"Ever bought a fake picture, Toby?"
We get closer to unmasking Gerald in a slowly gripping final episode, but we begin with a rather odd character, Jerry, player with delightful eccentricity by the legendary Joss Ackland. Yet Jerry speaks in a bizarre “Red Indian” argot of “braves” and things that are “heap big”, a retro type of casual racism from a very different age. This, like the BP petroleum station, reminds us that this was made fiery years ago and makes me, a young man of forty-two, to feel not perhaps in the very first flush of youth.
Jerry, while admittedly confessing to some xenophobia owing to Toby Esterhase’s Hungarian origins (very much played down in this adaptation) Jerry drips more suspicion on Esterhase, who forced him to sit on suspicious information of Soviet troop movements on the Czech-Austrian border just after Prideaux (who seems to have gone AWOL) was caught. So Toby is lured to George’s lair and, in a series of gripping scenes where Alec Guinness demonstrates the art of acting at its finest, interrogated and turned, a pawn who knows not what lies behind the suspicious largesse of Witchcraft. With Esterhase an innocent dupe, the suspects reduce to three...
I like this. I like it a lot- and I saw an article in the Guardian about a week ago that praised Tinker Tailor to the skies. So far I’m finding it very good, indeed excellent, but not quite first class, in spite of the performances. Yes, there’s a certain subtext of national decline and doing the right thing in spite of that, without reward- yet I can’t help feeling that the slow pace and silences, while unquestionably a good thing, flatter the series somewhat by allowing the viewer to fill in the subtext.
Still, Smiley is setting a trap for Gerald; let’s see how it ends...
Showing posts with label Hywel Bennett. Show all posts
Showing posts with label Hywel Bennett. Show all posts
Monday, 23 September 2019
Tuesday, 20 August 2019
Tinker, Tailor, Soldier, Spy: How It All Fits Together
”One day that lack of moderation will be Karla’s downfall.”
Things are developing now, plot-wise, but plot is not, of course, everything. The slow pace allows for depth, character and, I think, commentary both on how youthful ideology fades into cynicism, as well as reflection once more on how Britain's place in the world has diminished into- to use a '70s phrase- managed decline. All so much more grown-up than the delusions of today's political class that we, a medium power since at least 1956, can somehow survive against the great powers of today without the solidarity of the European Union. But I digress.
Perhaps the central scene is the flashback to Smiley’s interrogation of Karla in New Delhi in the ‘50s, where Smiley talks and talks and expresses a cynicism about the Cold War and ideology that he assumes his counterpart shares- but Karla, a fanatical Communist, says nothing. And there is another interrogation- of Peter by Percy Alleline, who now knows of Ricky Tarr and believes him to be a defector. But this in turn proves to Smiley that the Witchcraft source is linked to the mile in that both are run by Karla. Soviet penetration of British intelligence is complete, and now we have to tell the Americans, who don’t trust us anyway. Such is our place in the world.
Not everything here is worthy of praise- there are once again no female speaking parts(!) and I note that Fawn, the only character not from the world of public schools and Oxbridge, has his accent mocked and is judged only in terms of his physical prowess. But things are heating up, and it’s all very compelling.
Things are developing now, plot-wise, but plot is not, of course, everything. The slow pace allows for depth, character and, I think, commentary both on how youthful ideology fades into cynicism, as well as reflection once more on how Britain's place in the world has diminished into- to use a '70s phrase- managed decline. All so much more grown-up than the delusions of today's political class that we, a medium power since at least 1956, can somehow survive against the great powers of today without the solidarity of the European Union. But I digress.
Perhaps the central scene is the flashback to Smiley’s interrogation of Karla in New Delhi in the ‘50s, where Smiley talks and talks and expresses a cynicism about the Cold War and ideology that he assumes his counterpart shares- but Karla, a fanatical Communist, says nothing. And there is another interrogation- of Peter by Percy Alleline, who now knows of Ricky Tarr and believes him to be a defector. But this in turn proves to Smiley that the Witchcraft source is linked to the mile in that both are run by Karla. Soviet penetration of British intelligence is complete, and now we have to tell the Americans, who don’t trust us anyway. Such is our place in the world.
