Better Call Saul: Something Unforgivable

 "Am I bad for you...?"

For tne record, Kim, the answer is YES. Sigh....

This is, of course, a superb finale. Script and acting top notch as we've come to expect, as well as some very nice directorial touches.

But I must confess: it got me. I was convinced, perhaps through deliberate misdirection, that Kim was going to die this episode. So many of what seemed to he hints. She's "in the game" as of last episode. She and Jimmy are on the run in a hotel, looking over their shoulders. She's making plans for a pro bono future. She breezily ignores a dire warning from Howard about what Jimmy is like. She and Jimmy spend what seemed like possibly a last night together.

But no. And nor does Lalo die. There's lots of tension for him, of course... and for Nacho, who gets out alive, as arranged, before the hit. But the hit going south leaves Nacho in a dangerous position. But then, something had to give.We spend time here with Don Eladio- menacing as ever- by THAT swimming pool. All this tension as Eladio sizes him up, but the life of a double agent is always an impossible one, expendable to both sides.

But the events with Kim and Jimmy are just as dramatic in their eway.Jimmy opens up about the events in the desert and his PTSD, although not about the context. And their bond, if anything, only deepens. Yes, even when Jimmy confesses that the bowling ball and prostitute incidents actually happens. And, even more scary, she's the driving force- the Jimmy- in a plot to get rich by screwing over Howard, a decent man, in a deeply ethical way. Indeed, even Jimmy is shocked. She may not die this episode but, well, is this where she finally turns to the dark side...?

One season to go. Damn.

Don't Lose Your Head (1967)

 "That's all very well, but that would never have happened under a Royalist government."

We're entering a stretch that represents the absolute pinnacle of Carry On. This, and the next couple of films or so, are the peak. It is, or so we're led to believe, all downhill, starting very soon. I'll keep an open mind, naturally, but let''s enjoy this purple patch while it lasts. And let's appreciate the irony that two of the films in this period, starting with this one, strictly speaking didn't have the "Carry On" prefix.

This film is bloody good, though. I've seenit many times over the years, but not for a while. And it didn't disappoint either this time or before. It's a simple premise: just riff off The Scarlet Pimpernel and pit Sid James' Sir Rodney Ffing ("Effing, with two f's") against Kenneth Williams as the inevitably named citizen camembert. Add in Charles Hawtrey as the Dic de Pomme Frities, and you have a filmthat cannot fail.

Add in a couple of contemporary references "It's the one thing the English are good at, striking", but otherwise just let the cast be themselves as we know the formula right now... and we end up with a film that never gets stale.

The deliberately, cheerfully crap jokes are a joy too. The Duc and Duchesse de la Plume de ma Tante. "I'm Camembert. I'm the big cheese". "But then, you've always had magnificent balls, and I wouldn't miss one of them". In fact, these gloriously awful puns are indubitably the best bit.

This is easily the best instalment up to this point. Can they top this one?

Futureworld (1976)

 "Nothing can go wrong..."

Sequels are rarely better than the original, right? I mean, I tend to think this statement olds even with The Godfather. But this... well, it may be an exception.

Yes, the plot is simple- the same corporarion from Westworld have regrouped and now seem to be set on world conquest via duplicating world leaders, the implication being that robot duplicates have already taken over the company. It a solid premise, if not exactly original... although the point that humans will despoil the planet if left unchecked is certainly well made.

But it's not the premise but the execution that makes this sequel not only an underappreciated gem but a much better film than its predecessor. The direction is a triumph,with lots of arty touches but not too many for this type of film. Peter Fonda and Blythe Danner (especially) are absolutely superb as Chuck and Tracy. Not only do the characters come across as both likeable and very real, their romantic chemistry is perfect.

And the whole thing sizzles with wit and character, which add an extra dimension of both depth and fun to every scene, from Harry playing poker with "Clark" to the many amused jokes at how many of the park's guests just basically want to have sex with robots, which we all know is what would actually happen. But the film doesn't shine away from the philosophical implications of its premise either.

