"You have been a great prime minister!"
And so we reach the rather gripping season finale, full of incident and excitement as we knew it would be, and an impressive piece of writing in drawing all the threads together.
We start with family. Leopold is at court to make amends to a cold reception, but Vicky becoming deathly ill, although at first leading to clashes between Victoria and Albert, brings the whole family together. Except that Victoria finishes up by letting Lezhen go. Not because Albert says so, but because Victoria has outgrown her, It's an emotional parting.
We also have romance between Mrs Skerrett and Mr Francatelli, and a heartbreaking moment where Ernest has to dump Harriet rather than propose to her because his syphilis symptoms have recurred. Never mind that none of this happened in real history; it's damn good telly.
But ultimately the focus is on Sir Robert Peel and his repeal of the Corn Laws, egged on (not always helpfully) by all the characters we like and opposed rather rudely by those we don't. It's a final triumph for Peel and, indeed, for Nigel Lindsay. You'd never guess from his excellent performances on Victoria that he was Barry in Four Lions.
But there's a final shock, the killing of Edward Drummond which somewhat ruins the already doomed relationship between him and Lord Alfred; sadly, this is narratively the only way of concluding a same sex budding romance set in this era without it taking up a lot of narrative time and focus, but I have to say that it isn't very brave writing. Still, it's a lovely touch seeing the Duchess of Buccleuch being so sympathetic to poor Lord Alfred. And at least Drummond gets to live three years longer than he did in real life.
Victoria may be somewhat easy telly and shy away, perhaps, from doing things other than predictably, but I'm glad a series like this exists and I'll bev watching at Christmas.
Friday, 27 October 2017
Thursday, 26 October 2017
Victoria: The King Over the Water
"You know, erm, I have some socks for you to darn..."
It's the quiet episode before the season finale, so time for slowness, lots of Highlands scenery and some ordinary life for Victoria and Albert for just one night. It's a chance for them to have fun as the loving, easy couple they are again after the problems of the recent past. Never mind the stress they cause to everyone else but, I suppose, it reminds us that all royalty lives in a goldfish bowl. And those poetry recitals don't look like much fun.
We also finally have Drummond and Lord Alfred realising the feelings they have for one another, while Harriet reconciles with Duke Ernest, who we know now probably has syphilis. It's not the most eventful episodes- that's not the point. Unfortunately it drags a bit but I suppose it's nice to see Victoria and Albert having so much fun. It's all very ominous for the finale though.
Beyond that, there's not much to say. I suppose, for filler, the episode is nicely done.
It's the quiet episode before the season finale, so time for slowness, lots of Highlands scenery and some ordinary life for Victoria and Albert for just one night. It's a chance for them to have fun as the loving, easy couple they are again after the problems of the recent past. Never mind the stress they cause to everyone else but, I suppose, it reminds us that all royalty lives in a goldfish bowl. And those poetry recitals don't look like much fun.
We also finally have Drummond and Lord Alfred realising the feelings they have for one another, while Harriet reconciles with Duke Ernest, who we know now probably has syphilis. It's not the most eventful episodes- that's not the point. Unfortunately it drags a bit but I suppose it's nice to see Victoria and Albert having so much fun. It's all very ominous for the finale though.
Beyond that, there's not much to say. I suppose, for filler, the episode is nicely done.
Victoria: Faith, Hope and Charity
"If I follow my conscience, I will destroy my party."
We knew it was coming; Victoria does the Irish Potato Famine, and it’s as devastating as you’d expect. This is not a normal episode, exactly; an unusual amount of time is devoted to the famine, and the character of Dr. Traill, a good man through whom we see both the unimaginable suffering and the equally unimaginable Malthusian bigotry that blames the “feckless” Irish poor for their own fate. It’s an outstanding piece of television, ending unusually with a caption telling us of Dr. Traill’s unfortunate fate.
Victoria herself cannot, of course, be seen to be anything other than deeply horrified, and much of the episode consists of her trying to persuade Sir Robert Peel to do something, which she finally seems to do- I suspect there’s a sprinkling of artistic licence here, but in opening the Pandora’s Box that is trade and tariffs, Peel will be scratching at the persistent itch that is the Corn Laws. I suspect they will loom large in the remaining episodes.
Elsewhere, we discover that Ernest has syphilis, and may have aff Fred his sexual partners, including the newly widowed Duchess of Sutherland. And kindly Albert makes a loo for the servants. But Ireland, of course, overshadows everything in what is an extraordinary episode.
We knew it was coming; Victoria does the Irish Potato Famine, and it’s as devastating as you’d expect. This is not a normal episode, exactly; an unusual amount of time is devoted to the famine, and the character of Dr. Traill, a good man through whom we see both the unimaginable suffering and the equally unimaginable Malthusian bigotry that blames the “feckless” Irish poor for their own fate. It’s an outstanding piece of television, ending unusually with a caption telling us of Dr. Traill’s unfortunate fate.
