The Casual Vacancy

Rather too much ham?

Having not read any of the Harry Potter books, nor watched the films, we can't say we came to this with eager anticipation.  Rowling seems to have set her sights firmly on the crime genre now with her second outing as Robert Galbraith on the shelves, but between magic and murder came 'The Casual Vacancy', an adult lit fic novel that garnered fairly mixed reviews.

Pagford is a fictional Gloucestershire village... and a metaphor for the seething, grasping, petty bourgeoisie of modern middle-England, according to Rowling.  The first hour (of three) introduced us to the spread of characters from the rich Sweetloves ("My wife does fun runs... well she knows people who do") to young hotpants-wearing Krystal Weedon (Abigail Lawrie) whose big mouth and drug-addicted mother bring her nothing but trouble.  The catalyst for the action is the death of Parish Councillor Barry Fairbrother (Rory Kinnear) who opposed the development of a town spa as "social engineering".  His titular vacancy is now being fought over by the pro and anti-spa lobbies, in a way that will have the Daily Mail frothing about BBC Leftie Dramas and turning over to watch the Good Old Days of the Raj on Channel 4, or possibly the entrepreneurial (if American) spirit of Mr. Selfridge on ITV.

Did we like it?  It had its moments, inevitably with this calibre of cast, but overall its tone was uneven and its characters so stark as to be almost cliche.  No doubt TV producers thought the book was an obvious choice for an adaptation, but the novel is a long one, with plenty of room for nuance, and 180 minutes of television is not going to bring out the best in the material.  We felt bludgeoned by the juxtaposition of soft sandstone exteriors and modern social housing, and an incessant soundtrack.  Extremes exist, of-course, in real villages and towns, so it's quite a feat that this feels so unnatural.  Maybe it's the - it has to be said - Harry Potteresque nature of everyone so far.  The Mollisons (Michael Gambon and Julia McKenzie) are shallow, devious snobs while Fairbrother, whose online identity someone is appropriating (or are they?) to comment on the ongoing Pagford squabbles, was just trying to do the right thing for the locals, and his abused nephews.   We have the comically absurd plotting of the Councillors one minute and a toddler being neglected in a drug den the next.  The problem of being not-quite drama and not-quite comedy is that the social commentary comes across as rather blatant, and black and white worlds tend to make drab grey dramas.

The Secrets

One of BBC1's half-hour-each-weeknight dramas, all on the Secrets theme and quite starry.  This first episode has Olivia Colman reluctant to help her mother Alison Steadman commit suicide.  Hard to know what to say since this may not be representative of the whole series, but this was very depressing for a Sunday night.  The obvious counterpoint of Olivia Colman's pregnancy (death and birth, the cycle of life, yes?) and the incidental humour of Alison Steadman's smoking a joint didn't relieve the bleakness much, and the legal arguments were largely sidelined.  Yet surely it was the legal status of assisted suicide which made this a secret at all?  What made this watchable were the performances of the three leads, understated to such a degree we wondered if the dialogue was improvised.  If the rest of the acting is of this calibre, the remaining episodes will be worth watching.

The Wipers Times

Typically British, we struggled with the nuances of foreign languages.  Ypres?  What sort of nonsensical word is that?  Wipers will do.  This 90-minuter co-penned by Ian Hislop about two of his favourite subjects - WWI and satire - is a nicely-focused piece about a newspaper printed at the front on a salvaged printer (which seems to work better than any modern domestic counterpart, even after a direct hit) for the troops in the trenches.  The content is brought to life in sketches acted by the soldiers which surprisingly doesn't slow the narrative.  Its tight focus precludes much of the grim business of war, but the writers take knowledge of the conflict as a given, in much the same way as their WWI counterparts did.  Which is rare and nice.

We didn't know about the Wipers, and aren't entirely ignorant of the Great War, so this was another rare thing: a genuinely educational drama.  Clearly the paper became a lifeline for many of its readers and most of all for its writers, who combated the ongoing insanity that surrounded them with humour.