Fearing her father's disapproval if she moves away from home, Celia hesitates about joining up but eventually her call-up papers arrive. Hoping to join the WAAF or one of the other services, Celia instead gets posted to a factory making aircraft components, where she meets her co-workers, including her Welsh room-mate Gwen Price and the vain upper middle-class Jennifer Knowles. Knowles dislikes the work they have to do at the factory, causing friction with their supervisor Charlie Forbes which eventually blossoms into a verbally combative romance. One of the many war effort films Britain churned out between 1940 and 1945, this one attempted to get women recruited into industry. We watch Celia as she gets her call-up and has to leave her family to work in a factory and stay in a hostel. There she meets college graduate Gwen, flighty Sloane Jenny, and common as brass Annie, amongst others. She grows to like her job, and also finds love with a Scots flyer, Fred Blake. But this being a semi-documentary war film, things don't end up as happily as you'd hope. During the same period they worked together on several Ministry of Information propaganda shorts in support of the British War effort –

A further propaganda message included in the film was to represent the different regions and classes of the British people all working together for the common good of Britain, and therefore included representatives of all nations and all classes rather than the upper middle classes which usually represented the British people in films of the era. Characters included Gwen from Wales, Fred from Glasgow, a Welsh male voice choir, a massed dance to the tune of Loch Lomond. The north of England was represented by Eric Portman playing Charlie Forbes and Terry Randall in her role of Annie Earnshaw – and as northerners they were ‘obviously’ working class and had a degree of comedy about them. Patricia Roc was cast as a working class girl, but being the star of the film came across as more middle class. The upper middle class were represented by Basil Radford and Naunton Wayne as the army officers Charters and Caldicott. a b Millions Like Us, In: Programme book for Made in London Early Evening Films at the Museum of London (Museum of London and The National Film Archive), 24th season, 1992.a b Brown G. Launder and Gilliat, quoted in Programme book for Made in London Early Evening Films at the Museum of London (Museum of London and The National Film Archive), 24th season, 1992.

I had fairly high hopes for the film "Millions Like Us" as it sounded an interesting idea on paper. Sadly, the final results didn't live up to my expectations.The film was originally intended as a documentary for the Ministry of Information but then their film division suggested it be done as a fictional movie and the project was produced at Gainsborough Studios. Screenwriters Frank Launder and Sidney Gilliat decided to share direction, both recording their debuts in that capacity. They afterwards felt that having two directors had often confused the actors. They continued to collaborate on scriptwriting and production but directed individually. [2] [3] [4] Fortunataely, the Daily Mail gave a DVD of the film away free in early 2009, so getting hold of a copy should not be too hard for folks in reach of a British charity shop. I don't know if the DVD is region-restricted, so readers in other parts of the world may have greater difficulty getting a copy if this. The acting, especially in the home sequences, is low-key in the same manner as Lean's 'This Happy Breed'. A far cry from the stagey histrionics of pre-war British cinema, it anticipates the naturalism of TV drama. There are no big speeches or characters, just commonplace folk muddling through. The interpolation of Naunton and Wayne, whom L&G had made a crosstalk team in 'The Lady Vanishes', is the only concession to a 1930s conception of entertainment. Frank Launder and Sidney Gilliat shared a directing credit for their debut in that capacity, a film that looks at the effect of World War II on ordinary British people (especially women), where anyone could be called up and pressed into service.