A Brit-flick with a difference as Wild Rose serves up country music via Glasgow, with great performances from Jessie Buckley and Julie Walters
“No-one wants to see a convicted criminal up there.
‘Johnny Cash was a convicted criminal , you ball-bag’.”
There’s a fair bit of the archetypal Brit-flick to Wild Rose, written by Nicole Taylor and directed by Tom Harper, but enough of a distinct flavour to make it very much its own thing. And how could it not be, featuring a Glaswegian ex-con of a leading lady desperate to make it to Nashville and sing in the same room as the rather marvellous Kacey Musgraves.
Jessie Buckley plays Rose-Lynn, just having served 12 months inside and trying to put her life and her dreams back together. She has a prodigious voice and wants to make it as a country singer but she also has two kids, whom her mother has been looking her after, to think of. Possibilities rise up in the form of Susannah, the wealthy woman whose house Rose-Lynn cleans, but when you wear an electronic tag, dreams have to sit next to reality. Continue reading “Film Review: Wild Rose (2018)”
“So what are you doing about sex just now?”
As a young gay, reading Alan Hollinghurst novels felt like the height of sophistication, and whether true or not, there was an air of exclusivity about those of us who knew him (at least in the circles I moved in). So his ‘breakthrough’ with winning the Man Booker Prize for The Line of Beauty was a validation tinged with disappointment that I now had to share that something special. His journey into the mainstream was completed with the requisite television adaptation, but with Andrew Davies at the helm for BBC2, it did feel like the right hands were on the tiller.
Hollinghurst’s story centres on a five year period in the life of Nick Guest, a fresh-faced Oxford graduate who moves to London in the summer of 1983. His offer to house-sit for the family of a university friend leads into an odyssey of personal and sexual discovery as he becomes a full-on lodger, thrust into the world of Tory politicians and old money, around which he fits furtive encounters with men as he explores his sexuality in a world in where homosexuality is far from being widely accepted in public. Thus the two main strands overlap and complement each other: Nick is given a window into the privileged lives of the wealthy upper classes in the Thatcherite boom years and in which he is allowed to play his own supporting part, but in the shadow of the emerging AIDS crisis, he discovers just how barely tolerated gay life is and just how hypocritical this society can be. Continue reading “DVD Review: The Line of Beauty”
“What should it be that they so shriek abroad”
After Twelfth Night, the Shakespeare on 3 radio season continues with Romeo and Juliet with the same company, plus a few additions, taking on the Bard’s work again. Whereas there’s a nice sense of continuity about it, it’s an odd choice as there’s another play, The Tempest, to complete the season which uses a different cast. And it is also a slightly difficult choice in the limitations it imposes on the casting, although this may just be a personal thing as it took a long time for me accept the idea of Trystan Gravelle, an actor I really like, as the teenage Romeo.
His voice is so melodiously identifiable that I completely failed at convincing myself I was listening to Romeo rather than Gravelle, and even if you’re not familiar with him, I’m pretty sure he just sounds too old and experienced for the role. Paired with Vanessa Kirby as Juliet, whose voice I struggled to warm to in Twelfth Night, it made for an ignominious beginning despite the evocative sound design of the piece. But something eventually clicked after about an hour, whether it was my preconception finally dying down or the production finding another gear or some combination of both, and from their post-coital glow of tenderness I completely bought into them as a couple. Continue reading “Review: Romeo and Juliet, Shakespeare on 3”
Time is slipping away from me somewhat and so I’m going to cheat a little by lumping together reviews of Radio 4 Afternoon Plays into one post which might hide the fact they’re more mini-reviews than anything. I do like to diarise everything theatrical, such being the addictive nature of maintaining this blog, and so I wanted to tip the nod to these plays, Lilo by Katie Hims but particularly Dawn King’s most excellent My One and Only.
I first became aware of King with her darkly atmospheric play Foxfinder at the Finborough last year which I rather enjoyed, so was looking forward to My One and Only even before the announcement of the frankly fantabulous Katherine Parkinson as Layla, one of the lead roles in this tale about stalkerish obsessive love and the modern technological age facilitates that all too easily. A modern advancement of the epistolary form, this play is made up purely of phone calls yet King manages to build up character and mood in the most effective of manners as the tale twists and turns with jaw-dropping revelations and heart-stopping tension. Continue reading “Review: Afternoon Dramas – Lilo and My One and Only”
“I never miss an opportunity to go unnoticed”
I love me some wartime drama especially when it involves the role of women, TV films like Housewife 49 and plays like The Firewatchers fill my heart with joy, and so the 15 minute drama for this week (formerly the Women’s Hour drama) fell very much into my field of interest, with an added twist of alternate history in the mix. Ed Harris’ The Resistance of Mrs Brown imagines a world where the British were defeated at Dunkirk and a Nazi Military Administration has been set up in London. Joan Brown works as a tea lady for the new powers-that-be and is determined to keep her head down, especially after the death of her husband, but when she advertises for a new lodger, she is contacted by the Resistance who want to use her unique position to help strike a blow against the Nazis.
Amanda Root’s delicate clipped tones make a beautifully unwilling heroine out of Mrs Brown, who is pushed along by the forthright Mrs Crace, a delightfully matter-of-fact Adjoa Andoh and Simon Bubb’s Wode who try their best to cajole her into going along with their plans, and using her as a narrator is an inspired choice by director Jonquil Panting as we’re constantly reminded of her reticent fragility which ends up responding beautifully to the challenges that are presented to her. Whether its her daughter, her boss or the men she serves tea to who come to know her a little, she is pulled one way or another until she finally gains the confidence to stand up for what she truly believes in and consequently makes decisions according to her own conscience. Continue reading “Review The Resistance of Mrs Brown, Radio 4”
“No-one is truly innocent”
Even though the word ‘play’ has now been banished from BBC Radio, as renaming everything ‘Drama’ apparently brings it into line with the rest of the BBC’s output (although the reasoning adopts a ridiculously unnecessary position in justifying dropping the word ‘play’ as this article nicely puts it) , I have still been listening to the odd play, sorry drama, when the time has been available. Doug Lucie’s Sunset was one I particularly enjoyed, so I thought I blog it briefly.
I have to admit that my choices for listening are often governed as much by who is involved in the cast as the subject matter of the writing itself: some actors just have voices I could listen to all day and so I jump at the opportunity to hear them where possible. In this case, it was Stella Gonet – whom I’ve adored ever since The House Of Elliot – whose presence was the most appealing, though Leo Bill and Jason Watkins alongside Julian Glover and David Bamber added much to the appeal. Continue reading “Review: Sunset, Radio 3”
“He felt like he was in another world”
And so my delving into the world of radio drama continues with this adaptation of Edith Wharton’s novella Ethan Frome. Serialised on Radio 4’s Woman Hour as was Possession, this didn’t appear to get the omnibus treatment so I had to listen to it in 15 minute chunks, but by leaving it until it had finished, I was able to listen to them all in one night. To be honest, I find the idea of listening to a part a day quite odd especially as they’re only 15 minutes long, but then the whole world of listening to the radio is alien to me and it obviously works well for them 😉
Ethan Frome is perhaps not as well known as Wharton’s other works such as The Age of Innocence and The House of Mirth, but actually contains the most autobiographical detail as it took large inspiration from her own sexless marriage and ensuing passionate affair with a younger man. (The story of which is covered in the accompanying Saturday play The Jinx Element which I’ll be listening to next.) And Lin Coghlan’s dramatisation plays on this by making Edith Wharton, voiced here by the incomparable Fenella Woolgar, the narrator of the story. Continue reading “Review: Ethan Frome, Radio 4”