Poor Cow
Poor Cow

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- 69/100 based on 1,072 votes
  • Released: 1967
  • Runtime: 101 mins
  • Director:
  • Studio: Vic Films Productions
  • Genres: Drama

A young woman lives a life filled with bad choices. She marries and has a child with an abusive thief at a young age who quickly ends up in prison. Left alone she takes up with his mate (...... (Full plot summary below)

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Full Plot Details

A young woman lives a life filled with bad choices. She marries and has a child with an abusive thief at a young age who quickly ends up in prison. Left alone she takes up with his mate (...

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Movie Reviews

Little White Lies - 8/10 by David JenkinsMoody, poetic and artful. Another side of Ken Loach.
Times (UK) - 8/10 by Kate MuirAn early gem from the social realist movement.
Time Out - 8/10 by Tom HuddlestonA time-capsule character study of great warmth and compassion.
Time Out - 7/10 by Geoff AndrewNot a patch upon Loach's best work, largely because he falls into all the usual traps of kitchen sink realism.
Total Film - 6/10 by James MottramAs a portrait of a struggling mum it's spot-on.
Guardian - 6/10 by Richard RoudIf I hadn't seen Poor Cow with my own eyes, I would never have believed that a film with so much to offer could ultimately be so downright awful.
Monthly Film Bulletin - 6/10 by MFB CriticsNot even Carol White as Joy, glowing with vitality and beautifully modulating the heroine's different moods, can make of Poor Cow more than a superficial, slightly patronising incursion into the nether realms of social realism.
Film4 - 4/10 by Clark CollisAlthough Loach's heart is not so much in the right place as nailed to it, there is no doubt that this makes for gruelling viewing, lacking the glimpses of humour he would show in later work.
User Review - 8/10 by Siân PI'm a big fan of Ken Loach. And Carol White. And Terence Stamp. This is a good film, usual depressing stuff from Loach. I believe Soderberg used snippets in The Limey, to show Stamp as a young stud.
User Review - 8/10 by Jason CLoach at his most innovative. For me the overall aesthetic is a little more satisying than the faux-documentary approach of, say, 'Cathy Come Home', while once again the story lends itself to contemporary issues of the day. It's also ground-breaking in its use of contemporary music (in this case, Donovan), a relatively underused practice back in 1967.

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