Not everything here is worthy of praise- there are once again no female speaking parts(!) and I note that Fawn, the only character not from the world of public schools and Oxbridge, has his accent mocked and is judged only in terms of his physical prowess. But things are heating up, and it’s all very compelling.
Friday, 9 August 2019
Tinker, Tailor, Soldier, Spy: Tarr Tells His Story
"It's the oldest question of all, George. Who can spy on the spies?"
Again the pace is positively glacial- plot-wise, Ricky Tarr reveals the presence of a mile high up in the circus, something Control knew about a good while ago, and Smiley is appointed to smoke out “Gerald”. That’s it.
But it isn’t plot that’s the purpose: this episode, an extended flashback with Hywel Bennett foregrounded as Tarr relates what happened, isn’t about that but about the pathos of Tarr, in Lisbon on assignment, coming across Irina, a Russian wanting to defect, and falling in love with her while trying to get out of her the big secret- there’s someone in Russia, known as Karla, who is running an agent called “Gerald” right at the top of the circus. And there’s more to it even than this; Irina is a complex character, with a deeply religious soul that thirst for meaning and the freedom to explore it.
And it is Tarr who almost certainly dooms her by reporting back to London in too much detail, and she is returned to Russia in circumstances which evoke the possible horrors and, indeed, martyrdom that await her.
Tarr’s broken reaction is real too, but not overplayed. And we find that only Smiley is brought back from retirement to which the mole, without involving the resources of the Circus itself.
It’s slow. It’s gripping. It stars Alec Guineas. This is extraordinary telly.
Again the pace is positively glacial- plot-wise, Ricky Tarr reveals the presence of a mile high up in the circus, something Control knew about a good while ago, and Smiley is appointed to smoke out “Gerald”. That’s it.
But it isn’t plot that’s the purpose: this episode, an extended flashback with Hywel Bennett foregrounded as Tarr relates what happened, isn’t about that but about the pathos of Tarr, in Lisbon on assignment, coming across Irina, a Russian wanting to defect, and falling in love with her while trying to get out of her the big secret- there’s someone in Russia, known as Karla, who is running an agent called “Gerald” right at the top of the circus. And there’s more to it even than this; Irina is a complex character, with a deeply religious soul that thirst for meaning and the freedom to explore it.
And it is Tarr who almost certainly dooms her by reporting back to London in too much detail, and she is returned to Russia in circumstances which evoke the possible horrors and, indeed, martyrdom that await her.
Tarr’s broken reaction is real too, but not overplayed. And we find that only Smiley is brought back from retirement to which the mole, without involving the resources of the Circus itself.
It’s slow. It’s gripping. It stars Alec Guineas. This is extraordinary telly.
Friday, 2 August 2019
Tinker, Tailor, Soldier, Spy: Return to the Circus
"I shall become an oak of my own generation..."
This is, of course, a justly renowned piece of telly and, as I saw it before many years ago, I’ll not be departing from the general view. I must confess that, to my mother’s disapproval, I’ve yet to read any John Le Carre, so I’m unfamiliar with any greater levels of depth and detail which no longer exist deep within the novel and, indeed, series of novels on which this is based. I comment only on what I see. But I see much.
The slow pace is truly extraordinary from the perspective of 2019, forty years later the pre-credits scene consists simply of the four mole suspects- Bill Haydon, Toby Esterhase, Roy Bland and Percy Alleline- slowly entering a room. but this allows for much subtle physical acting by the character actors portraying them. Similarly, very little really happens- we learn of the existence of the mile, Jim’s Czech mission goes south, the retired George Smiley is accosted by the gossipy and somewhat camp Roddy Martindale and endures am interrogatory lunch which gives us much exposition about the Circus, Smiley’s forced retirement, the uneasy atmosphere, and his hinted at marital problems. He is then summoned by Peter Guilin to meet Oliver Lacon and hear an apparently shocking tale from one Ricki Tarr. That’s it. That’s all that happens in fifty minutes.
