Despite a mostly good cast, Tulip Fever proves a punishingly dull film – not even self-isolation should drive you to this one
“Amsterdam was captivated by a flower”
The signs weren’t good. Tulip Fever was filmed in 2014 but was pushed and pulled around the schedules before it finally surfaced in 2017, notorious producer Harvey Weinstein clearly hoping that some post-production magic would win over reluctant test audiences. Safe to say though, such an amount of chopping and changing does no-one any favours as Justin Chadwick’s film remains punishingly dull.
Based on Deborah Moggach’s book, with screenplay by Moggach and Tom Stoppard, the story (mainly) centres on Sophia, an orphan whisked out of convent life by a wealthy merchant who wants her essentially as a brood mare, But things ain’t clicking in the bedroom, so Sophia tumbles into an affair with the artist her husband has commissioned to do their portrait. And competing for screentime, tulip mania has hit the Netherlands. Continue reading “Lockdown film review: Tulip Fever (2017)”
Season 2 of Harlots maintains an impressive run for this excellent series
“You let women do this to you?”
I loved the first series of Harlots when I finally got round to catching up with it recently, so I was keen not to let too pass to tackle Series 2. Inspired by Hallie Rubenhold’s The Covent Garden Ladies, creators Alison Newman and Moira Buffini have done a marvellous job of conjuring and maintaining a richly detailed world that puts women’s experiences front and centre.
The heart of the show has been the burning rivalry between competing madams Lydia Quigley and Margaret Wells, and Lesley Manville and Samantha Morton remain a titanic force as they do battle with each other while simultaneously battling a corrupt patriarchy that would abuse them and their power for a guinea a time. And with its new additions, this second series widens out that focus to incorporate the experiences of other women. Continue reading “TV Review: Harlots Series 2”
“Do not blaspheme! Do not blaspheme!”
To mark Series 10 of Doctor Who starting on BBC1 next week, I’ve been counting down the weeks with a rewatch of all 9 of the previous series of new Who. And now we’re within touching distance, I’m counting down the days talking about each one. For once though, I’m going to keep these posts (relatively) short and sweet, following the below format.
With just the one series to judge him on, and that series being the very first when everyone was still finding their feet, Christopher Eccleston’s Nine often gets a bit of a raw deal. And some of his zany moments are undoubtedly really quite awkward to watch but for me, they’re easily outweighed by the emotional weight of his more serious work, especially when hinting at the considerable darkness of the events of his recent past that had left him so haunted. A solid re-entry back into the televisual world. Continue reading “Countdown to new Who: Doctor Who Series 1”
“Before I met you I was a civilised woman”
Based on the novel of the same name by Louise Doughty, psychodrama Apple Tree Yard has proved itself most watercooler-worthy with its twisting plot, classy cast and yes, controversial moments making it a hit thriller for the BBC. The story revolves around Yvonne Carmichael – celebrated scientist, mother of two, wife to Gary – who, when a chance encounter at work leads to an unexpected quickie with a literal tall dark and handsome stranger, finds her entire world tipped upside down by the consequences that follow.
Written by Amanda Coe and directed by Jessica Hobbs, the first episode plays out as a rather marvellous exploration of a 40-something woman rediscovering her sexuality and having the kind of illicit affair that makes you write naff diary entries (as Yvonne does…). But by the end of the first hour, the drama takes the first of several hard turns as [spoiler alert] she is brutally raped by a colleague. The use of rape as a dramatic device is one which should always be interrogated but here, coming from the text as it does and its devastating impact detailed as painstakingly as it was in episode 2, it felt appropriately handled and never gratuitous. Continue reading “TV Review: Apple Tree Yard”
“No Lib Dem leader has ever had this kind of exposure and opportunity”
James Graham definitely seems to be having a moment – the noted playwright has been branching out into film and TV and with some serendipitous timing, is showcasing his talent in all three avenues. The Vote will soon be hitting the Donmar, X&Y is in cinemas as we speak, and his television film Coalition aired on Channel 4 last night. I’ve yet to catch X&Y but if Coalition is anything to go by, then there’s absolutely no fear that he is overstretching himself as it was a cracking bit of telly.
One of the reasons it worked so well for me was its basis in more-or-less contemporary events. His play This House was a sterling piece of political theatre but for someone who had no knowledge of the 1970s politicking it portrayed, there was always a sense of catch-up whereas the more august members of the audience could enjoy the nuances of Graham’s skilful writing and observations without the niggle of also trying to work out just what was going on. Continue reading “TV Review: Coalition, Channel 4”
I have a thing about spiral staircases and though the one at the heart of The Last Ten is squared off, it is still freaky as shit. A genuinely disturbing film that is ingeniously conceived and shot by David Higgs with some fantastic cinematography from Nicole Heiniger, it’s all about the perspective as a single camera looking down the middle of a stairwell captures the story of a man returning home to find…well, that would be giving it away. Hitchcock-inspired brilliance, just don’t watch it on your own, or in the dark.