Victoria herself cannot, of course, be seen to be anything other than deeply horrified, and much of the episode consists of her trying to persuade Sir Robert Peel to do something, which she finally seems to do- I suspect there’s a sprinkling of artistic licence here, but in opening the Pandora’s Box that is trade and tariffs, Peel will be scratching at the persistent itch that is the Corn Laws. I suspect they will loom large in the remaining episodes.
Elsewhere, we discover that Ernest has syphilis, and may have aff Fred his sexual partners, including the newly widowed Duchess of Sutherland. And kindly Albert makes a loo for the servants. But Ireland, of course, overshadows everything in what is an extraordinary episode.
Wednesday, 25 October 2017
Victoria: Entente Cordiale
"It is a place of artifice and deceit!"
So Victoria and her entourage are off to Paris and its predictably more fashionable court under a diplomatic pretext, and we meet the wily and somewhat precarious Louis Philippe, King of the French, a self-made monarch who has actually, heaven forbid, once had to work for a living. He's a fascinating character with a unique background and hidden depths- and, of course, after the 1848 revolution he would end his life once again teaching in the UK. But that's the future.
The narrative point of this is, of course, for the characters to react to the French court. So Victoria feels a little self-conscious of her style, while the Duchess of Buccleuch is the xenophobic comic relief. But Albert, especially with the sight of his brother's cavorting, is still affected by last episode's revelations and has gone quite alarmingly puritanical. This is, of course, the precursor to his telling Victoria everything; he never could keep a secret. And her reaction is, of course, wonderful. Albert is a very lucky man to have a wife like her; this is superb writing of character.
We see the eating of ortalan, something which may please the late President Mitterand but is not exactly ethical treatment of birds. Miss Coke begins to see that Ernest is that into her, and is not exactly monogamous. But we end on a bit of a cliffhanger: Victoria is pregnant again...
So Victoria and her entourage are off to Paris and its predictably more fashionable court under a diplomatic pretext, and we meet the wily and somewhat precarious Louis Philippe, King of the French, a self-made monarch who has actually, heaven forbid, once had to work for a living. He's a fascinating character with a unique background and hidden depths- and, of course, after the 1848 revolution he would end his life once again teaching in the UK. But that's the future.
The narrative point of this is, of course, for the characters to react to the French court. So Victoria feels a little self-conscious of her style, while the Duchess of Buccleuch is the xenophobic comic relief. But Albert, especially with the sight of his brother's cavorting, is still affected by last episode's revelations and has gone quite alarmingly puritanical. This is, of course, the precursor to his telling Victoria everything; he never could keep a secret. And her reaction is, of course, wonderful. Albert is a very lucky man to have a wife like her; this is superb writing of character.
We see the eating of ortalan, something which may please the late President Mitterand but is not exactly ethical treatment of birds. Miss Coke begins to see that Ernest is that into her, and is not exactly monogamous. But we end on a bit of a cliffhanger: Victoria is pregnant again...
Tuesday, 24 October 2017
Victoria: The Sins of the Father
"At least Ernst knows who his father is!"
So Victoria gives birth, rather painfully, and his father announces that "we have a Prince of Wales" in a rather excellent episode which is all about fatherhood and paternity. This is made immediately obvious not far in, as Albert's father pops his clogs and he has to be off to Coburg.
But the episode is also, of course, all about what no one in the 1840s would call post-natal depression; Victoria struggles to bond with little Prince Bertie, and is clearly profoundly depressed, something which no one- certainly not the men- seems to even acknowledge as a thing. It's only towards the end that formidable old battleaxe the Duchess of Buccleuch finally reveals that she also suffered from it in her past, unexpectedly bonding a little with Victoria.
But the big bombshell is when Albert learns that Leopold slept with his mother, meaning he may be Albert's father, something which disgusts him. This terrible secret sends him into despair to the point that he even gets drunk for the first time. His entire identity, it seems, and the very legitimacy of his children with Victoria, may be a lie. Still, this turns out to be good news for Mrs Skerrit, who in a neat bit of plotting manages to avoid being dismissed because of this. It's another impressively written episode.
So Victoria gives birth, rather painfully, and his father announces that "we have a Prince of Wales" in a rather excellent episode which is all about fatherhood and paternity. This is made immediately obvious not far in, as Albert's father pops his clogs and he has to be off to Coburg.
But the episode is also, of course, all about what no one in the 1840s would call post-natal depression; Victoria struggles to bond with little Prince Bertie, and is clearly profoundly depressed, something which no one- certainly not the men- seems to even acknowledge as a thing. It's only towards the end that formidable old battleaxe the Duchess of Buccleuch finally reveals that she also suffered from it in her past, unexpectedly bonding a little with Victoria.
