Spooks comes to an end with a shortened series 10 which, while not perfect, is effective in many ways
“Wait Harry, this can’t be the end”
And so after a decade, it comes to an end. Series 10 of Spooks, a shortened order of six episodes, sees the writers flip from the Lucas North show to the Harry Pearce show. This naturally makes more sense, with Harry being the head of Section D after all, but I’m not 100% sure that it completely works as it goes against the ensemble ethos of the show at its best.
The argument here is that Harry is the heart of the show and given the jib of his recent decision-making at this point, you have to wonder if this is all that wise. Given all that transpires, the final scene of the show hardly inspires confidence. That said, the memorial is a beautiful touch and Lara Pulver’s new chief Erin Watts proved a strong addition to Thames House.
A tough one this, Walker rises brilliantly to the challenge of essentially co-leading the series as a result of the Harry focus. But her treatment in the final moments of the series can’t help but feel a little unnecessary, essentially cheapened by her reduction to nothing but an adjunct to Harry. She only gets killed because of the personal connection rather than a heroic act of Queen and country she deserved (if she had to die at all). Continue reading “Lockdown TV Review: Spooks Series 10”
“The murderer is never the one you initially suspect”
A real treat here for fans of Agatha Christie as Crooked House is one of the few novels of hers that has yet to be adapted for the screen. With a screenplay by Julian Fellowes, Tim Rose Price and Gilles Paquet-Brenner, the latter of whom also directs, a curious release strategy sees it materialise on Channel 5 in the UK despite it being blessed with the kind of castings and high production values that you’d’ve thought would be destined for the cinema.
The story begins as so many of them do, with a murder. This time it is wealthy 80-some tycoon Aristide Leonides who kicks the bucket and the finger of suspicion doesn’t know where to point as it could any one of the disillusioned family members who also lived in the sumptuous family pile. His grand-daughter secures the services of a private investigator to look into the case discreetly and thus the mystery begins.
Is it Glenn Close’s mole-murdering Lady Edith, the sister of Leonides first wife? Christina Hendricks’ much younger second wife Brenda who stands to inherit everything? His hapless elder son or his hapless younger son or maybe one of their wives, a pair of crackingly vibrant performances from Gillian Anderson and Amanda Abbington respectively. And what secrets do Jenny Galloway’s nanny or Honor Kneafley’s 12 year old Josephine have up their sleeve?
Pleasingly, Max Irons’ investigator isn’t a Poirot or Marple-like savant and so the focus is allowed to rest on the unfurling of characters with murky motivations and a real sense of unease that percolates through the whole story. Sebastian Winterø’s cinematography plays into this with constantly interesting angles and Simon Bowles’ luscious production design is extraordinarily detailed in the way different rooms reflect their inhabitants.
Last but by no means least, there’s no denying the thrill that comes from a genuine shock of an ending that is brilliantly brutal, both in its reveal and its finality. Its darkness is possibly one of the reasons Crooked House hasn’t been filmed before but I love the fact that it is also one of Christie’s two favourites of her novels (the other being Ordeal By Innocence which was scheduled to be this year’s BBC/Sarah Phelps adaptation but which remains in limbo due to allegations made against one of its cast members).
“Life has dropped you at the bottom of the heap”
For many people, myself included, it is nigh on impossible to approach a film version of stage behemoth Les Misérables with a blank slate. It’s been a mainstay of the musical theatre world since its 1985 London debut – it is most likely the show I have seen the most times throughout my lifetime – and after celebrating its 25th anniversary with an extraordinarily good touring production, has been riding high with a revitalised energy. So Tom Hooper’s film has a lot to contend with in terms of preconceptions, expectations and long-ingrained ideas of how it should be done. And he has attacked it with gusto, aiming to reinvent notions of cinematic musicals by having his actors sing live to camera and bringing his inimitable close-up directorial style to bear thus creating a film which is epic in scale but largely intimate in focus.
In short, I liked it but I didn’t love it. I’m not so sure that Hooper’s take on the piece as a whole is entirely suited to the material, or rather my idea of how best it works. Claude-Michel Schönberg’s score has a sweeping grandeur which is already quasi-cinematic in its scope but Hooper never really embraces it fully as he works in his customary solo shots and close-ups into the numbers so well known as ensemble masterpieces. ‘At The End Of The Day’ and ‘One Day More’ both suffer this fate of being presented as individually sung segments stitched together but for me, the pieces never really added up to more than the sum of their parts to gain the substantial power that they possess on the stage. Continue reading “Film Review: Les Misérables”
“That’s why I love mushrooms – you pick them, pickle them and eat them”
There’s apparently no predicting the way in which theatrical transfers work (apart from if we’re talking about Chichester musicals…). I can’t imagine the logistics involved in securing the necessary financial support, keeping the cast onboard and finding the ideal venue but perhaps more significantly, I’ve no concept of how the conversations begin. In some cases it seems a no-brainer, as in the aforementioned big-hitting Chichester musicals and indeed plays; in others, it seems easily misjudged, cf Written on the Heart; and then there’s the others, in which a perfect confluence of factors enable a well-received production to make the relocation.
It is probably the latter of these options in the case of Democracy, one of the three Michael Frayn plays that made up Sheffield Theatre’s celebration of his work earlier this year (Copenhagen and Benefactors were the others), which has now transferred to the Old Vic. On the face of it, it may not be the most appealing of prospects, a play based on real-life events in West German politics in the 1970s but what emerges is a sweeping spy thriller full of political intrigue and historical significance, which is all the more compelling for being true. Continue reading “Review: Democracy, Old Vic”
“I’m losing patience with the patients”
Tiger Country is the third play by Nina Raine, writer of the best play out of all 271 that I saw last year, Tribes (which still gives me goosebumps when I think about it now) so there was nooo expectations lying on this show at all. Actually, it wasn’t too bad as I knew the subject matter here, the modern NHS, was not something that I have any connection to (unlike as in Tribes), but I was still looking forward to seeing another facet to this fast upcoming playwright’s work. Interestingly, Raine also serves as director here at the Hampstead Theatre, this writer/director thing being something which this season at Swiss Cottage has featured heavily (Athol Fugard and Mike Leigh being the other culprits).
Raine’s production reconfigures the space in traverse, allowing for the hustle and bustle of hospital life to be quickly and efficiently portrayed. We see emergencies being rushed in by paramedics, the studied quiet of the operating room, the weariness of the staffroom, private rooms for terminally ill patients, cubicles, wards, offices staffed by a range of medical professionals with varying degrees of enthusiasm, coping with terminal exhaustion and a hierarchy that won’t let go of age-old rivalries between departments. Looking at the personal and professional lives of the medical staff as they deal with the unrelenting pressure to make the right decisions for both their patients and themselves. Continue reading “Review: Tiger Country, Hampstead Theatre”
My intention is, honestly, to see less theatre this year and try and regain some semblance of a normal life again on the odd evening. But the curse of advance booking and grabbing cheap(er) tickets whilst you can has meant that there’s already an awful lot of theatre booked for 2011. Some have been booked without a huge deal of enthusiasm, but others have a dangerous amount of anticipation attached to them…and so I present to you, the shows I am most excited about seeing this year (so far).
Antonioni Project – Toneelgroep Amsterdam at the Barbican
The Roman Tragedies was hands down one of the most exhilarating and refreshing theatrical experiences of 2009 and possibly my life, I’m even headed to Amsterdam in May to see a surtitled production of their Angels in America. So when I heard that the same Dutch theatre company were returning to the Barbican in February, tickets were booked instantly and I am feverishly over-excited for this now! Continue reading “Shows I am looking forward to in 2011”