"That Would Never Happen!" Dan and Ali write the real reviews of UK TV drama serials (stuff marketed as quality, if you please), telling it like it is rather than the my-mate's-the-director, I-get-party-invites, or the I-need-my-job reviews that often appear. Not to mention the I've-not-watched-it....
Saturday, 5 March 2016
Churchill's Secret
'Elderly man isn't all that well' isn't really a revelation, but when the man in question is Prime Minister Winston Churchill (Michael Gambon), symbol of British Bull-doggedness in WWII, the news is not to be bandied about. Loyal members of his cabinet want the PM's stroke kept under wraps, lest there's an unseemly scramble for power in the absence of both Churchill and likely successor Anthony Eden (Alex Jennings), who was having gall bladder surgery abroad. Mrs. Churchill, the redoubtable-in-her-own-right Clementine (Lindsay Duncan), wants Winston away from the temptations of Westminster and brings him back home to the Kent countryside home of Chartwell. To nurse him, they contract Nurse Millie Appleyard (Romola Garai) but their peace is short-lived when the in-fighting Tories - plus ca change! - and the equally quarrelsome younger Churchills flock to Winston's bedside.
One of those 'rather nice' dramas that will go down well in America, this is a bit of a curio. The storyline runs in a similar way to 'The Madness of George III': statesman brought low, struggles of his family and the succession, slow recovery, lessons learned etc. It's beautifully filmed, some of it at Chartwell itself, now a National Trust gem, and is directed solidly by Charles Sturridge. Overall though, it's rather a byway in the great man's life, and not that one that really altered the course of his remaining decade or so. The addition of a fictional character to nurse him, who of-course happens to be from a Labour family, seems an unnecessary addition to proceedings, and merely a cypher in whom Clemmie can confide about the grief of losing her young daughter Marigold some thirty years earlier. Things only really spring to life when the children arrive and, facing their father's death, are candid about the drawbacks of growing up with parents who were almost always otherwise engaged.
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