Baron Fellowes of West Stafford stretches not a single muscle in pumping out more of the same in the tiresomely dull Downton Abbey the movie
“I want everything to stop being a struggle”
To crib the tagline of a certain jukebox musical (here we go again…) you already know whether you’re a fan of Downton Abbey the movie. By any stretch of the imagination, it is just an extension of the TV series and so is guaranteed to maintain that same level of comfort that you have always got from the Granthams et al, whether that’s good or bad.
For me, it means a thoroughly unchallenging film and one which proves increasingly dull. (For reference, I’ve only ever seen (some of) the Christmas Day episodes as my parents are fans.) The hook of the film is that it is now 1927 and King George V and Queen Mary are coming to stay for the evening and heavens to Betsy, we’re all of a dither. Continue reading “Film review: Downton Abbey (2019)”
Denis O’Hare shines as Tartuffe in Blanche McIntyre’s directorial debut at the National Theatre
“We don’t have orgies here, this is Highgate”
The lure of the guru is one which has always been strong for the rich and powerful and from Rasputin to Steve Hilton, there’s always some long-haired, barefoot chancer to ready step in. This partly explains why Molière’s Tartuffe remains so popular today and also why it is so ripe for adaptation, as it done here in this new version by John Donnelly, directed by Blanche McIntyre in her National Theatre debut (and how to marvellous to see her here, I’ve been a fan since her days at the Finborough).
Relocated to a hyper-rich, modern-day Highgate – Robert Jones’ opulent design is full of the type of wonderful pieces of furniture you normally only see in shop windows on the King’s Road – Orgon’s family have become concerned at his increasing devotion to his new guru figure Tartuffe. And in Denis O’Hare’s hand, you can see why – he’s quite the charismatic chancer, he spends the pre-show roaming the auditorium giving out flowers and affirmations even though it may, at first glance, just look like someone has come in off the street. Continue reading “Review: Tartuffe, National Theatre”
Fancy three and a half hours of Ingmar Bergman? At least the Old Vic’s seats are comfortable for Fanny and Alexander with a marvellous Penelope Wilton
“I’d really like to know what anyone else thinks”
I can’t think of Fanny and Alexander without thinking of the phrase sweet Fanny Adams (which, sidebar, has quite the horrific origin). But more to the point, I have to say the idea of another adaptation of an Ingmar Bergman film didn’t quite fill me with enough joy to be rushing to the Old Vic (the extraordinary Scenes From A Marriage aside, I’ve not had the best of times with him).
So with Stephen Beresford (he of The Last of the Haussmans) adapting and Max Webster (he of The Lorax) directing, it was with a little reluctance that I devoted a swathe of my Easter Saturday to this drama. And while I’d love to say that it was totally worth it, as a way to wait for the Resurrection it left me feeling a little like Pontius Pilate must have done way back when. Continue reading “Review: Fanny and Alexander, Old Vic”
“Yet another everyday story of country folk”
And so Series 2 of Happy Valley winds to a close and you have to hope that the people who acclaim Scandi-noir as the high point of today’s television recognise that this slice of Yorkshire-bleak is just as good, if not better. Sally Wainwright might have thrown some people for a loop by moving (even further) away from straight police procedural to something much more intimate and emotionally complex, placing Sarah Lancashire’s utterly magnificent portrayal of Sgt Catherine Cawood at its very heart. (My thoughts on episode 1 are here.)
“Omnipotent and ubiquitous, God I’m good” she wryly notes as a younger colleague drunkenly praises her at the end of a boozy evening and as the multiple strands of this series slowly began to converge, it was her presence that knitted the whole thing together. Wainwright’s closer hand on the tiller (directing four of the six episodes, all of which she wrote) allowed for some of the bolder moment to really shine, notably the two-handers that opened so many of the shows, a scorching stillness and quietude that underscored much of the horror of policing the Dales. Continue reading “TV Review: Happy Valley Series 2”
“This is sheep-rustling, north-Halifax style – just the one sheep and three lads off their heads on acid”
One of the televisual highlights of 2014 was Sally Wainwright’s Happy Valley, anchored by an astonishing central performance from Sarah Lancashire as pragmatic Yorkshire sergeant Catherine Cawood. So the return of a second series on BBC One is good news indeed, especially given Wainwright’s decision to also direct considerably more of the episodes this time round.