But the big bombshell is when Albert learns that Leopold slept with his mother, meaning he may be Albert's father, something which disgusts him. This terrible secret sends him into despair to the point that he even gets drunk for the first time. His entire identity, it seems, and the very legitimacy of his children with Victoria, may be a lie. Still, this turns out to be good news for Mrs Skerrit, who in a neat bit of plotting manages to avoid being dismissed because of this. It's another impressively written episode.
Monday, 23 October 2017
Victoria: Warp and Weft
"They don't need balls. They need bread."
A much better and more substantial episode this week. Victoria is back on track. The conceit of Victoria holding an opulent ball in the middle of the Hungry Forties is a superb fulcrum from which we can explore all kinds of historical and character development. And I don't care about such deliberate inaccuracies such as the fact that Lord Melbourne lived fpr a good seven or so years after the birth of Victoria's second child...
Lord M is clearly dying, getting worse as the episode progresses after his apparent stroke, and this leads to an emotional yet restrained parting with Victoria. His death, interestingly, is juxtaposed with that of Dash; indeed, we deliberately hear Victoria give a funeral speech which seems to be for Lord M until we learn otherwise.. Victoria's old intimates are dying; she has only Albert now.
We learn of the Corn Laws; tariffs to protect the interests of the aristocracy as the poor suffer foreign competition. This is clearly going to be a defining issue for the season, as are the Parliamentary sparring matches between John Bright and Sir Robert Peel. I think the defining issues of the season may have been set. I look forward to it all.
A much better and more substantial episode this week. Victoria is back on track. The conceit of Victoria holding an opulent ball in the middle of the Hungry Forties is a superb fulcrum from which we can explore all kinds of historical and character development. And I don't care about such deliberate inaccuracies such as the fact that Lord Melbourne lived fpr a good seven or so years after the birth of Victoria's second child...
Lord M is clearly dying, getting worse as the episode progresses after his apparent stroke, and this leads to an emotional yet restrained parting with Victoria. His death, interestingly, is juxtaposed with that of Dash; indeed, we deliberately hear Victoria give a funeral speech which seems to be for Lord M until we learn otherwise.. Victoria's old intimates are dying; she has only Albert now.
We learn of the Corn Laws; tariffs to protect the interests of the aristocracy as the poor suffer foreign competition. This is clearly going to be a defining issue for the season, as are the Parliamentary sparring matches between John Bright and Sir Robert Peel. I think the defining issues of the season may have been set. I look forward to it all.
The Italian Job (1969)
"Tell Bridger this is a foreign job to help with this country's balance of payments..."
I'm beginning to be wary of going into a film with high expectations; it doesn't exactly enhance the experience. Take The Italian Job, a 1960s British classic, beloved of all the lads, but a film which I had somehow contrived, until last night, never to have properly seen all the way through- and I'm forty. I must have been blown away, right?
Only I wasn't, not really, Oh, it's good; the script by Troy Kennedy Martin, all those famous lines and iconic set pieces, national treasure Michael Caine's legendary performance, Noel Coward and, indeed the whole character of Bridger- an upper class Harry Grout who lords it over John Le Mesurier's prison governor; all these things are a joy to watch. Yet the film also seems to drag in places, and generally doesn't turn out to be as good as I was expecting. I wonder if I'd still feel that way, though, if not for those high expectations? I must confess that, Benny Hill's silly mugging aside, there's not much that's actually wrong with this film. Perhaps I just don't like heist movies all that much?
All the same, it's brilliantly shot on location in Turin, and the ambiguous ending is pure genius. If only the whole film was as good as its most famous scenes, but I really don't mean to imply that The Italian Job is any less than very, very good.
Only I wasn't, not really, Oh, it's good; the script by Troy Kennedy Martin, all those famous lines and iconic set pieces, national treasure Michael Caine's legendary performance, Noel Coward and, indeed the whole character of Bridger- an upper class Harry Grout who lords it over John Le Mesurier's prison governor; all these things are a joy to watch. Yet the film also seems to drag in places, and generally doesn't turn out to be as good as I was expecting. I wonder if I'd still feel that way, though, if not for those high expectations? I must confess that, Benny Hill's silly mugging aside, there's not much that's actually wrong with this film. Perhaps I just don't like heist movies all that much?
All the same, it's brilliantly shot on location in Turin, and the ambiguous ending is pure genius. If only the whole film was as good as its most famous scenes, but I really don't mean to imply that The Italian Job is any less than very, very good.
Sunday, 22 October 2017
Inglourious Basterds (2009)
"I'm French. We respect directors in our country."
Meh. Quentin Tarantino doesn't exactly make bad films- this is still well shot, and remains fun to watch in spite of everything- but I enjoyed Inglourious Basterds significantly less than any other Tarantino film I've seen, and I've seen most. In fact, I'd go as far as to say this film is merely good rather than great, and for a filmmaker like Tarantino that is criticism indeed.
