There’s a slightly muckraking angle to the title which might be more suited to a tabloid, but for all its Nazi referencing (which turns out to be a relatively minor part of the tale), this is a story more about the power of the press at its best, hence the mention of Harold Evans, the key figure around whom the documentary is crafted. He’s the former editor of the Sunday Times newspaper — before one R. Murdoch bought it up, the film is keen to note — and a leading proponent of the kind of investigative journalism which is sorely missed these days as a means to hold the powerful to account. The documentary proceeds in a straightforward manner, using talking heads interviews with some of the key players, as well as archival documents and video footage, to set out its tale of, first, the creation and marketing of the drug Thalidomide by the now-defunct Distillers Group and, secondly, its disastrous physical effects on those exposed to it, particularly the children of pregnant women (the latter group targeted by the advertising). Despite clear evidence of these side effects, the drug continued to be promoted for several years, and then when it was withdrawn, the story of its effects was swiftly buried, largely due to the prohibitive effects of the UK’s libel laws. It wasn’t for some decades until Evans and his team started to expose the scandal, after changes in law and some very carefully-worded campaigning that led to questions in Parliament and therefore made the exposé legally more feasible. The film really does give a sense of the labyrinthine bureaucratic complications to simply reporting the facts, and that aspect of it feels like the kind of story that hasn’t moved on hugely in the intervening years; governments and corporations still regularly collude to protect their interests, and a strong free press is still urgently required to uncover these issues.
Directors David Morris and Jacqui Morris; Cinematographer Clive Booth; Length 102 minutes.
Seen at Picturehouse Central, London, Wednesday 3 February 2016.