And it happens slowly. There’s loads of tension in the scenes with Jim in Brno. We get to see Alec Guinness’ extraordinary acting mannerisms and use of cleaning his glasses to evoke a deep interiority. It’s fascinating to see the master at work here; no method actor he. It’s all about the exterior mannerisms, as he says in his autobiography, and that’s what makes him so bloody good.
We also get time to get an impression of the Circus as a downbeat, very male (there are no speaking female parts in the whole 50 minutes!), very public school and Oxbridge little club not trusted by the Americans. We get to breathe. And it’s wonderful.
I’m looking forward to the rest. I can’t help noticing, though, that Ian Richardson looks scarily Old at 45, and that’s me in three years...
This is, of course, a justly renowned piece of telly and, as I saw it before many years ago, I’ll not be departing from the general view. I must confess that, to my mother’s disapproval, I’ve yet to read any John Le Carre, so I’m unfamiliar with any greater levels of depth and detail which no longer exist deep within the novel and, indeed, series of novels on which this is based. I comment only on what I see. But I see much.
The slow pace is truly extraordinary from the perspective of 2019, forty years later the pre-credits scene consists simply of the four mole suspects- Bill Haydon, Toby Esterhase, Roy Bland and Percy Alleline- slowly entering a room. but this allows for much subtle physical acting by the character actors portraying them. Similarly, very little really happens- we learn of the existence of the mile, Jim’s Czech mission goes south, the retired George Smiley is accosted by the gossipy and somewhat camp Roddy Martindale and endures am interrogatory lunch which gives us much exposition about the Circus, Smiley’s forced retirement, the uneasy atmosphere, and his hinted at marital problems. He is then summoned by Peter Guilin to meet Oliver Lacon and hear an apparently shocking tale from one Ricki Tarr. That’s it. That’s all that happens in fifty minutes.
And it happens slowly. There’s loads of tension in the scenes with Jim in Brno. We get to see Alec Guinness’ extraordinary acting mannerisms and use of cleaning his glasses to evoke a deep interiority. It’s fascinating to see the master at work here; no method actor he. It’s all about the exterior mannerisms, as he says in his autobiography, and that’s what makes him so bloody good.
We also get time to get an impression of the Circus as a downbeat, very male (there are no speaking female parts in the whole 50 minutes!), very public school and Oxbridge little club not trusted by the Americans. We get to breathe. And it’s wonderful.
I’m looking forward to the rest. I can’t help noticing, though, that Ian Richardson looks scarily Old at 45, and that’s me in three years...
Saturday, 6 June 2009
Doctor Who: The Chase
The Executioners
"Is it good?"
"Yes, it's a bit far-fetched."
Nice to get another direct follow-on from the previous story, in fact an entire cliffhanger. Some nice character stuff at the start, with Vicki being very adolescent. Once the Time / Space Visualiser is switched on we get some scenes with Abraham Lincoln and Will Shakespeare but these are soon eclipsed by what is surely the highlight of the show so far: Ian strutting his funky stuff.
More episode one planet exploration ensues, with a great line from Ian which can only be appreciated by watching the stories in order: "At least it's not a pool of acid!" Meanwhile, Barbara, engaging in some fully clothed sunbathing with the Doctor, gets a great line of her own: "No, not that awful noise, the other one!".
Dialogue by the Daleks seems to place this story not long after their conquest of the Earth. I'll be holding Dalek continuity to this later. Arguably this story is the first time Dalek speech patterns have finally settled into their final and recognisable form.
Some silly talk about castles from Vicki is followed by a fantastic cliffhanger as a Dalek rises from the sands.