So what doesn't quite work? Structurally and aesthetically it's as clever as ever, with a non-linear yet easy to follow chapter structure and loads of fun set pieces. I love the chutzpah in the cheerful deliberate ignoring of history by having Hitler and all the senior Nazis die in June 1944. The long dialogue scenes are there, too. But this time they fail to sing without the pop culture references. Christoph Waltz puts in an outstanding performance as the main SS baddie, but he's much better in a less cliched role in Django Unchained.
I think, perhaps, it's an unevenness of tone; little touches like Mike Myers' exaggerated plummy accent and, yes, Brad Pitt's entire misjudged performance take you out of the events.Tarantino has shown a mastery of humour and fourth wall-breaking in the past, but always with an assuredness that is missing here. Perhaps it's simply that Quentin Tarantino, master of so many genres, simply doesn't have quite the same sureness of touch when it comes to the Second World War film. Still, I'd like to see him try again someday.
So what doesn't quite work? Structurally and aesthetically it's as clever as ever, with a non-linear yet easy to follow chapter structure and loads of fun set pieces. I love the chutzpah in the cheerful deliberate ignoring of history by having Hitler and all the senior Nazis die in June 1944. The long dialogue scenes are there, too. But this time they fail to sing without the pop culture references. Christoph Waltz puts in an outstanding performance as the main SS baddie, but he's much better in a less cliched role in Django Unchained.
I think, perhaps, it's an unevenness of tone; little touches like Mike Myers' exaggerated plummy accent and, yes, Brad Pitt's entire misjudged performance take you out of the events.Tarantino has shown a mastery of humour and fourth wall-breaking in the past, but always with an assuredness that is missing here. Perhaps it's simply that Quentin Tarantino, master of so many genres, simply doesn't have quite the same sureness of touch when it comes to the Second World War film. Still, I'd like to see him try again someday.
Friday, 20 October 2017
Victoria: The Green-Eyed Monster
"Am I just an ignoramus who has to have things summarised by my husband?"
A somewhat awkward and directionless episode this time, it must be said, despite the clever use of Othello to examine the idea of jealousy between the royal couple. It doesn't really go anywhere or develop Vicky and Albert's relationship notably more than we saw last time.
Vicky suspects Albert of a somewhat unconvincing infatuation with Ada Lovelace, daughter of the notorious Lord Byron, when it’s clear that the nerdy prince is only interested in her and Charles Babbage’s difference engine. This contrived jealousy subplot isn’t really adding anything, and nor is the rehashing of the old debates about the impropriety of Vicky’s friendship with Lord M. Still, Melbourne doesn’t seem to be as well as he lets on.
Elsewhere we get hints of an upcoming affair between Ernest and Miss Cook, and the Coburgs continue to be annoying snobs. Sir Robert Peel continues to impress with his progressive attitude, a contrast to Lord M, while Vicky is pregnant with a second child so soon after the first.
Much though the A plot may be a damp squib, then, the long-term characterisation and plotting continues to impress, as do the performances and direction. I’m sure things will be back to the usual quality next week.
A somewhat awkward and directionless episode this time, it must be said, despite the clever use of Othello to examine the idea of jealousy between the royal couple. It doesn't really go anywhere or develop Vicky and Albert's relationship notably more than we saw last time.
Vicky suspects Albert of a somewhat unconvincing infatuation with Ada Lovelace, daughter of the notorious Lord Byron, when it’s clear that the nerdy prince is only interested in her and Charles Babbage’s difference engine. This contrived jealousy subplot isn’t really adding anything, and nor is the rehashing of the old debates about the impropriety of Vicky’s friendship with Lord M. Still, Melbourne doesn’t seem to be as well as he lets on.
Elsewhere we get hints of an upcoming affair between Ernest and Miss Cook, and the Coburgs continue to be annoying snobs. Sir Robert Peel continues to impress with his progressive attitude, a contrast to Lord M, while Vicky is pregnant with a second child so soon after the first.
Much though the A plot may be a damp squib, then, the long-term characterisation and plotting continues to impress, as do the performances and direction. I’m sure things will be back to the usual quality next week.
Thursday, 19 October 2017
Terminator 3: Rise of the Machines (2003)
"She'll be back!"
Sometimes low expectations can be a very good thing.
Oh, I remember quite enjoying this film when I saw it at the pictures, but I’m well aware that it’s somewhat unloved and, indeed, James Cameron is proposing to de-canonise it with his new Terminator film. How rude.
