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Really Surprised!

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

You know what to expect when the first scene in Ken Loach's "Poor Cow" is a graphic image of Carol White's character giving birth to her son, although for my taste this was taking documentary realism to extremes. For the remainder of the film we follow White's progress, if that's the right word, for the next few years as she lives a mostly tawdry life on the edge of both poverty and legality, interacting with a mostly dubious set of individuals in not-so-swinging London in the mid-60's.The narrative is somewhat awkwardly interspersed with chapter plates, presumably written by White, although these don't actually aid the structure of the piece as the film progresses pretty much on a tangential basis although as an insight into her character's naive optimism and childlike simplicity, they may serve some purpose. Loach's soon to be trademark fly-on-the-wall camera-work is never still, long-shots, extreme close-ups, walking shots, tracking shots all to convince us like his acclaimed TV documentary "Cathy Come Home", of the previous year (with the same actress in the lead) of the veracity of his subject, stripping away all cinematic artifice. In this he succeeds, inviting no pity for her, only portraying her making do and working with what she has, with little prospect of escape.Of course this unremittingly bleak outlook can be overbearing and cold and there are many scenes where he could and should have called "Cut!" earlier, but as an insight into the working class of supposedly affluent Britain, it's important to hold up a mirror to society as he does here.In the final scenes, when White is reunited with her temporarily lost child, we are brought full-circle to that shocking opening scene as he reminds us that family love is perhaps the only true love. Whether it will be enough of a basis for White to break out and make a life for herself and her son is debatable so that some sort of a sequel might have been interesting to consider.The cast is an interesting with one with Terence Stamp demonstrating his range as the crook who White falls for and who shows her a kind of loving, even as the film makes clear in the only stagy scene in the film, his courtroom trial, that there are no victimless crimes. As in "Cathy Come Home", White holds the viewer's attention with her disarming honesty, vulnerability and spirit. Interesting to see the notorious John Pindin in a prominent role too.You don't watch a Loach film for comfortable viewing but as an agent-provocateur, turning over stones most would step over, he's an important director in British cinema.

This film can only be appreciated by someone who lives or has lived in London, especially in the late 60s. The important thing about Poor Cow is not so much as what's happening close up on screen involving fairly inane characters, but what's happening behind them. The film is a rich slice of what life was really like for people who knew little of or could afford less of the so called swinging sixties. I dont think Ken Loach wanted people to identify or feel sympathy for the main character; The woman is basically good hearted but this nice trait is soon destroyed by her lies (to Dave in Prison concerning other men) and by her stout working class expose "All you really need is a man, a kid and a couple of rooms"Dont forget, this film will mean nothing to anyone who dosen't actually remember how bad some parts of London actually were in the 60s and dont blame our poor cow for her blinkered closed outlook. This film was well before the days of career women. A career woman of the 60s would likely have been regarded a closet lesbian and little else. The film was made well before the days of women's emancipation and I think most modern day audiences will miss that. You cant appreciate this film until you actually THINK POOR SIXTIES..... when the internet would have been used for fishing. Watch it again....I swear you can smell rotting vegetation all the way through it.....or was that my Cats.

Not a film of entertainment, but of real lives & limited ambition for the working class in 60's. Enjoyable because of my upbringing, not sure it'd work for most people. Typical Loach. Full of TV actors/actresses of 70's/80's/90's.

In terms of style this film is revolutionary of the time. It could be defined as docudrama since the film is shot in a style of realism. It portrays 1960's London as a poverty stricken bed of prostitution and crime. The main female protagonist seems to always seek male approval. She leaps from one bed to another, loving each of them in much the same way as Diana does in "Darling" 1965. It is hardly an example of feminism and the Radical changes in women's liberation within the 1960's. It does, however, possess a view of hope through all the grit. Dave shows how even a criminal can be loving, gentle and kind. The film offers the audience a 2 hour exploration into the lives of the criminals in London at the time. It challenges the classic Hollywood narrative of peace, disruption and resolution. The narrative structure seems to float along with very little climaxs. This gives the feeling of realism, which many people may find dull or boring. Don't expect your Hollywood Blockbuster. You will find a challenging Independant British film, documenting the feelings of the 1960s in an innovative and unconventional way.