover not only a new zest for life, but a realisation that, with determination and commitment, they can make a go of things.  They don't have to hang around for the government or profit-hungry industrialists to give them a helping hand.  They can achieve something on their own initiative.  The Full Monty is not about failure, it about the power of the individual to shape his own destiny.

Whilst it is easy to fault the film on its over-reliance on stereotypes and its superficial characterisation, it cannot be denied that it has immense impact, and a fair few moments of genuine poignancy judiciously slotted in between the more humorous excursions.  The Full Monty may lack depth but it resonates with sincerity, so convincingly are the main characters played by a pool of very talented actors.  The likeable cast is headed by Robert Carlyle, an actor who first found fame in social realist films such as Loach's Riff-Raff.  More than anything, it is the sparky rapport between the six main characters that gives the film its humane, realist edge and compels us to believe in the reality of their situation.  None of them has what may be termed conventional sex appeal and they make the unlikelist group of strippers you can imagine (unlike subsequent, vastly inferior rip-offs, the film does not attempt to be erotically provocative).  They are just a bunch of ordinary guys who must overcome their prejudices and insecurities to achieve a common aim.  What could be more inspiring than that?  Comical to the point of absurdity and yet touchingly true-to-life, The Full Monty is easily one of the most engaging and enjoyable British films of the 1990s.

Film Synopsis

Sheffield, England in the mid-1990s.  Unable to find work, former steelworker Gaz and his best friend Dave are forced to steal scrap metal so that they can make ends meet.  Gaz is behind with his child support payments and knows that unless he gets back on track he will not be able to see his son Nathan again.  Meanwhile, Dave's anxieties over his unemployment have left him impotent.   When he sees a crowd of women lining up to attend a performance by the Chippendales at a local club, Gaz has a sudden bright idea.  If only he can gather together enough unemployed men like himself who are not afraid to strip in public he should be able to put together a show for the good womenfolk of Sheffield that will earn him enough to cover his child support bills.  Conscious that he is overweight, Dave finally agrees to support Gaz in this mad venture and they are soon joined by a depressive named Lomper, having thwarted his suicide bid.  Aware that he needs a dance choreographer, Gaz persuades his former boss Gerard, also unemployed, to offer his services.  With two more recruits - the genitally well-endowed Guy and surprisingly agile oldster Horse - the group finally begins to take shape.  To ensure the act is a success Gaz makes up his mind that they must give their punters the full monty - total on-stage nudity.  The question is: can they put together a professional-looking strip act or are they destined to make fools of themselves in front of several hundred women?  Nothing ventured...