It is, perhaps, a little cheeky to make such a big deal of Yul Brynner for what is essentially just a cameo, but that is literally the only criticism I can make. And the entire dream sequence is superb. As is the film.

Stigma

 "It's the old religion. I read about it in a book."

Hmm. It has its moments but... I'm not sure about this one.

It's 1977. The year I was born. Up to now the BBC's Ghost Stories for Christmas strand had focused on adaptations of old ghost stories, chiefly those of M.R. James. This time, we get a contemporary take.

It's eerie that the first contemporary ghost story should showcase the year of my birth so powerfully.The cars, the fashions, the sound of an old rotary phone ringing, news of the Voyager missions on the radio... and, of course, contemporary 1970s horror tropes- folk horror, complete with stone circle, and the poltergeist trope, complete with creepy teenage girl.

It'a very simple, straighforward half hour, with few twists and turns until the very end, and even that could be predicted. Yes, the atmosphere is there- it's Lawrence Gordon Clark, after all- and the relatively unknown case is very good, Kate Binchy in particular. But it's all a bit... by the numbers, if well made.

Oh, and if you're scared of blood... give this one a miss. You couldn't make this today.

Wolf Hall- The Mirror and the Light: Light

 "The King of France gave me gloves. He didn't want to marry me..."

Wow. And with that... I'm broken.

The genius of this real piece of televisual splendour is that... well, wew know what happens. This is documented histoiry. We know how and when Thomas Cromwell dies. There's no suspense here, but suspense is not the point. There is only character, and emotion.

There is Cromnwell's true stoicism, as he runs rings round his interlocutors while knowing he is nevertheless doomed. Oh, he's accused of arrogance, getting above himself, wanting to marry Mary, othersuch absurdities... and heresy, of which he is guilty by the standards of the age, rejecting the Pope only for a very Enflish Catholicism. Yet above all, I think, it's his impatience for the grinding of due process, his manipulation of events, that he is damned. And so, as he says, he will be followed by slower men, and England will suffer.]

He is clear-minded, cautioning his friends to stay apart and not seem to be plotting. He insists that Gregory denounce him for his own safety, as would any father in his position. Yet his calm does not mean absence of feeling, as Mark Rylance shows us with sublime subtlety. Some peoople are vlatile, but those of us whonare calm and composed have feelings too, and Cromwell has his demons... and yet one, at least, is healed. He feels himself reconciled with Wolsey's ghost, and his final plrea for forgiveness before his beheading, are clearly aimed at his former master, a lovely touch. And, as a parallel, his own protege Rafe has the most love for his own master.

And so it ends, and so does he. The ending is devatating. Liuke Anne Boleyn, he finds dignity before the blade takes his life, all as the king prepares to wed yet again...

Sublime television.

The Signalman

 "You! Down below!"

By 1976, it seems, the BBC had decided to move the focus of their Ghost Stories for Christmas annual tradition away from the tales of M.R. James, this time adapting a short story from the later career of Charles Dickens. The visual style and atmosphere, nevertheless, are just as eerie and just as full of foreboding. The change of authorial style is, oddly enough, not strongly felt as the visual tropes of Lawrence Gordon Clark's direction encompass us... eerie silences, creepy yet subtle use of sound, light, voice and facial expressions to evoke unease within these liminal spaces.

I won't repeat the plot, but the whole things is a subtle yet very rreal building up of tension as we are ledft in no doubt, albeit quietly, that dread approaches and that this world, in the depths of the night, is no place for reason. The twist at the end, and the horrifying supernatural sight, are well and truly earned. And the unease has an interestingly philosophical timbre to it- this Victorian signalman is thoughtful and nuanced.

Denholm Elliott, as though it needs saying, is superb. This is as good as any of its immediate predecessors and, indeed, one of the best such stories made by the BBC. M.R. James does not have a monopoly...