Thing is though... yes, the film may not be directed by an auteur, unlike its two predecessors, and it shows, but this is still a well made film with some superb Terminator action and a truly superb epic car chase scene. Arnie may be noticeably older, Claire Danes may be the only other cast member you’ve ever heard of, but this is an entertaining action movie that doesn’t outstay its welcome, always a virtue. Even the characterisation, while taking the back seat required for an action film, is subtle and effective. And Arnie gets his killer line while in the van with John and Kate, the line which I now remember had me collapsing with laughter when I first heard it.
But I was genuinely impressed by the script, with its downbeat ending leavened by hope and its thoughtful timey-wimeyness. The lack of Linda Hamilton is unfortunate, and the need to kill Sarah Connor of screen even more so, but there isn’t much else they could have done. This film is rather good and somewhat unfairly ignored. Who cares what James Cameron thinks? This is not fan fiction, it’s a proper Terminator film, and it deserves respect.
Oh, I remember quite enjoying this film when I saw it at the pictures, but I’m well aware that it’s somewhat unloved and, indeed, James Cameron is proposing to de-canonise it with his new Terminator film. How rude.
Thing is though... yes, the film may not be directed by an auteur, unlike its two predecessors, and it shows, but this is still a well made film with some superb Terminator action and a truly superb epic car chase scene. Arnie may be noticeably older, Claire Danes may be the only other cast member you’ve ever heard of, but this is an entertaining action movie that doesn’t outstay its welcome, always a virtue. Even the characterisation, while taking the back seat required for an action film, is subtle and effective. And Arnie gets his killer line while in the van with John and Kate, the line which I now remember had me collapsing with laughter when I first heard it.
But I was genuinely impressed by the script, with its downbeat ending leavened by hope and its thoughtful timey-wimeyness. The lack of Linda Hamilton is unfortunate, and the need to kill Sarah Connor of screen even more so, but there isn’t much else they could have done. This film is rather good and somewhat unfairly ignored. Who cares what James Cameron thinks? This is not fan fiction, it’s a proper Terminator film, and it deserves respect.
Tuesday, 17 October 2017
Victoria: A Soldier's Daughter
"It may be your regiment, Albert. But it is my army."
Victoria is back on ITV. I'm afraid I'm late to the party; I assure you I'll catch up quickly.
We pick up as we left off, with Vicky having just given birth to the future mother of Kaiser Bill. And the subject of patriarchy, always foregrounded when it comes to the hereditary principle, is uppermost not only in the incredibly sexist assumptions by the mean surrounding Vicky that she should retire to the nursery and leave affairs of state to the manly hands of Albert- and, indeed, that the scarcely born princess should one day marry the King of Prussia!
There's slow-burning stuff; Vicky struggles to connect with her daughter, both her relationship with Sir Robert peel and his premiership is soon to develop, and the imperious Duchess of Buccleuch arrives in the formidable form of Diana Rigg playing an old battleaxe, for Mrs Peel, incredibly, is now 79. Below stairs, the newly minted Mrs Skerrit is promoted, and Mr Francatelli is eventually persuaded to return.
But the episode, set as London awaits the awful news from Kabul of 4,000 troops being massacred, is about how Victoria always has to fight the patriarchal attitudes of the men who surround her, including her husband. It'll be interesting to see how all this develops, but for now this is a splendidly written, performed and shot bit of telly.
Victoria is back on ITV. I'm afraid I'm late to the party; I assure you I'll catch up quickly.
We pick up as we left off, with Vicky having just given birth to the future mother of Kaiser Bill. And the subject of patriarchy, always foregrounded when it comes to the hereditary principle, is uppermost not only in the incredibly sexist assumptions by the mean surrounding Vicky that she should retire to the nursery and leave affairs of state to the manly hands of Albert- and, indeed, that the scarcely born princess should one day marry the King of Prussia!
There's slow-burning stuff; Vicky struggles to connect with her daughter, both her relationship with Sir Robert peel and his premiership is soon to develop, and the imperious Duchess of Buccleuch arrives in the formidable form of Diana Rigg playing an old battleaxe, for Mrs Peel, incredibly, is now 79. Below stairs, the newly minted Mrs Skerrit is promoted, and Mr Francatelli is eventually persuaded to return.
But the episode, set as London awaits the awful news from Kabul of 4,000 troops being massacred, is about how Victoria always has to fight the patriarchal attitudes of the men who surround her, including her husband. It'll be interesting to see how all this develops, but for now this is a splendidly written, performed and shot bit of telly.
Kenneth Williams: Fantabulosa
"What's the point? what's the bloody point?"
These BBC 4 dramas always were excellent telly but this 2006 masterpiece... well. You don't get much better telly than this. Michael Sheen is the king of truly inhabiting a real life figure, Tony Blair or not. And Kenneth Williams... he is one of the most fascinating personalities who ever lived. If only he'd, you know, gone forth and had sex with the men who would willingly have had him. this is a quietly effective damnation of the effect of mid-twentieth century homophobia, even on those who had the brains to know that the pre-1967 law was "barbaric". And the need for approval of a socially conservative public didn't help. Neither did what happened to Leiester's very own Joe Orton.
