Housewife, 49

Nella Last's story deserved to be told even if in adapted guise long since. My greatest praise goes to Victoria Wood. As a comedian I always understood and was revived by her humour, wit and writing. But as a "so called serious actress" I was totally blown away by her performance in this. Far more so than in the delightful "Pat and Margaret". Stephanie Cole is up to her standard of excellency on this one, too and then some. The period art direction is almost flwaless. For a non-Britain it actually feels flawless...

Also: I simply adore the NOT-Hollywoodesque-nonsense ending.

Definitely 10 out of 10 for this one

This was a real treat last night on TV, and I hope they repeat it soon for all those who missed it. Victoria Wood proves again what a wonderful actress and writer she is. The great Stephanie Cole is formidable as the WVS boss, and David Threlfall is superbly restrained as Nella's emotionally repressed husband. Nella's wartime experiences mirror those of many ordinary housewives I am sure. An emotional roller-coaster! It was a joy to watch; sometimes we laughed out loud, especially at the jolly neighbours, and sometimes we had tears in our eyes. The costumes and props all looked very authentic; as Victoria herself remarked, it was hardly a glamorous role! I'm looking forward to a DVD....

Victoria Wood is a famous British comic actress who has surely shown that she also has a superior for drama - both writing and acting - in this excellent made for television film based upon a real person. During World War II in England, housewife, Nella Last's experiences were recorded by the Mass-Observation organization founded in 1937 to record the daily experiences of British citizens for social research.

The film starts with Nella as being almost complete frustrated with her role as housewife. She is a middle-aged woman who has devoted her entire self to the care of her husband and their two sons. The war has just started, and her sons are leaving to serve in duties other than combat.

Nella's only connection with anything creative is her younger son. He is the one who encourages his mother to go beyond the confines of the house in order to seek fulfillment. Nella begins to blossom when she volunteers for the Women's Voluntary Service and starts to submit her observances of daily occurrences to Mass-Observation.

Over the objections of her husband - a joiner - Nella volunteers for the WVS. There she must face the insults of the women in charge for she is merely the wife of a laborer whereas they are wives of members of higher classes. With spunk and wit, Nella forges ahead and becomes an invaluable member of the organization.

At home, Nella receives almost no support from her husband - a man not able to express emotion. Because of this weakness, he appears to be somewhat of a villain, but there are a few touching scenes in the screenplay where the viewer is able to see past his hard surface to a man who genuinely loves his wife.

Nella's son, Cliff, may be the most complex character in the film. Clifford Last who eventually entered battle was wounded and after the war, moved to Australia where he became a well-known sculptor.

This is a fine film that gives insight into the lives of women of Nella's generation and invites the viewer into an "everyday family" that is certainly far from that.

Comidienne Victoria Wood makes a surprisingly good straight actress in this drama, which lovingly recreates the atmosphere of the 1940s. Based on the real diaries of a depressed woman unexpectedly liberated by the war, it is, however, possessed of a certain slowness and obviousness, although the individual scenes are immaculately constructed. Overall, it lacks the human depth of Mike Leigh's 'Vera Drake', another portrait of the same times, as well as that film's dramatic intent. But it's funny to see David Threlfall playing a very different, but equally useless, man of the house, following his turn as Frank Gallacher in 'Shameless'.

Very few scenes were ones reported in the diary but Wood's film conveyed its substance very well indeed. Beautifully handled, for example, was Nella's naive inability to recognise Cliff's homosexuality. But I thought her 'Nella' was too passive. You can see the film's nervy, pensive introvert in her intimate writing but her diaries also make it clear that she could be feisty and would have come across to others as able and assured. Nella herself contrasts 'the quiet, brooding woman who, when alone, draws the quiet around her like a healing cloak and the gay lively woman who 'keeps all going'''.