“Be careful… with your life”
Irène Némirovsky’s novel Suite Française has one of those origin stories you’d scarcely believe if you read it in a novel itself. In 1942, Ukrainian-Jewish Némirovsky was deported from the France where she had lived more than half her life, having written two parts of an intended sequence of five novels in the previous couple of years. She spent time at Pithiviers and then Auschwitz where she was murdered, leaving notebooks with family members who could not bring themselves to look at them until they were to be donated to a museum whereupon they were amazed to find complete novels as opposed to mere scribblings – thus Suite Française was published in 2004 to considerable acclaim.
And where such stories go, film must follow and so a movie adaptation made its way to cinemas in 2015, directed by Saul Dibb and co-written with Matt Charman. Suite Française follows life in a village outside of Paris in the first few months of occupation in 1940 and as with several of the films I’ve watched recently, concerns itself with the lack of moral clarity at that time, refusing to depict the world in black and white with choices made easy with hindsight, but rather investigating the realities of living through such a time of crisis and the lengths to which people will go to to survive. Continue reading “DVD Review: Suite Française (2015)”
“You went to live with a fella in Wigan, I assume he had a roof”
As with so many television programmes these days, it has taken me an inexplicably long time to get around to watching Scott and Bailey and sure enough once I started, I found myself mainlining all three series in advance of the new series starting on ITV. And sure enough, I loved it. Sally Wainwright is one of our best writers of television without a shadow of a doubt and no matter what she turns her hand to, she barely puts a foot wrong, all the while pushing the boundaries of conventional drama to become infinitely more inclusive, whether through the older characters of Last Tango in Halifax or the fierce and flawed policewomen of Happy Valley and Scott and Bailey.
Scott and Bailey grew out of an original idea by Suranne Jones and Sally Lindsay which Wainwright has written up into three (plus one to come) series of fantastic television. Janet Scott and Rachel Bailey are both DCs in the Manchester Metropolitan Police, part of the MIT team that deals with serious crime. And though it may seem trivial to say it, it is just so brilliantly and so casually feminist. The vast majority of the major roles in the police force just happen to be taken by women – Amelia Bullmore’s DCI Murray heads up the team, Pippa Haywood’s DSI Dodson is the next later up, the main pathologist goes by the name of Scary Mary…and none of it is ever an issue.
Continue reading “DVD Review: Scott and Bailey Series 1-3”
“We are both Britain”
Moira Buffini’s Handbagged started life as a short play as part of the Tricycle’s Women, Power and Politics season back in 2010 and now, in a fully fleshed out version, it returns to Kilburn to imagine the relationship that might have existed between two of the most significant British women of the last century – the Queen and Margaret Thatcher. But much has happened in the meantime, not least Peter Morgan having a huge success with a play that also depicted the relationship between monarch and Prime Minister(s) and the small matter of the death of the UK’s first female head of government.
Perhaps conscious of the impossibility of trying to envisage what was really said between the pair, Buffini opts instead for a meta-theatrical fantasia and huge fun it is. Older incarnations of the women (Q and T) interact with their younger selves (Liz and Mags), each giving us their own take on Thatcher’s reign through the weekly meetings held with the Queen, whilst two actors play any number of supporting characters – Reagans Ronald and Nancy, Rupert Murdoch, Neil Kinnock, a simple palace footman, the list goes on… As one of them recounts an event, the others pass comment, challenge memories, offer explanatory excuses, even break entirely out of character sometimes.
Continue reading “Review: Handbagged, Tricycle”
The Five Wives of Maurice Pinder is a new play by Matt Charman, playing at the National Theatre and looking at whether polygamy is a valid or possible lifestyle choice in the middle of suburbia. Set in a regular house in Lewisham, Pinder and his wife Esther have not been able to have children, so he divorced her and married Fay who delivered a son, Vincent. However Esther didn’t move out and realising he was onto something here, Pinder repeats the trick twice more, filling his house with wives and children. But this alternative lifestyle has its downsides and two new arrivals threaten to upset the delicate balancing act.
Whilst an unbelievable concept, especially given Lamb’s average Joe looks and demeanour, Charman does well at spinning the web that holds them altogether. Sorcha Cusack’s childless earth mother who rather enjoys having a flock to tend over; Clare Holman’s Fay who masks her unease by drinking and sleeping around whilst fretting over her gangly awkward son (Adam Gillen, who is bizarrely brilliant); Martina Laird’s Lydia who was essentially just after a sperm donor. Enter Carla Henry’s Rowena, a heavily pregnant and emotionally and physically battered teenager who is welcomed into the strange state of affairs. This all kind of works and is surprisingly well executed. Continue reading “Review: The Five Wives of Maurice Pinder, National Theatre”