But the angst over his sexuality, his dying a horrifically repressed virgin at 62, is only the half of it. This working class intellectual always struggled with the conflict between his origins and his intellectual yearnings, a classic case of culture clash between two alien English cultures. Even his multiple voices and accents, so sublimely done by the outstanding Sheen, are as much about the codes and anxieties of class as they are about performance.
The real quotes from his diaries give us a true feel of the man’s inner life, so different from the well-known performer on the surface. And there is real tragedy, from the murder of Orton to the heavily hinted-at suicide of Williams’ father, shortly after a very casual rejection. Something like that would traumatise, however awkward the father-son relationship. All this is done with restrained writing; this is not script that draws attention to its own tricks and cleverness, but in its structure, choices and the voice it gives to Williams itself it is as much a triumph as Sheen’s magnificent performance itself.
A televisual triumph, then, and the finest hour of the late, lamented BBC 4 drama.
These BBC 4 dramas always were excellent telly but this 2006 masterpiece... well. You don't get much better telly than this. Michael Sheen is the king of truly inhabiting a real life figure, Tony Blair or not. And Kenneth Williams... he is one of the most fascinating personalities who ever lived. If only he'd, you know, gone forth and had sex with the men who would willingly have had him. this is a quietly effective damnation of the effect of mid-twentieth century homophobia, even on those who had the brains to know that the pre-1967 law was "barbaric". And the need for approval of a socially conservative public didn't help. Neither did what happened to Leiester's very own Joe Orton.
But the angst over his sexuality, his dying a horrifically repressed virgin at 62, is only the half of it. This working class intellectual always struggled with the conflict between his origins and his intellectual yearnings, a classic case of culture clash between two alien English cultures. Even his multiple voices and accents, so sublimely done by the outstanding Sheen, are as much about the codes and anxieties of class as they are about performance.
The real quotes from his diaries give us a true feel of the man’s inner life, so different from the well-known performer on the surface. And there is real tragedy, from the murder of Orton to the heavily hinted-at suicide of Williams’ father, shortly after a very casual rejection. Something like that would traumatise, however awkward the father-son relationship. All this is done with restrained writing; this is not script that draws attention to its own tricks and cleverness, but in its structure, choices and the voice it gives to Williams itself it is as much a triumph as Sheen’s magnificent performance itself.
A televisual triumph, then, and the finest hour of the late, lamented BBC 4 drama.
Monday, 16 October 2017
Superman IV: The Quest for Peace (1987)
"No pain, no gain..."
You know those "bad" films that are actually fun to watch and sort of entertain you in spite of everything? Well...
I mean, I can see why this was the last Superman film of its series. The special effects are endearingly crap. The script is cartoonish. The whole thing is very silly. And yet the whole thing remains eminently watchable.
It helps that the characters are well-established, and that Reeve,
Kidder and Hackman are as excellent as always; this film isn’t big, it isn’t clever, it isn’t particularly well made. But it’s fun. So let’s ignore the silliness and the plot holes, including the one where the superpowers don’t seem to resent Superman for throwing billions worth of expensive nukes into the Sun in a scene which harms back to the left-wing wish fulfilment scenes of the early comic books. Let’s not study the political message of the film too closely, though; this is not exactly a detailed philosophical examination of nuclear disarmament.
So, yes. The film is silly, shoddily made and killed the franchise. But it’s also perfect light viewing after a two hundred mile round trip.
I mean, I can see why this was the last Superman film of its series. The special effects are endearingly crap. The script is cartoonish. The whole thing is very silly. And yet the whole thing remains eminently watchable.
It helps that the characters are well-established, and that Reeve,
Kidder and Hackman are as excellent as always; this film isn’t big, it isn’t clever, it isn’t particularly well made. But it’s fun. So let’s ignore the silliness and the plot holes, including the one where the superpowers don’t seem to resent Superman for throwing billions worth of expensive nukes into the Sun in a scene which harms back to the left-wing wish fulfilment scenes of the early comic books. Let’s not study the political message of the film too closely, though; this is not exactly a detailed philosophical examination of nuclear disarmament.
So, yes. The film is silly, shoddily made and killed the franchise. But it’s also perfect light viewing after a two hundred mile round trip.
Sunday, 15 October 2017
It (2017)
“Wait, can only virgins see this stuff? Is that why I'm not seeing this shit?”
Well, that was unusual. A modern day horror film that eschews all the usual glossy music video tiresomeness in favour of being genuinely excellent. I’ve never heard of anyone involved with this film but they done good.