Continue reading “Short Film Review #55”
“I am even the natural fool of fortune”
Poly over at The Other Bridge Project asks the question “can you have too many King Lears” and though she’s adamant that you can’t, I have to say my heart sinks a little every time a new production is announced, whether here in Chichester with Frank Langella or Simon Russell Beale’s forthcoming turn for the National Theatre early next year. But the enduring reputation of Shakespeare’s late classic attracts the kind of casts that are irresistible to a theatrical junkie like me and so I find myself a glutton for punishment going back again time after time.
And though I’d love to say that Angus Jackson’s production, running just a short while in the Minerva before transferring to New York, was worth the effort, it didn’t really do it for me. It is a hugely Lear-centric version of the play, placing Langella’s titanic monarch even more at the heart of the play than usual, and recalibrating the journey he takes as madness seizes him after a bit of a rum do with his three daughters. It’s a striking move, and one which showcases Langella well, but it does come at the expense of the richness of the ensemble.
Continue reading “Review: King Lear, Minerva”
“Look on this and learn. Let that be your punishment”
I don’t think there is another director who frustrates me quite as much as Bijan Sheibani. The devastating simplicity with which he tackled 2009’s Our Class and the elegiac beauty he brought to the Iranian-themed Bernarda Alba earlier this year has delighted, but he’s also responsible for making 70 minutes seem like a pained lifetime in Moonlight and threw everything including his kitchen sink into the multi-authored chaotic carnival ride that was Greenland. So it is hard to know what to expect from his work, but it seems sure to provoke strong emotion in me one way or another. Sadly, his latest foray at the National Theatre – Damned by Despair – errs towards the latter of the above categories. It is still in previews to be sure, but it is hard to imagine that this isn’t a fatally flawed production.
The play is a religious epic from 1625, written by Spanish monk Tirso de Molina, and delves into sticky questions of spirituality such as is heaven is reserved for those who spend a lifetime believing and can non-believers be redeemed through the accomplishment of good deeds. This is subject matter of a deeply different kind to what our more agnostic tastes are now suited, but the difficulties inherent in translating such ideas to a modern audience are simply magnified by a clumsy new version by Frank McGuinness and some baffling directorial choices from Sheibani which swung from cringeworthy to laughable and almost always misguided – I fear some serious trimming will need to be done if there’s any hope for the production. Continue reading “Review: Damned by Despair, National Theatre”
Cush Jumbo, for Rosalind in As You Like It (Royal Exchange Theatre, Manchester)
Damien Molony, for Giovanni in ‘Tis Pity She’s a Whore (West Yorkshire Playhouse)
Jodie McNee, for Masha in Seagull (Arcola Theatre)
Hiran Abeysekera, for Valère in Tartuffe (English Touring Theatre)
Jade Anouka, for Ophelia in Hamlet (Shakespeare’s Globe)
Mark Arends, for Malcolm in Macbeth (Liverpool Everyman)
Sebastian Armesto, for Wendoll in A Woman Killed with Kindness (National Theatre)
John Heffernan, for Richard II in Richard II (Shakespeare at the Tobacco Factory)
Ffion Jolly, for Luciana in The Comedy of Errors (Shakespeare at the Tobacco Factory)
Ben Mansfield, for Sebastian in Twelfth Night (National Theatre)
Sam Marks, for Friar Peter, Froth, and Gentleman 2 in Measure for Measure (Royal Shakespeare Company)
Matthew Needham, for Nero in Britannicus (Wilton’s Music Hall)
Eddie Redmayne, for Richard II in Richard II (Donmar Warehouse)
Lara Rossi, for Myrrha and Macrina in Emperor and Galilean (National Theatre)
Sara Vickers, for Annabella in ‘Tis Pity She’s a Whore (West Yorkshire Playhouse)
“Let me offer you a different story”
Any film that contains someone being dragged to the theatre saying “there won’t be puppets will there?” is bound to be a winner with me. And if that film has also courted controversy then my interest is bound to be piqued. But the publicity campaign against Roland Emmerich’s Anonymous was so vociferous that it disappeared from cinemas before I got the chance to see it and so I had to wait for it to emerge on DVD. Why so controversial? Emmerich’s (better known for loud blockbusters like Independence Day, Godzilla and The Day After Tomorrow) film is based on the premise that the 17th Earl of Oxford Edward de Vere was in fact the true author of the works normally attributed to Shakespeare. Thus a great outcry was launched, by the people and scholars for whom this is the biggest deal, and the film largely scuppered.
Which ultimately is a shame, as I found it to be rather an enjoyable film and somewhat perversely, the authorship question is just one of many strands of story in what turns out to be a historical political thriller, mainly based around the succession to the throne as Elizabeth I’s reign has produced no (legitimate) heirs. That one of the key players in her court just happens to be a playwright on the sly, who is forced to use a surrogate by the name of William to get his plays staged, is taken as a given here and it makes for an entertaining ‘what if’ scenario. Continue reading “DVD Review: Anonymous”