Sunday, 6 July 2014
Jimmy McGovern thinks the legal concept of joint enterprise is a bad thing, and he's written a one-off drama to show us why. It has always been something of a controversial matter, as in the case of Derek Bentley, who was hanged for his allegedly saying "Let him have it" to his younger companion, even while he didn't pull the trigger, had learning difficulties, and was arguably urging Christopher Craig to hand over the gun, rather than use it. Craig, of-course, was too young to hang.
So here we have Johnjo O'Shea (Nico Mirallegro from 'The Village') giving some friends a lift to get a pizza in his brother's car and becoming a horrified getaway driver when they end up claiming a victim instead of a Margherita. Viewing the lads as a gang, the police want prosecutions under joint enterprise, which means that Johnjo's not being at the murder scene and claiming his innocence of any intent is not a good enough defence. His parents and those of the victim - a bystander - both want what they perceive as justice for their sons.
This is familiar McGovern territory - the solid working class under threat - and his reputation gets him the airtime to explore the aftermath of this single act of violence for the estranged, bereaved Wards (Susan Lynch and Daniel Mays) and for the bewildered O'Sheas (Jodhi May and Andrew Tiernan). Arguably, McGovern doesn't need 90 minutes. A wail of anguish and a throwaway remark are the kind of moments that nail the realities of life for the families in his dramas, and with this calibre of cast it's enough. Johnjo, like many of the accused in joint enterprise cases, finds himself between a rock and a hard place: get tried for murder and face a potential life sentence, or plead guilty to conspiracy to commit GBH and face a probable 6 years. His fellow accused manage to persuade the one who actually stabbed the lad to plead guilty to murder, but must then rely on Johnjo to plead guilty to the lesser charge alongside them, or all of them will stand trial for murder. So despite being genuinely innocent, even of the plan to assault a local lout that the pizza parlour manager was party to, Johnjo faces imprisonment. His lawyer and his aunt urge him to take the lesser charge, believing that the establishment use joint enterprise "to clear the scum off the streets", while his mother objects on moral grounds (and presumably the rather more prosaic ones that he will emerge with a criminal record). For Johnjo, a haemophiliac, neither option is desirable.
It's decent drama exploring a deserving subject - apparently a select committee is currently looking into the law that has its basis in preventing duelling in the 18th Century - but weighted here by our knowledge of the fact that Johnjo did not break any law. For the judge and, had it gone to full trial, the jury, there would be circumstantial evidence in the form of CCTV footage of the car, engine running, outside the pizza parlour and the lads running over to it before driving swiftly away, though the lads claim they would have backed up his plea of ignorance as to their intent. In other cases, such as those where someone in his position is guilty of involvement in a conspiracy to murder or cause GBH, then might there be some positives to this charge? We hope the select committee will look carefully at the issue, but it'll take more than that to stop random violence among young men, or prejudice on the part of prosecutors.
McGovern's next project, due to air next year, is 'Banished', set in an 18th Century Australian penal colony and concerning the lives and loves of prisoners. So, no topical arguments then? Doubtless our Jimmy will find a way to reflect our own crumbling prison system, with a bit of Brookside-in-bodices thrown in.
Thursday, 3 July 2014
We weren't all that crazy about Blick's previous dramatic outing in 2011, 'The Shadow Line'. It was one of those intriguing but flawed pieces we wanted to like but.... 'The Honourable Woman' has been trumpeted as this year's serious BAFTA contender with a stellar cast including Hollywood's Maggie Gyllenhaal and a storyline encompassing the unending conflict in the middle-east.
So far, this is a huge improvement on its predecessor, which was willfully opaque and overblown. Not that this is the kind of drama you can snooze through, by any means, and nor does it deal with smaller themes. Ms. Gyllenhaal plays Nessa Stein, who with her brother Ephraim (Andrew Buchan) directs the legacy of her rich Israeli father, who was killed in front of them when they were children, 29 years previously. Nessa makes an enemy of a friend when she awards a communications contract for Palestine to a Palestinian. Unknown to her, the recipient is already dead, having been murdered by killers who made it look like suicide. Newly created a cross-party peer, Baroness Stein of Tilbury has secrets. She tells us little more in her voice-over, but we're introduced at a steady pace to her bodyguard, her PA, her brother's family and a Foreign Office operative who knows her secret (Eve Best, from 'Shadow Line'). Another hangover from the other series is slightly rumpled, slightly sinister Stephen Rea as an about-to-be-retired spy who is drawn into the suspicious death, and who will no doubt have to call on his embittered ex (Lindsay Duncan) in the process. Then there's the Israeli woman who helps Ephraim with his family, and has a past with Nessa in the Gaza Strip. Whatever happened 8 years ago is catching up to the Steins by the end of the hour, leading Nessa to a tense, nighttime run through Hyde Park with unforeseen consequences.
Part one of eight and we'll keep watching. Maggie Gyllenhaal is wonderful as Nessa, with a flawless English accent and a performance of poise and gravitas as the self-possessed, super-rich but damaged businesswoman. A sense of doom hangs around her, evidenced by protests that dog her even to a musical evening and a hounding by a radio presenter. There's also the poignant music, which is currently balancing between adding atmosphere and instructing the audience that hey, this is tragic stuff, but is in danger of veering towards the latter. Whatever the secrets are, Blick will no doubt unfold them in unexpected, cleverly-measured ways, and with the superb cast and the script thankfully understated, we're hoping this will be the rich experience it promises to be.