It’s instructive to compare this, perhaps, to the 1990 two part telly adaptation; we get the same rough plot, except that the film is only the first half, during the principal characters’ childhoods- updated from the early ‘60s to the late ‘80s, with lots of pop culture goodness including both the Cure and Anthrax in the soundtrack. Like the original, and the novel, we get a bunch of white boys with a token girl (Beverly) and black kid (Mike). Jaeden Lieberher and Sophia Lillis are particularly excellent as the main characters- author substitute Bill who is mourning his little brother and poor Beverly, whose father is a nonce and gets a pleasing comeuppance. This, along with Henry Bowers’ tragic cycle of abuse, means that this film plays up the child abuse theme somewhat, something which is probably wrapped up thematically in the idea of Pennywise as the sum of all childhood fears.
The film excels as drama, with well-developed characters and good acting from some superb child actors. That is the basis of any film reliant on traditional narrative, regardless of genre, but this film
managed to scare me, and horror films don’t, as a rule; I’m far too conscious of that fourth wall. But here, unlike almost all modern horror films, we get a lot of genuine suspense at the centre of done superbly conceived and executed set pieces, and it helps that the direction is excellent. All that, and a solid script, makes for an excellent film.
Even the famously hard-to-please Mrs Llamastrangler is extremely impressed. Highly recommended. Coulrophobes beware, though!
It’s instructive to compare this, perhaps, to the 1990 two part telly adaptation; we get the same rough plot, except that the film is only the first half, during the principal characters’ childhoods- updated from the early ‘60s to the late ‘80s, with lots of pop culture goodness including both the Cure and Anthrax in the soundtrack. Like the original, and the novel, we get a bunch of white boys with a token girl (Beverly) and black kid (Mike). Jaeden Lieberher and Sophia Lillis are particularly excellent as the main characters- author substitute Bill who is mourning his little brother and poor Beverly, whose father is a nonce and gets a pleasing comeuppance. This, along with Henry Bowers’ tragic cycle of abuse, means that this film plays up the child abuse theme somewhat, something which is probably wrapped up thematically in the idea of Pennywise as the sum of all childhood fears.
The film excels as drama, with well-developed characters and good acting from some superb child actors. That is the basis of any film reliant on traditional narrative, regardless of genre, but this film
managed to scare me, and horror films don’t, as a rule; I’m far too conscious of that fourth wall. But here, unlike almost all modern horror films, we get a lot of genuine suspense at the centre of done superbly conceived and executed set pieces, and it helps that the direction is excellent. All that, and a solid script, makes for an excellent film.
Even the famously hard-to-please Mrs Llamastrangler is extremely impressed. Highly recommended. Coulrophobes beware, though!
Wednesday, 11 October 2017
Django Unchained (2012)
"Kill white people and get paid for it? What's not to like?"
This is, to date, the only film by Quentin Tarantino that I've seen since Kill Bill. It is, like all his films since then, removed from his particular strong point of witty, pop culture-peppered dialogue by being set in the past. It's as though Tarantino likes to challenge himself, but then that's what he does. He's doing a Western this time- well, a Southern- complete with classic style opening and Ennio Morricone opening tune.
He may deny himself the indulgence of cool dialogue here, but he delivers a hugely entertaining, gory and beautifully shot film as he always does, giving us the full graphic detail of slavery in the antebellum south. This is a refreshing antidote, brutal though it can be to watch, to the whitewashed Gone with the Wind version of the south. Before 1865 the place was backwards, feudal, pre-capitalist, savage. And it wasn't even that long ago.
Jamie Foxx is great as Django, a freed slave with a mission to save his wife who grows throughout the film from enslaved beginnings to the assertive badass hero he was destined to be. Leonardo Di Caprio is superb as the slaveowning baddie, the kind of part he should play more often. Samuel L. Jackson is deeply disturbing as the collaborator, Stephen. But it is Christoph Waltz, as Dr Schultz, the educated, witty German bounty hunter and the only civilised white person in the film, who steals the show, oozing coolness at all times.
Tarantino seems incapable of anything short of brilliance. This film is so good we can even forgive his brave attempt at an Aussie accent...
He may deny himself the indulgence of cool dialogue here, but he delivers a hugely entertaining, gory and beautifully shot film as he always does, giving us the full graphic detail of slavery in the antebellum south. This is a refreshing antidote, brutal though it can be to watch, to the whitewashed Gone with the Wind version of the south. Before 1865 the place was backwards, feudal, pre-capitalist, savage. And it wasn't even that long ago.
Jamie Foxx is great as Django, a freed slave with a mission to save his wife who grows throughout the film from enslaved beginnings to the assertive badass hero he was destined to be. Leonardo Di Caprio is superb as the slaveowning baddie, the kind of part he should play more often. Samuel L. Jackson is deeply disturbing as the collaborator, Stephen. But it is Christoph Waltz, as Dr Schultz, the educated, witty German bounty hunter and the only civilised white person in the film, who steals the show, oozing coolness at all times.