Better Call Saul: Bad Choice Road

 "How about a day without drama?"

Oh boy. What an episode.

Kim is, of course, the focus of our sense of mounting dread and, naturally, the episode itself. But let's do a tour of the other plates that are spinning during this penultimate episode of the season...

Jimmy and Mike finally get out of the desert and can begin to recover... but Jimmy is not so battle hardened as Mike, who can afford to be philosophical, true stoic that he literally is. Jimmy is physically worse for wear (although he has Kim, ooooh he has Kim...) but more; he hobviously has PTSD following his experiences.

Gus, chilling as ever, is debriefed by Mike, works out exactly what's going on, and gets back to his usual chillingly amoral ten-dimensional chess, played with typical cold intensity by the sublime Giancarlo Esposito. Mike may sympathise with Nacho's wish to get out of this cartel life, but to Gus, Nacho is just another pawn. Once you become a "friend of the cartel", you don't get out... are you listening, Kim?

But Kim... oh, so many bad decisions. Shockingly, she gives up her job so she can focus on her pro bono workm much less well paid. This is... unwise, and ties her even more to Jimmy's criminally adjacent, "friend of the cartel" life. The final scene, with Lalo demanding andswers from Jimmy, is a masterpiece of tension, with Kim very much present, involved... and showing real guts in resolving the situation.

But she's in, now, irrevocably. Her decision to quit her main job wasd, ironically, so she could focus on work with which she feels much more ethically comfortable rsather than driving old men off their land... but she's driven into the hands of Jimmy, who may not like getting his hands dirty but has zero morals as long as he isn't personally close to the bloodshed.

Oh Kim. I'm now certain. Her downfall will not just be the ruin of a genuinely good person. The moment has come: I'm certain that we're going to see her die. Itr's her only possible trajectory.

Better Call Saul is not Jimmy's tragedy. It's Kim's.

Erik the Viking (1989)

 "Stay calm. This is not happening."

Oh dear. What went wrong here? We begin with a moderately well-scripted Pythonesque little scene about, er, rape (yes, quite), and then we seem to descend into quite the mess.

And yet... it's written and directed by Terry Jones, he of Monty Python fame, certainly someone with comic talent, many glimpses of which are seen here- it's a bad film, yes, and don't get me started on the dragon, but there are funny concepts and funny lines. Jones, of course, knows his mediaeval history, and there are references and in-jokes aplenty, many of which go over my head. There's a theme of belief that runs throughout- Harald the Missionary refuses to believe in the aspects of Norse myth that surround him, and cannot see them. The King of High Brazil and his subjects refuse to believe that their land is sinking beneath the waves. And Erik falsely believed that he is wearing an invisible cloak.

There are other little bits of cleverness. The Norse gods are played by children. And yet... overall, it falls flat. There's a clear plot, pretty much, but it all falls flat. This tries to be a Monty Python and the Holy Grail or a Time Bandits but... it isn't.

Then there's the performances. Jones himself is excellent, as is John Cleese as the delightfully evil Halfdan the Black. But so many of the cast fail to shine. And I suspect this offers us a clue: Terry Jones is a damn good writer and performer, and I don't think the script is at all the problem here... but he's just not a good enough director to helm a big blockbuster, at least on his own.

An interesting failure, then, and with nuggets to be found. But a failure nonetheless.

The Pink Panther (1963)

 "You do the walking and I'll do the drinking."

Yes, I know, forty-seven and have only just seen this... 

Anyway, it's fascinating to see the actual film behind the Pink Panther cartoon and that seminal Henry Mancini tune that we all know so well; these things in themselves are a seminal achievement, as is the opening titles. It's all very well shot. But... well, asa comedy, it's a curate's egg.

Of course, as with the original curate's egg, parts of it are excellent. This isn't a comedy of verbal jokes, exactly, but the script is particularly witty in its sexually charged conversations between David Niven's Sir Charles (and his nephew George to some extent) and both Simone Clouseau and the Princess. This is top quality flirting and there's a lot of it.

