Vera Drake, portrayed by Imelda Staunton, is a woman whose life revolves around her family. She dedicates herself to caring for her husband, children, elderly mother, and even a sick neighbor. Vera’s daughter, Ethel (Alex Kelly), toils away in a factory, while her son, Sid (Daniel Mays), is busy tailoring men’s suits. Her husband, Stanley (Phil Davis), earns a living as a car mechanic. Despite their modest lifestyle, the strength of their family ties keeps them united and resilient.

In addition to being a house cleaner, what remains hidden from her loved ones is Vera’s clandestine role as a backroom abortionist. Driven by compassion rather than profit, she does not accept payment for her services, believing it to be an altruistic act. However, her partner, Lily (Ruth Sheen), a savvy businesswoman involved in the black market, profits from the arrangements without Vera’s awareness.

As the narrative unfolds, we are also introduced to Susan (Sally Hawkins), one of Vera’s employer’s daughters, whose plight becomes a poignant subplot. After being raped by a boyfriend, Susan finds herself pregnant and seeks assistance from a friend to find a doctor who performs abortions. In a rather disturbing twist, a psychiatrist manipulates her responses, ensuring he can recommend the procedure by suggesting she might be in such despair that she could harm herself.

While the financial amounts discussed in the film may appear negligible today, it is crucial to note that two guineas in 1950 would equate to an impressive £48 in 2005, and a hundred guineas—required for a psychiatrist-sanctioned abortion—would reach a staggering £2400. This stark contrast highlights the economic context of the story and the struggles faced by its characters.