It’s obvious from the off that she is entirely at the top of her game. Reintroducing the startlingly mordant vein of humour on’t’moor, this opening sequence sees Cawood recounting a day’s work to her sister, namely sheep-rustling gone unfortunately wrong on a housing estate but leading to an even grimmer discovery, one which links directly back to James Norton’s Tommy Lee Royce, the father of her grandson after raping her daughter (who then committed suicide) and Catherine’s nemesis from the first series. Continue reading “TV Review: Happy Valley, Series 2 Episode 1”
“What would this devastated world be without us?”
Radio 4 recently put together a season of work entitled Dangerous Visions, inspired by JG Ballard’s dystopian take on the near future and featuring adaptations of two of his works – Concrete Island and The Drowned World – alongside the responses of five contemporary writers on a similar theme. My favourite of the pieces that I managed to listen to was Graham White’s adaptation of The Drowned World, a moody exploration of a world wracked by solar flares which have caused the flooding of some of the major cities of the world. Not only that, the ecological crisis has brought with it a new evolutionary shift, but one which is regressive as humanity is forced to change in order to survive, even if it means reverting to a more primitive state of being.
Not having read the book, I can’t comment on the adaptation but it felt like a slickly told story, motoring through its central premise of the world going backwards, in all senses. We see this primarily through the eyes of lovers Beatrice and Kerans, the ever-excellent Hattie Morahan and James D’Arcy both in glorious vocal form, as their passion becomes increasingly primal. But also through the experiences of the people around them as Kerans is part of a scientific expedition to explore one last time before the newly watery world is abandoned. And there we see human behaviour degenerating, especially in the shape of Tim McInnerny’s pirate-like Strangman, out for selfish gain no matter the consequences. A powerfully evocative reading of the story makes this a recommended listen. Continue reading “Review: Dangerous Visions – Radio 4”
“This is not that sort of publication”
I’m rarely lost for an opinion, but I am struggling to decide what I really thought of Lucy Kirkwood’s new play for the Royal Court, the search-term-baiting NSFW (not safe for work). In its 80 minutes, it rips through the way in which magazine industry portrays its images of women from two wildly differing perspectives, both equally entertaining but troubling. But after the attitudes from both ends of the spectrum are laid bare in all their misogynistic glory, the play ends rather than delving deeper into the world that allows this to happen.
The journey there is interesting and insightful, even if I didn’t find it quite as funny as some of those around me (it is actually billed as a “timely new comedy”). In the garishly decorated offices of weekly lad’s mag Doghouse, a huge topless picture of Carrie – their Local Lovely 2012 – is given pride of place to celebrate an upturn in circulation. The mood quickly sinks though as it emerges that Carrie is just 14 and is unaware that her photo was submitted by her boyfriend and a serious damage limitation exercise is instituted. Continue reading “Review: NSFW, Royal Court”
“Do the thing you have to to get your client off”
Helen McCrory first came to my attention as one of the lead characters in legal ensemble show North Square. Broadcast on Channel 4 in 2000, it featured a cracking ensemble that also included Rupert Penry-Jones, Dominic Rowan and Phil Davis, yet it only had the one series which I don’t think you can get on DVD but it is available to watch on Channel 4’s 4 On Demand service.
Written by Peter Moffat, North Square is a drama set in a criminal chambers in Leeds and centres on a group of young, irreverent barristers all determined to make their mark by using unorthodox methods and unconventional approaches to counter the dusty practices of a legal profession they want to lead into the twenty-first century. They are led by their chief clerk, the highly manipulative Peter McLeish played brilliantly by Phil Davis, who is determined to make a success of this enterprise and has no scruples about negotiating with the criminal families that rule Leeds in order to maximise business opportunities even as it poses a moral quandary for some of the lawyers. Continue reading “DVD Review: North Square”