Plus the setting- the Swiss Alps and Rome- is visually arresting, and the plot is enormous fun. But, well... we need to talk about Inspector Clouseau. I mean, Peter Sellers plays the part very well, and it's not that I don't enjoy slapstick comedy or farce. But the character isn't that funny. Oh, I do enjoy the extended sequence in the hotel room with Simon where both Sir Charles and George hide from him. But all the falling over and bumping into things just gets tired very quickly.

Still, a film doesn't have to be the greatest ever example of its genre to be good. This is no Life of Brian, but it is, at least, quite funny, and the flirting scenes are genuinely brilliant. Iwasn't blown away... but I enjoyed the film. And that's what matters.

Wolf Hall- The Mirror and the Light: The Mirror

 "You have few friends, Cromwell..."

This episode, as are so many others, is a materpiece in how it shows us the slow bursting of Cromwell's bubble, power and favour slipping away from him. Yes, the final couple of minutes are enormously shocking, even if you know your history, but the whole thing is masterfully structured.

There are, of course, big events swirling outside of Cromwell's control. The events of Henry meeting, and didliking, Anne of Cleves are just as we know from history, but the wider European context is emphasised, with its ironies. An alliance with the German princes is necessary precisely because the alliance between France and Charles V threatens England- yet, as soon as the king is married, England's ambassador to Spain (none other than Sir Thomas Wyatt, whose greatest poem is, of course, about Henry's terrifying, bloody and murderous capricioiusness) drives a wedge between them. The German alliance, and Henry's unhappy marriage, is no longer needed.

Worse, Cromwell's feud with the Duke of Norfolk is deepened, as the chancery which prays for Norfolk's ancestors is dissolved. And Norfolk, it seems, has been hiding conciliatory messages from France. And then there are the ongoing rumours about Cromwell and Mary, Cromwell yet again preventing her marriage...

And the king grows ever colder. And ever closer to Norfolk's niece.

There's so much nuance here. Cromwell's demons appear in flashback, and he now speaks to Wolsey's absent ghost. This is an episode of wonder. We really shouldn't be shocked by the ending, which really should be predictable. It says so much that we are.

Number 13

 "Well, I'm sure I don't intend to disappear..."

So we here we havethe second of the BBC's 2000s revival of their Ghost Stories for Christmas. For the secind year in a row it's an M.R. James adaptation, and for the second year in a row it features Watson himself, David Burke, in a major role.

It's a very CGI'd Victorian cathedral town, and an Oxford don, a Professor Anderson, sets out to study some recently discovered manuscripts for the cathedral authorities. Hilariously, there's a lot of lampshading the fact that he seems doomed early on. He's just that little bit arrogant and aloof. He seeks for knowledge. He pooh poohs superstition. He scoffs at the mention that his predecessors have suddenly disappeared (without paying!) and utters the above quote.

And... as with many hotels, his place of abode has no Room 13, except... sometimes it does. And there are voices at night of confessions from the witch trials of 1647. It's all very ominous...

SPOILERS!

And yes, a twist... Professor Anderson's fate is (just!) averted,and the evil creature from the dark past seemingly destroyed by means of a humble axe. We have, for most of the story, a very textbook M.R. James structure, but subverted at the end.

All in all, then, a quality production, and all the more for the low budget and no-star cast.

Batman: The Animated Series- It's Never Too Late

 "All your power and money has bought you is an empire of misery."

Another excellent episode here. It's interesting once again how there's an ambiguity in the setting- the cars and clothes and tommy guns evoking the 1940s while the drugs evoke contemporary times. It's also good to see how the Animated Series follows not only Batman's usual rogues gallery bus also the same mob bosses- once again we see Boss Thorne.

