Of all the films catalogued in the the BFI archive denied widespread attention, this unique social historical document must be one of the most important. Reisz and Richardson proved a brilliant combination. At the time Richardson probably had the edge on creativity, Reisz provided the sharp observant camerawork. But with his later 'We are the Lambeth Boys' definitely more 'fly on the wall', 'Momma' is infinitely more perceptive. We catch the momentary anxiety in the eyes of the patient in the dentist chair as the drill descends to her open mouth. A classic extended rear shot of three cleaning ladies walking away from us on completion of their shift succeeds in conveying relaxation at the end of their arduous physical labour, and hints at the close bond between them. A conversation between our heroine's boyfriend and a pretty girl as they dance to a slow blues conveys a level of intimacy that we understand would make any girlfriend furious. A glimpse of a male dancer in battledress reminds us that this is era of National Service, for the young men a hugely disruptive factor which ruled their lives for two years between the ages of 18 and 20 - two years. Several of those present have short haircuts suggesting they are in or shortly demobbed from the services.
Our directors highlight the universality of the music by choosing subjects for focus across the rigid class system of the time. Our carriage cleaner would be lower working class, our butcher upper working class, our dental assistant middle class. It was the era of the 44 hour week - these three worked 48. The upper class 'Hooray Harrys', who briefly visit the club are clearly there to enjoy and not to patronise, although the driver feels it necessary to remove the mascot from the bonnet of his expensive car!
The film was shot mainly in the early months of 1955, a time of major change in the UK music industry. The U.S dominated pop scene had held sway for decades with bands formed by celebrity leaders and swing-based line ups, and vocals featuring celebrity singers. Countrywide, ballrooms and major hotels provided live dance music on Saturday nights, the main outing of the week for the young.
By 1955 however, thanks to early post war pioneers like George Webb, with sufficient influence to cut records and promote concerts, traditional jazz music had forced its way into the national consciousness. Older generations, unable or disinclined to unravel the harmonics, branded it as hideous cacophany. Cue for the young to adopt it as their own and invent their own style of dancing in jazz clubs, which sprang up everywhere in the many available vacant sites, often below ground.
The Chris Barber band was at an early stage of recognition and happy to accept a booking at the typical slightly sleazy Wood Green club. We see new boy trumpet player Pat Halcox, replacing the hard line New Orleans purist Ken Collyer, who proved a bit too pure for the rest of the band Singer Ottilie Paterson was another newcomer. On arrival in London from her Ulster home, she had been turned down when she approached them to sing during a gig. At the end of the evening she persuaded Johnny Parker, the pianist on the hit 'Bad Penny Blues' to play while she sang 'Careless Love Blues.' The band listened and hired her on the spot.
I understood them. I first heard Ottile's fantastic black voice on record on 'Bad Woman Blues' 'When i was nuttin' but a chile, all you men used to drive me wild.' Surely this was the great Bessie Smith reincarnated.
The film was instant nostalgia for me as I was part of that long ago scene. One evening at Macks in Oxford Street the retaining screw on Ottilie's mike stand sheared and I sat at her feet on the edge of the stage with right arm outstretched holding it together. After two consecutive protracted blues my muscles ached excrutiatingly but she thanked me graciously and the pain magically disappeared! .
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