Mike Leigh, the British filmmaker, always makes nice little insights into the Brit working class or the impoverished everyman attempting to shoulder on life's indignities with a slight stiff upper lip (which may be quavering but it'll do) to save face and ultimately win hearts. In his latest human interest story he stands head and shoulders above all that with this ultimately heartbreaking tale of a good woman doing 'misdeeds' which belie her pleasant life.

Imelda Staunton stars as the titular '50s London era homemaker, mother of two grown young adults and a loving wife to her faithful husband while she works as a domestic for several wealthy upper crust families when she's not busy taking care of the invalid in her community including her fading mother. Vera Drake is a sweet natured, wonderful human being whose good-as-gold demeanor cloaks a horrible secret (at least to the society at large in the time of the picture): she assists in abortions for girls who have gotten themselves in scrapes who need help when none is provided.

What seems antiquated in the 21st century is all too-telling of what was once considered criminal - and worse yet a crime against humanity and God Himself - is so happenstance it may seem unworthy to see a film about such a sadly troubling subject that has been taken for granted. That would be a true crime in itself.

What Leigh does is allow the first half of the film to leisurely pace itself in showing Vera Drake as a human being, someone who does not have her self-interest at heart but like all woman of her generation (and arguably of ones since) have gone above and beyond the call to make ends meet and to provide a loving home for both family, friends and strangers without a worry, care or hidden agenda. A rare thing nowadays.

Then the other shoe drops sadly during a family celebrating an impending birth and a sudden wedding proposal when the local authorities swoop down on the unsuspecting Vera when one of her assists suffers a deadly drawback. It is during this sequence that Staunton truly should be given the Oscar in just the few moments of her face having the blood drain to a shock and ultimately all-too-knowing horror/sadness that her life as she knows it is now over. One of the truly most amazing captured facial expressions ever captured on film without a special effect in sight - that is truly the gift of an exceptional actress who to my ability cannot fathom ever seeing onscreen (her one credit that pops to mind is a supporting role in "Shakespeare in Love" but otherwise nothing else!)

It's as if Leigh has transported us back to that post WWII era effortlessly - largely thanks to the exquisite production design by Eve Stewart, rich cinematography by Dick Pope, and period accurate costumes by Jacqueline Durran. That is his true genius - making films about other eras come to life so naturally and effortlessly - while fleshing out his characters one step at a time so as not to overwhelm his audience. Not unlike his American colleague Martin Scorsese - both get to the heart and soul of their characters like nobody else.

If Staunton doesn't get a nomination there is no justice and if she doesn't win, then that would be truly criminal.