Made is a 1972 British drama film directed by John Mackenzie and starring Carol White and Roy Harper.

He was also inspired by the John Lennon song "Eleanor Rigby" in which a woman's life is exploited for songwriting purposes.

[4] The play debuted at the Royal Court in November 1970 starring Manfred Mann singer Mike d'Abo as John Lennon, alongside Maureen Lipman (as Eleanor Rigby), Barbara Keough and Diane Fletcher.

She called the part in Made "the role I had been waiting for"[8] in particular because she identified with the lead character, who was a young mother and had a romantic relationship with a pop star, as White had in real life.

He acted like an overgrown hippie still longing for Woodstock, and though he preached a philosophy of universal tolerance, he didn’t extend that to the people within immediate reach of his tongue.

[12] Writer Howard Barker called the movie "a disastrous and painful experience which exposed to me the commercial degradation of the industry here, as far as the studios are concerned.

[17] The Guardian called it "one of those awfully sincere British social commentaries that is so pinioned by cliche that most of the worthwhile things it tries to say are drowned in a sea of mediocrity.

"[18] The Monthly Film Bulletin wrote: "Attempting to invest social problems with personal immediacy, Made unfortunately short-circuits any possible sympathy by the jejune air of its drama.

The strains of the hymn "Jerusalem", and the switches in mood from brief moments of circumscribed happiness to the abrupt retribution of crushing guilts, sum up the atmosphere of the film with almost nostalgic banality, leaving the characters hopelessly stranded between outworn conventions and the static distortions of thumbnail sketches from a social worker's casebook.

"[19] Variety wrote: "Virtually downbeat all the way, with few if any smiles granted a hangdog Miss White, pic is burdened by unhappy dialogue, a cluttered script into which too many thematics are superficially cramped, and a disjointed construction which jumps around from one predictable development to another.

"[20] Sight and Sound wrote "Sociological pertinence and melodramatic decline and fall offset one another to poor advantage.

"[21] According to academic Paul Moody, "The film has dated badly, but the theme, of Valerie being buffeted by the various egotistic and selfish men in her life, is an interesting one, and is unusual for British cinema of the period.