"Is it good?"
"Yes, it's a bit far-fetched."
Nice to get another direct follow-on from the previous story, in fact an entire cliffhanger. Some nice character stuff at the start, with Vicki being very adolescent. Once the Time / Space Visualiser is switched on we get some scenes with Abraham Lincoln and Will Shakespeare but these are soon eclipsed by what is surely the highlight of the show so far: Ian strutting his funky stuff.
More episode one planet exploration ensues, with a great line from Ian which can only be appreciated by watching the stories in order: "At least it's not a pool of acid!" Meanwhile, Barbara, engaging in some fully clothed sunbathing with the Doctor, gets a great line of her own: "No, not that awful noise, the other one!".
Dialogue by the Daleks seems to place this story not long after their conquest of the Earth. I'll be holding Dalek continuity to this later. Arguably this story is the first time Dalek speech patterns have finally settled into their final and recognisable form.
Some silly talk about castles from Vicki is followed by a fantastic cliffhanger as a Dalek rises from the sands.
The Death of Time
"Don't stand there screaming, you fool- run!"
"Don't stand there gaping, you nit- come on!"
How very convenient the Daleks are there to locate the TARDIS- our heroes would have had trouble finding it otherwise. I love the thick Dalek! Although it must be said that their ruthless killing of their Aridian sense instantly restores any lost sense of menace; these are still Nazis, in spite of the more frequent injections of humour.
I shall be kind and not dwell on the awfulness of the Mire Beast, that fearful papier-mâché horror...
Nice line once again from Barbara as Ian pilfers her cardigan: "Oh no, not again!".
"Don't stand there screaming, you fool- run!"
"Don't stand there gaping, you nit- come on!"
How very convenient the Daleks are there to locate the TARDIS- our heroes would have had trouble finding it otherwise. I love the thick Dalek! Although it must be said that their ruthless killing of their Aridian sense instantly restores any lost sense of menace; these are still Nazis, in spite of the more frequent injections of humour.
I shall be kind and not dwell on the awfulness of the Mire Beast, that fearful papier-mâché horror...
Nice line once again from Barbara as Ian pilfers her cardigan: "Oh no, not again!".
Flight Through Eternity
"You've come all over in blue spots."
The above quote from Morton Dill seems to confirm the colours of the Daleks we see in photographs to be, ahem, canon. Another interesting line from the Doctor: "It's my time ??? detector. It's been in the TARDIS ever since I constructed it." Is the Doctor claiming here that he made the Ship himself?
Cue stock footage ofNew York
The Mary Celeste scene is good fun, although of course I suspect it bears no relation whatsoever to the historical facts. Still, this episode may well consist entirely of filler, but it's all good fun. Oh look, Ian gets hit over the head again...
"You've come all over in blue spots."
The above quote from Morton Dill seems to confirm the colours of the Daleks we see in photographs to be, ahem, canon. Another interesting line from the Doctor: "It's my time ??? detector. It's been in the TARDIS ever since I constructed it." Is the Doctor claiming here that he made the Ship himself?
Cue stock footage of
The Mary Celeste scene is good fun, although of course I suspect it bears no relation whatsoever to the historical facts. Still, this episode may well consist entirely of filler, but it's all good fun. Oh look, Ian gets hit over the head again...
Journey Into Terror
"Where's your spirit of adventure?"
"It died a slow and painful death when those bats came out of the rafters".
At this point the story hits a lull, and starts to remind me of things I didn't like about The Keys of Marinus; the house of horrors stuff just lasts too long. Interesting comment by Ian though- "Daleks don't like stairs!" I think this is the first mention of this hoary old cliché in the show itself, although no doubt it would not have gone unmentioned by the contemporary media. The exhibits are seemingly more powerful than the Daleks, which is the wrong kind of silly.
