TV Review: Unforgotten Series 3

The third series of Chris Lang’s Unforgotten is another corker, and not just because of Nicola Walker, honest!

“We’ve all done things of which we are ashamed”

The cold cases of Unforgotten have rightly proved a success for their alternative tale on crime drama, putting a real focus on the victims rather than the crimes, a neat corrective to the sometimes exploitative gaze that can characterise this genre. And this third series maintained that strong record (quick review of episodes 1 and 2 here)

A measure of the regard in which Unforgotten is held is the sheer quality of its cast. With James Fleet, Alex Jennings, Kevin McNally and Neil Morrissey as its lead quartet, it added Sasha Behar, Emma Fielding, Indra Ové and Amanda Root as their partners, and then threw in Siobhan Redmond and Sara Stewart as exes as well.  Continue reading “TV Review: Unforgotten Series 3”

TV Review: Luther (Series 4, Episode 2)

“So, because you can’t believe it’s true, logically it’s false”

So the second and final part of Series 4 of Luther is done and well, it’s hard not to feel a little shortchanged. There’s been chatter about a movie and given that we only got 2 hours of screentime here, it’s hard to see why creator Neil Cross and star Idris Elba opted for a single two-parter split over two weeks as opposed the fiercer energy that a feature-length epic would surely have borne. 

Episode 1 aired last week and did a decent job of pulling us back into the world of DCI John Luther, delving back into the show’s mythology and the tangled web of his own past but also moving forward with the dastardly exploits of a new serial killer, which proved to be the main hook for Luther’s return from semi-retirement. Part Two continues the blend, as John Heffernan’s marvellously malevolent cannabalistic killer continues his rampage and Luther deals with the past impinging severely on his present. Continue reading “TV Review: Luther (Series 4, Episode 2)”

Review: East is East, Trafalgar Studios

“You not need to know my bloody business, missus”

There’s much indeed to love about East is East, the 1996 Ayub Khan Din play that was later made into a successful film (albeit one I have yet to catch), not least in the return of the remarkable Jane Horrocks to the stage and another of Tom Scutt’s impressive sets, marking him as one of the most interesting designers working in UK theatre at the moment. The play itself came at what could be considered a watershed moment in cultural representations of British Asians but given what has happened in the 20 or so years that have passed since its writing, it is interesting to consider how it stacks up now against today’s society.

The tale is an autobiographical one – Khan Din was himself part of a large family from Salford with a white British mother and a Pakistani father and a thinly disguised version of this household is what he puts on stage. It’s 1971 and George’s overbearing paterfamilias is keen for his seven children to respect and revere their sub-continental heritage, especially at a time when East Pakistan was fighting for its independence. He’s appalled that his children consider themselves more British than Asian though and have no respect for the customs he would impose upon them, especially in the arranged marriages he tries to secure for the family.

What additionally makes Sam Yates’ production spectacular is that Khan Din is playing George, the barely fictionalised representation of his father in all his complex frustrated rage and fury, a deeply moving portrayal that brings such nuance to a man who could so easily be demonised and dismissed as an autocratic wife-beater. Instead we come to realise the fear with which he would rule is his own fear of being left behind, of becoming his own father. And whilst our sympathies automatically go to Horrocks’ highly pragmatic Ella, we’re never in any doubt as to the depth of emotion that holds them together, even if their kids can’t understand why she doesn’t leave him.

Those kids are also excellent by the way, from the shyness of Michael Karim’s youngest Sajit through the sparkiness of Taj Atwell’s Meenah – the only girl – to Ashley Kumar’s wannabe heartthrob, the way these siblings rub each other up is heartening and hilarious, we so quickly get so fully engaged in their fates that it is nigh on impossible to not get caught up in the emotional ties that bind them all. Scutt’s design of terraced houses and flexible proppage adds to a recognisable feel that variations of the family dramas here are played out in houses across the nations and across the ages, and all with an Auntie Annie passing comment from the corner of the room! A hugely worthwhile revival.

Running time: 2 hours (with interval)
Booking until 3rd January