The Colour Room

This is Such a fromalic basic film that is hard to believe its a true story ..for a start..the real lady wasn't a beauty by any standard..choosing an actress that is more of the plain side would at least give it that REAL feel ..think the wonderful film (Séraphine ) and how believable it was... also the authentic period piece feel was missing ..and the love story forced and unbelievable...the feminist tone also feels forced like its the case in most of the new productions...its a watchable film that feels like a standard bbc production which isnt a bad thing for a period film lover.

Really enjoyed the 20s feeling of the movie, the desire for Clarice to do what she loved and ignoring a bit what was around her to get there including the « rules » and what was right at the time. The scene in the modelling workshop are creating that atmosphere between the men and her, their respect of the rules and her creativity.

She was a revolutionary of that after war era and the movie really depicts how different she was by the use of colours or the way she smiles.

Although there is a romance it doesn't take over the story and Matthew Goode is a strong character passionate about his business and being bold. Phoebe Dynevor is a great Clarice Cliff.

Great script, cast and direction.

When we meet her, Clarice Cliff is a young, ambitious pottery worker who flits from company to company in order to gain as much experience within different departments as possible - at the time it was not unusual for someone to specialise one particular task for their entire working life. Clarice is ambitious and talented, but her talent has yet to be discovered.

Claire McCarthy's, The Colour Room is the story of the rise of Clarice and her struggle to have her talent recognised.

She is ably played by Phoebe Dynevor, best known as one of the main characters in the Netflix hit, Bridgerton. Dynevor imbues Clarice with vivacity, wit and charm, and her ambition is portrayed as enthusiasm and passion.

Opposite her, Matthew Goode gives us his generic but still very watchable posh chap in the part of factory owner and lover, Colley Short.

Solid support comes from Kerry Fox as Clarice's mother and David Morrissey, rather underused as the company's art director who takes Clarice under his wing.

The screenplay is by Claire Peate who takes some liberties with the story - five of Clarice's six siblings seem to have evaporated and the success of her first range of pottery, the famous 'Bizarre' ware, central to this story, was pretty much instant rather than the uphill struggle we see. However, Peate gives the story contemporary relevance by emphasising the struggle of a woman trying to break into man's world - one co-worker who is suspicious of her being brought in to apprentice in the all-male modelling department voices his misgivings with "What if she's one of them suffragettes?". This could be the story of any woman trying to break through the glass, or in this case, ceramic ceiling.

Elsewhere, the adulterous nature of Clarice's relationship with Colley is rather played down, with Colley's wife scarcely making an appearance in case, one assumes, we start to develop any sympathies for her.

The cinematography and art direction are attractive with Clarice presaging her later ceramics in the colours of her clothes. However, the CGI scenes of ranks of bottle kilns belching smoke into the sky are somewhat unconvincing.

Undemanding, but with enough to keep the audience engaged, this straightforward biopic earns a respectable seven and makes for a decent, Sunday night movie to round off a weekend.

Would have liked to see more about Clarice's family life and friendships amongst the women who worked in the potteries. Apparently she came from a big family but we only saw her mother and sister. There was a very half hearted attempt to suggest romance between Cliff and Colley Storer. In fact they married. It was interesting to see how Cliff was inspired by colours and shapes and the processes behind producing fine china. The demographics for the potteries in the 1920s was not represented correctly there were too many ethnic minorities. A historical docudrama should try and reflect the period not modern day demographics.

This is the true story of Clarice Cliff, a British pottery artist in the 1920's who beat the odds by rising from humble beginnings in the North of England in an industry dominated by men, to establish her own brand of ceramics to appeal to women that is still sold today.

Phoebe Dynevor is well cast as Clarice as is Matthew Goode as the upper class factory owner and David Morrissey as her boss. I had no idea who Clarice Cliff was and had no interest in the subject matter but it is such a well made drama that I found myself getting more and more absorbed into the story thanks to Claire McCathy's competent direction and swift pacing. You find yourself rooting for Clarice and balk at the blatant sexism that went on in those days and the courage Clarice faced to overcome the prevailing attitudes.

It reminded me of Made in Dagenham (2010) which was another true story about women in the Ford car plant making a stand against sexual discrimination in the work place. The Colour Room is more than that, it's about believing in yourself and never giving up on your dreams and if you have a passion for something you will find a way to overcome obstacles that stand in your way.