Vicki gets left behind, just as she feared in The Crusade. This is quite a shocking moment. Almost as shocking is the amount of time her fellow TARDISeers take to realise! Still, Vicki shows her greatness by stowing away on the Daleks' time machine. Only a few stories in, and I'm getting to really like Vicki.
The Daleks' robot is a bit rubbish, isn't it? They're using Edmund Warwick in long-shot and Hartnell in close-up in an absurdly blatant way. Why useWarwick
"Where's your spirit of adventure?"
"It died a slow and painful death when those bats came out of the rafters".
At this point the story hits a lull, and starts to remind me of things I didn't like about The Keys of Marinus; the house of horrors stuff just lasts too long. Interesting comment by Ian though- "Daleks don't like stairs!" I think this is the first mention of this hoary old cliché in the show itself, although no doubt it would not have gone unmentioned by the contemporary media. The exhibits are seemingly more powerful than the Daleks, which is the wrong kind of silly.
Vicki gets left behind, just as she feared in The Crusade. This is quite a shocking moment. Almost as shocking is the amount of time her fellow TARDISeers take to realise! Still, Vicki shows her greatness by stowing away on the Daleks' time machine. Only a few stories in, and I'm getting to really like Vicki.
The Daleks' robot is a bit rubbish, isn't it? They're using Edmund Warwick in long-shot and Hartnell in close-up in an absurdly blatant way. Why use
The Death of Doctor Who
"Advance and attack! Attack and destroy! Destroy and rejoice!"
So, another jungle, and our second planet named after its predominant feature? See below! Nice forest, although unfortunately you can clearly see the flat studio floor.
Oh, and incidentally, the title of this episode clearly proves that Hartnell is playing a character called Doctor Who. *ducks*
I'm not seriously trying to defend the imposter robot fiasco (the whole thing's blatant filler anyway). But at least the use ofWarwick
Oh look, an alien city in a Terry Nation script! I love the Dalek with a compass type thing instead of a sucker, mind.
"Advance and attack! Attack and destroy! Destroy and rejoice!"
So, another jungle, and our second planet named after its predominant feature? See below! Nice forest, although unfortunately you can clearly see the flat studio floor.
Oh, and incidentally, the title of this episode clearly proves that Hartnell is playing a character called Doctor Who. *ducks*
I'm not seriously trying to defend the imposter robot fiasco (the whole thing's blatant filler anyway). But at least the use of
Oh look, an alien city in a Terry Nation script! I love the Dalek with a compass type thing instead of a sucker, mind.
Planet of Decision
"You'll end up as a couple of burnt cinders floating around in
I don't know about you, but I can't understand a word the Mechanoids are saying. Fortunately we have Ben Gunn lookalike Steven Taylor to do the exposition. He gets a great line: "Help yourself to a piece of eternity."
My, how convenient that there should be a convenient length of cable for our heroes to use in their escape!
Oh dear..."Am exterminated! Am exterminated!"
Steven clearly has his priorities right- Hi Fi the Panda is clearly more important than ensuring Vicki doesn't plunge to her doom. These scenes are extremely vertigo-inducing, especially when Ian nearly slips over.
Cue a massive fight between the Daleks and the "Mechons" in which all the Daleks die. Why does this mean the story is over? Why don't the Daleks keep sending time machines?
It's a real wrench after all this time to have to say goodbye to Ian and Barbara. They were truly magnificent, and arguably up to The Dalek Invasion of Earth they were the real stars of the show. The leaving scene is good, and the scenes of them back on Earth are fun, but I was left wanting more. This departure scene felt like far more of an afterthought than Susan's did, which was a crying shame. Jacqueline hill and William Russell- you were magnificent!
Overall, well... very uneven. The middle episodes were all filler and much of the story was overly silly and poorly realised. Still, it was often intentionally funny and had nice character moments. I enjoyed watching it, if not always for the right reasons, so I'll be kind and let it scrape a 3/5.
Subscribe to:
Posts (Atom)