Tarantino seems incapable of anything short of brilliance. This film is so good we can even forgive his brave attempt at an Aussie accent...
Wednesday, 4 October 2017
Fists of Fury (1972)
“We are not sick men!”
This is my first ever Bruce Lee film, and only my second martial arts film not directed by Quentin Tarantino, unless you count all those straight-to-video ninja films I saw as a kid in the ‘80s, so go easy on me!
I enjoyed the film, although it will never be one of my favourites; it’s a mildly entertaining revenge melodrama/tragedy with a token romantic subplot, but Hamlet this ain’t. The fight scenes are first class, but I’m not hugely engaged by fight scenes, much though I appreciate Bruce Lee’s skills, and he can act too.
What struck me was the surprising tone of Chinese nationalism; the film is set in, I think, 1910, during the Century of Humiliation with the Japanese as antagonists and constant emphasis of how the international city of Shanghai is no longer truly Chinese territory, although the brief shots of westerners with their very contemporary cars and clothes destroy the eff t somewhat. But this is nicely handled, the grievances of a “small” country, and does not come across as overly aggressive.
I’m not sure when, or if, I’ll try another film in this genre. But at least it’s light, easy viewing, just the thing for a knackering week like this.
I enjoyed the film, although it will never be one of my favourites; it’s a mildly entertaining revenge melodrama/tragedy with a token romantic subplot, but Hamlet this ain’t. The fight scenes are first class, but I’m not hugely engaged by fight scenes, much though I appreciate Bruce Lee’s skills, and he can act too.
What struck me was the surprising tone of Chinese nationalism; the film is set in, I think, 1910, during the Century of Humiliation with the Japanese as antagonists and constant emphasis of how the international city of Shanghai is no longer truly Chinese territory, although the brief shots of westerners with their very contemporary cars and clothes destroy the eff t somewhat. But this is nicely handled, the grievances of a “small” country, and does not come across as overly aggressive.
I’m not sure when, or if, I’ll try another film in this genre. But at least it’s light, easy viewing, just the thing for a knackering week like this.
Sunday, 1 October 2017
The Walking Dead- Season 2, Episode 10: 18 Miles Out
“This is so pointless!"
This may be a quiet episode focusing on character- albeit with lots of exciting zombie action, and may have an unusually limited cast of characters, but that is a strength here, allowing us to focus on the relationships between the characters.
Firstly we have the macho alpha male contest between Rick, giving up perhaps too much ground under pressure on being repeatedly told by the psychopathic Shane that his conscience is a liability. As well as lots of arguing, fighting against zombies and themselves, and of course clearing the air over Lori, they have the dilemma over whether they should kill the kid they caught last episode who, it turns out, knows where Herschel's house is. Rick, arguably, ends up ceding the argument to Shane but he will at least have the decency to sleep on it before killing the boy.
Meanwhile, back at the house, a row between Lori and Andrea pretty much centres on how Andrea, in standing guard against zombies, is getting out of the drudgery of the more traditional woman's work, a feminist subtext if ever there was one. But the main focus is on the hereto background character of Beth, who seems to be set on suicide, seeing no point in living post-zombie apocalypse, and the ethics of suicide and what to do with her are explored well and at length, with the pragmatic Andrea perhaps alienating herself from Maggie permanently. Beth lives, though.
This episode is well-written, compelling, and makes me certain that the main arc of this season is the conflict between Rick and Shane, and will end in Shane's death. We shall see...
This may be a quiet episode focusing on character- albeit with lots of exciting zombie action, and may have an unusually limited cast of characters, but that is a strength here, allowing us to focus on the relationships between the characters.
Firstly we have the macho alpha male contest between Rick, giving up perhaps too much ground under pressure on being repeatedly told by the psychopathic Shane that his conscience is a liability. As well as lots of arguing, fighting against zombies and themselves, and of course clearing the air over Lori, they have the dilemma over whether they should kill the kid they caught last episode who, it turns out, knows where Herschel's house is. Rick, arguably, ends up ceding the argument to Shane but he will at least have the decency to sleep on it before killing the boy.
Meanwhile, back at the house, a row between Lori and Andrea pretty much centres on how Andrea, in standing guard against zombies, is getting out of the drudgery of the more traditional woman's work, a feminist subtext if ever there was one. But the main focus is on the hereto background character of Beth, who seems to be set on suicide, seeing no point in living post-zombie apocalypse, and the ethics of suicide and what to do with her are explored well and at length, with the pragmatic Andrea perhaps alienating herself from Maggie permanently. Beth lives, though.
This episode is well-written, compelling, and makes me certain that the main arc of this season is the conflict between Rick and Shane, and will end in Shane's death. We shall see...