Wednesday, 25 June 2014
A 'does what it says on the tin' title that nonetheless doesn't do justice to this hour-long drama based on a real case. We have nothing against BBC3, but don't often watch it, and this was a worthwhile exception. 17-year-old Ashley (Georgina Campbell) meets Reece (Royce Pierreson) at a party. They have friends in common and even went to the same school, and their obvious mutual attraction soon blossoms into a relationship that has Ashley telling friends she's happy and in love. Reece, however, has a possessive streak and strange ideas about domestic harmony, and things turn sour when Ashley discovers she is pregnant. He promises her the earth to keep their baby, but refuses to live with her and is unfaithful. His short fuse has him lashing out, in front of their daughter, and his physical strength and manipulative talk inflicts real damage on her bodily and mental health.
The spoiler is in the title, but what makes this worth watching are the nuanced performances from the leads (and nice to see Kate Hardie on screen again). They are good enough to make you understand what is often incomprehensible: why would anyone stay with a violent partner? Ashley is young, impressionable and in love, wanting a father for her daughter, and drained of her natural confidence by her intimidating boyfriend. He has a predator's instinct for undermining her, and literally and metaphorically battering her into submission to his will.
A brave drama. The news may feature celebrity-led protest against gender-based atrocities abroad, but domestic violence on our doorstep is on the rise too.
Intriguing Irish crime drama about the disappearance of a fourteen-year-old girl and the desperate search by her parents. Each of the four episodes covers different aspects of the same timeline, from the day she went missing to almost two years later. It makes good use of the device in slow reveals of Amber's story and its aftermath, with the slow and painful disintegration of the family, and aside from a slightly contrived third episode around a mobile phone (no spoilers) it's gripping and harrowing stuff.
In opting for the life-like route, though, it probably splits its audience. It's a haunting exploration of how much damage is caused by a lost child, but it lacks a dramatically satisfying end and leaves many loose ends: will Amber's father Ben continue his efforts on the 'dark web' and risk imprisonment? What part did the prisoner who knew about the mermaid mural play? Why did Amber get off the train in the middle of nowhere? How did her lamp end up in the water? Is the man on the beach with his dog a suspect? And what about the boy in the chatroom, who was in Nerissa's with Amber's friend who said she didn't know him? Intriguing, but frustrating.
Monday, 2 June 2014
Penny Dreadful, Sky Atlantic's new huge-budget, high-concept TV drama began last week. It's dripping with high production values, but at the same time it's a strange mix of things.
First, it reminds us of Alan Moore. Like Moore's The League of Extraordinary Gentlemen, it mixes various iconic stories and characters into a steampunk sort of setting. While League had Alan Quartermain, Tom Sawyer and Captain Nemo, Penny has Frankenstein, but also overlaps with Dorian Grey and Mina Harker from Dracula.
Second, it reminds us of Ripping Yarns. Ripping Yarns deliberately set out to debunk this sort of tosh (particularly in the episode The Curse of The Claw), and also loved getting cameos from famous friends.
Within these confines it's pretty good, and it's great to see Timothy Dalton in such a meaty role, but as with a lot of the recent Sky stuff, it's not as good as it thinks it is. Yes, it's suspenseful... but one person's 'nail-biting suspense' is another person's 'get on with it', and more often than not we fall into the second camp.
Wednesday, 28 May 2014
Tom Hollander is a genius. He bears no more than a passing resemblance to poet Dylan Thomas, and to most viewers is more familiar in a dog collar as 'Rev', but within fifteen minutes is utterly convincing and, more, sympathetic as the gifted, spoiled, self-pitying alcoholic. This takes his Big Apple trip in 1953 which proves to be his last, and interweaves just enough of his prime moments in life to give a real sense of the intense feelings that drove him to sublime heights of verse and terrible lows at the bottom of several bottles. When it comes to drink and women, he just can't seem to help himself, and his fame and charm give him abundant access to both, much to the anger of his wife in Laugharne, Caitlin, and his mistress in New York. This recreates early '50s NY on probably a fraction of 'Mad Men's budget and while some of the accents stray eastwards of the Atlantic and even of Wales, this remains a beguiling 80 minutes, and a fitting tribute to a flawed, fabulously gifted man who died at only 39.
Monday, 26 May 2014
Daniel (Philip Glenister) tries to reconcile his wayward brother Robbo (Steven Mackintosh) with their dad Samuel (Bernard Hill) over a drink in a central Mancunian pub. Unfortunately for him, the truce fails and they are sitting feet away from the IRA bomb on the day it exploded in 1996. Nobody dies, of-course, but it proves a catalyst in all their lives. Before the end of the episode (one of three) Sam has had a stroke, Robbo has come up with not one but two insane plans to clear his debt and Daniel has begun an affair with the pub cleaner, whom he rescued from the wreckage.
This has nice moments but is mostly either predictable or unbelievable. The use of northern staples the Stone Roses and the Smiths on the soundtrack is lazy and responsible Daniel's sudden need to escape from his close (adoptive) family into the arms of a stranger just doesn't ring true. So far, this is largely a waste of a good cast, in-particularly Steven Mackintosh, who turns in an ill-advised imitation of the drug dealer in 'Withnail & I'. If you like Madchester, and these are typical residents, you may like it a little less after watching this.