And yet this is a touching and effective story about how one mob boss, with his empire of hard drugs, can yet be reformed. It's an episode full of flashbacks and clever twists and turns- most notably involving Father Michael- and superbly constructed in such a way that it earns its payoff. It's also fascinating to see Batman not just using his brute force and detective skills but also psychology.

I do wonder if or when we'll see Boss Thorne again- or whether Two-Face will ultimately get him...?

A View from a Hill

 "I can't explain it..."

I confess I've never read any M.R. James, just as I've never read and H.P. Lovecraft or Robert E. Howard- I suppose, like many people, and without thinking about it, I tend to gravitate towards novels without considering short stories. I really ought to correct that.

I mention this to excuse the fact that I've now seen a good half dozen or so of his stories as adaptred on the BBC as Ghost Stories for Christmas. And I'm beginning to detect a pattern to many of them- a distant, unholynevil from the past ensnares a curious scholar with temptations of knowledge, slowly luring him to his doom. It's a simple formula, and one that can be easily repeated without going stale.

This story fits the template exactly. Young and awkward academic Dr Fanshawe visits a friendly local squire, stoically philosophical about his financially straitened existence, in order to catalogue some archaeological relics. But what whe finds are some unusual binoculars which tempt him slowly, inexorably, gentle BBC jump scare by gentle BBC jump scare, to the gallows.

It's superb, of course. Well directed, with the entire cast excelling. It's fun to see David Burke as the sinister butler trope, but it's Mark Letheren who truly excels as the shy, solitary Dr Fanshawe.

Overall, good stuff. And yes- I will indeed be watching several such stories between now and Christmas Day.

Batman: The Animated Series- Two-Face, Part II

 "Chance is everything. Whether you're born or not. Whether you live or die. Whather you're good or bad. It's all arbitrary."

After our first "Previously On" moment, we skip forwardsix months and see Two-Facewell into his prgramme of harassing Boss Thorne. We get to see how he looks and behaves... and he's a fascinating, riveting character, far more so than anything I've read from the comics and at last giving us a worthy screen version of the character.

This is a fascinating character study of Harvey Dent, at the centre of which is a debate between and Grave, his former fiancee, on whether or not life is all down to chance. Yet this is also an episode about the guilt of Bruce Wayne, haunted by nightmares about his failure to save not only Dent but also his parents.The characterisation of this series is suddenly on another level.

And we end on a hopeful note. Two-Face is still very much presented as Harvey Dent here.

Incidentally, I continue to be fascinated on how the setting is deliberately a conflation of the '40s- card, fashions,tommy guns- and the contemporary, with beepersand female detectives. Episode after episode, it's a design choice that really works.

The Treasure of Abbot Thomas

 "Christianity isa ratiional system of belief, Peter."

Once again we have one of the BBC's once annual Christmas ghost stories based on various short stories by M.R. James, this one from 1974. And my God, it's superb. This is the BBC, so the early Victorian period with its bonnets and mutton chops is evoked to perfection. The deliberately slow pace gives us tension of a kind that the television of recent decades cannot provide.

And at the centre of it all is a masterfdul performance from Michael Bryant as the calm, rational, scientific Revd Dr. Justin Somerton, an Oxford don of the very old school, dismissive of superstition- he puts short shrift to a couple of seance mongers-

He is, at first, far too rational to be taken in by the enthusiastic young Peter'd enthusiasm for the buried treasure on a 15th century abbot, rumoured to be an alchemist carried away by the Devil. Yet events ptroceed fascinatingly and inexorably to his temptation and doom, the Abbot and all things supernatural seen only in yerrifying glimpses.

Of all the M'R. James adaptations of the '70s... this may well be the best I've seen so far.

Lot No. 249

 "Your filthy Egyptian tricks won't answer here in England!"

I must have missed this, last year's offering from the excellent Mark Gatiss in his highly impressive run of Christmas Ghost Stories on BBC 4. I'll be blogging his offering for this year closer to Christmas, as well as a number of older such stories, but watching this little gem tonight was an absolute joy.

