Funny Cow is comedy that unashamedly presents racism, homophobia and misogyny to remind us just how far we’ve come

After a conversation on the set of ‘Red Riding’, Tony Pitts (Emmerdale, Peaky Blinders, Line of Duty) wrote ‘Funny Cow’ specifically for Maxine Peak, and it’s not difficult to see why.

Peake drinks up this part and is on extraordinary form.

It charts the life and career of a nameless female comedian rising through the ranks of grimness and prejudice in the 70s and 80s - taking in the circuit of working men’s clubs of the north in all their stark and brash glory.

Obviously, this is no rose-tinted take on cosy childhoods and mollycoddled adolescence - the days of Britain’s Got Talent seem a million miles away (although the audition process has hardly changed) - instead our Funny Cow is subjected to a sad and tough upbringing, mainly thanks to her parent’s love of belt and bottle.

This version of love never really leaves her, her own marriage following the same path (with Tony Pitts as her eternally angry and menacing husband) and on the rare occasion she does receive any form of genuine affection, she doesn’t know what to do with it.

To see her chosen path of stand-up comedy as one of escapism or “fighting her demons” would only tell part of the story, whereas the reality is also one of economic aspiration.

She wanted some cash and a better life, so puts her gob to good use and plays the fellas at their own game, batting off the hecklers and naysayers in equal measure.

Yes it’s tragic, yes it’s grim and yes, without Peake at the helm it could have ambled around too much - but it also shows an uncomfortable truth that sadly is still all too prevalent - just ask Aisling Bea or Rachel Parris.

The depressing prejudices of the 70s are there in all their polyester glory - a lacklustre stripper peeling off her bra in front of a bunch of men whilst their wives wait at the back for the bingo is just one scene that brings a wince.

The comedy unashamedly presented in it’s rawest, racist, homophobic and most misogynistic form is utterly grim and does much to remind us of how far we’ve come.

I saw this the week Jim Bowen died - and couldn’t help but think of comedians from that era, blindly scanning through Netflix, looking for a laugh they can relate to.

The thought of Jim Davidson happening across someone like Dave Chappelle is worth all of the bilious tripe that is on grim display here.

But as Paul Calf once said, “In every barrel of s**t there’s a glimmer of gold, it might be the corner of a Caramac wrapper - but it’s there”.

For every awful joke, there are some zingers delivered with blistering ferocity. Peake clearly relished the role and delivers some barbed gags with the weary venom you’d imagine Marti Caine to have conjured in her rise.

There are a smorgasbord of incredible supporting roles and cameos - from Paddy Considine’s delightfully foppish bookstore owner, who fails to secure Cow’s heart, to Vic Reeves/Jim Moir’s hilarious audition to blink and you’ll miss ‘em cameos from Dexy’s Kevin Rowland, John Bishop and Diane Morgan.

Giving Maxine Peake a run for her money though, is an incredible turn from Lindsey Coulson as her alcoholic mother. the two of them, knackered, sat reflecting and ruminating on life and the cards dealt, is electric.

Do you like jokes?

They’re alright if you like laughing.

Whilst it doesn’t carry the same weight as something like Educating Rita, Funny Cow still has you wondering what kind of tears are in your eyes.

Star Wars: Funny Cow (15) 103mins

Rating: ☆★★★★