I'd never read, or indeed heatd of, the original short story by Arthur Conan Doyle which seems to have been highly influential in shaping the Eyptian mummy subgenre of horror, but Gatiss really evokes the Victorian setting here, and has it oozing with atmosphere. Kit Harington is superb as Smith, our lead, but it's Freddie Fox, chewing the scenery with aplomb, who steals the show as the sinister and dastardly Bellingham.

Gatiss has a real ear for the dialogue of the time, which adds a great deal of verisimilitude. He can't, of course, resist the temptation of including a certain irresistible cameo but, well, the cameo is irresistible, after all. And I like the subtle dialogue link to the Elephant Man.

I suspect the budget for this was tiny, but it certainly doesn't look it. The BBC can do Victoriana with one arm tied behind its metaphorical back and darkness works wonders. But ultimately it's the script and the performances that make this a thing of beauty.

Wolf Hall- The Mirror and the Light: Jenneke

 "You're going to bring them down? The oldest and richest familes in the land?"

"Like skittles!"

It's redundant, by now, for me to point out that any given episode of Wolf Hall, this one most certainly included, is a televisual masterpiece. But I seem to have done so anyway. Yes, big things are happening- the birth of a son for the king, the tragic, negligent death of Jane, the peace between King Francis and Charles V and the dangers posed to England. And yet this series ais about Thomas Cromwell, and this is where his position starts to slip.

Oh, he finds happiness in Jenneke, the lovely daughter of whom he's just learned... yet he is loving, good, tender and fatherly, a good man. In stark contrast to the things which Dorothea said to him, things that have truly shaken to him and, as we often see, haunt his nightmares. He doubts himself, wonders if he betrayed Wolsey after all, knowingly or not, and confesses himself "undone".

Jane's death upsets him deeply, more so than his tyrant king, play-acting at mourning. And Stephen Gardiner is back, with the ear of the king, pushing him against "heresy". Cromwell, baring his soul to Archbishop Cranmer, begins to despair that all he's done to bring Protestantism to England may perhaps be for naught. And Gardiner (Alex Jennings a worthy successor to Mark Gatiss) is an insidious foe, one in the ascendant.

He is getting nowhere with the Poles. He clashes with the Duke of Norfolk, ironically in defence of Wolsey and the old ways. His influence with Mary is diminished. 

All hope rests in an alliance with the German princes, and a new bride from Cleves. We know the history here, of course. Yet this episode gives us a much deeper context in which Cromwell is already losing ground.

As Cromwell's vaunted ambassador to Charles V, Thomas Wyatt, would say... circa regna tonat.

Better Call Saul: Bagman

 "The alternator's shot. Literally."

Wow.

You kbow, when Vince Gilligan himself writes and directs that you're getting a treat, and probably an unusual one. And crikey, we did.

The plot is simple- Lalo gets Jimmy to be the bagman in discreetly collecting his $7,000,000 bail from a discreet desert rendezvous, but he's ambushed by ne'er-do-wells and nearly robbed and killed. But Mike, watching from afar, efficiently saves him, kills the baddies, and eventually leads a desperate, fish-out-f-water Jimmy, to safety.

But it's about the nuances. The directorial touches here are frequently magnificent. The suspense is frequently exquisite. Yet, as ever, it's all about the characters. Lalo manipulating Jimmy into doing the fateful job in the first place. Jimmy demanding a $100k fee, something he may regret. The power imbalance between Jimmy and the scarily calm Lalo.

Then there's Mike's little speech about how he keeps on doing all this- for his granddaughter. And the episode's main point- Kim is now irrevocably involved in Jimmy's underground stuff. She's also the wife we don't see in Breaking Bad. She's... going to die, isn't she? I'm certain. The show isn't even trying to hide it.

Saul is getting involved in things far beyond him. And it's not just him who will be hurt in the process. This is utterly gripping, suspenseful television, even by BCS standards, but it's Kim it leaves me thinking of.