A Dozen SummersBookmark and Share

Wednesday, 19 August 2015 - Reviewed by Martin Hudecek
A Dozen Summers (Credit: Monkey Basket Films)
Starring Scarlet and Hero Hall,
         With Kenton Hall, Sarah Warren, Colin Baker, 
Ewen MacIntosh, David Knight, Holly Jacobson, Quinton Nyrienda, And Tallulah Sheffield    
Written And Directed by Kenton Hall
Produced by Alexzandra Jackson and Kenton Hall, 
Music Composed by Andrew Stamp


     dozensummersmovie.com
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Right in the middle of the usual glut of mindless action blockbusters, remakes, reboots, and sequels, and forced comedy/relationship movies comes something a lot more modest in production glitz, glamour and capital. This is a good thing as it has much to offer in depth and is consequently the more memorable and significant for it. I was given the chance to see this film ahead of its UK release this Friday on the small screen, and may well be one of those that goes to support its (at least initially) limited run across a number of towns and cities. My connection to the film of course comes from working for this news and review website, and Colin Baker's involvement (and the man certainly makes his mark in typically resounding fashion). Yet ultimately the film is very much focused on the lives of a wonderfully engaging pair of twins who are just starting out in secondary school and who have quite a bit of creative spark to offer the world around them

The plot is very straightforward and this enables the film to throw up some quirky surprises in elegant fashion. Maisie and Daisy are two twins who live with their  divorced father Henry, and who infrequently catch up with their rather bohemian and young-hearted mother Jacqueline; seemingly never settling for one boyfriend for too long, such are her ever-changing needs. The girls are certainly bright enough, and have a bit of street smarts too, but that does not mean they can't be bothered by bullies or fall for the wrong person their age. They do not just go about their business in typical coming of age fashion, but instead have a keen awareness of the fourth wall of the actual movie they are featured in. Consequently they are able to make the film (especially in the opening half) have a few sidetracks and digressions which reflects their equally vivid imaginations. Thus the audience is treated to playful exploration of  thrillers, period dramas and rom-com genres, as well as the kind of behaviour of protagonists who feel reality tv self-consciousness

For simplicity's sake, in general one of the identical twins has hair bunched up, whilst the other has it resting down  but even if that weren't the case they are distinct from one another and have as much in common as not. The girls' self-awareness and quick wit is reflected in the film, and most of the supporting characters are shown to have flaws and strengths in equal measure. This even extends to giving some likeability to the school bullies, and overly paranoid shopkeeper (Ewen MacIntosh) who will not tolerate more than three kids in at a time, lest they succeed in stealing items. The film wants to reflect our British reality as much as show all sorts of dynamic imaginative flair.

As strong as the acting, music (Andrew Stamp puts in a lot of excellent work to make scenes breath) and editing all are, there are some signs of this project not having an endless well of finance to invest in. I also thought the plot could have easily allowed for a good ten to twenty more minutes screen time, and there were some elements such as Henry's new girlfriend being a different sort of challenge - but one he was more emotionally prepared for - feeling like a scene or two more would have really conveyed the emotions and personalities better. Also the decision not to do more with the Jane Austen parody was a bit unfortunate. If maybe understandable as that setting was likely up there in terms of cost, it still deserved a little bit more development so as not to feel like one component of a sketch show.

 Nonetheless, there are a lot of good intentions behind this little gem. Kenton Hall is the person with the most to do,  not only starring in a decent role as the twins' father but also directing, producing and including his own band  called Ist. Hall was mindful of producing something that serves to meet the high expectations children have, as  they are remarkably astute and critical thinkers. He placed trust in his own twin daughters carrying the movie,  knowing that by playing characters close to their real life selves, the audience could invest in real people with  wholly authentic and three dimensional personalities who are having to deal with all sorts of challenges. In review  material Hall was very clear in his objective to have child-like aspects without falling into the trap of being childish,  which any given film can be guilty of if not careful. And I commend him and his team for managing to produce  something organic and marching very much to its own tune. There is precious little material anyone reasonable  would just dismiss as 'puerile'.

 And what of Colin Baker, given that this review is primarily for Doctor Who fans? He certainly plays a memorable  role helping bookend the film with a combination of assertive narration and cantankerous indignation as he is  surprised by the combined might of the twins (and later some other people they know from school). Whether this  was meant as a clever reference to The Twin Dilemma (whose child actors were undoubtedly much weaker than  the  Hall girls) or not, the humour of the movie is rarely better than here. It feels contemporary, it feels satirical and  yet  also affectionate, as if the old-school narrator still has something to offer, but just needs to acquire a different  cast of  willing participants.. We are also teased with maybe seeing Colin on stage in the middle of the film, as his  harmonic  voice projects to a somewhat distracted audience, but ultimately the viewer must wait till the very end credits to see Mr Baker properly onscreen.

A very enjoyable effort from a talented cast and crew, this will hopefully capture enough of an audience on cinema release and also be popular on TVs, tablets and Smartphones. It certainly has enough potential to generate either a continuation of the story or a loose sequel using the same core cast.




FILTER: - Film

Survivors: Series TwoBookmark and Share

Thursday, 23 July 2015 - Reviewed by Richard Brinck-Johnsen
Survivors: Series Two (Credit: Big Finish)
Survivors: Series Two
Written by Ken Bentley, Louise Jameson, and Matt Fitton
Directed by Ken Bentley
Starring: Lucy Fleming , Ian McCulloch, Carolyn Seymour, John Banks, Louise Jameson, Bernard Holley, Tim Treloar, Fiona Sheehan, and Tim Bentinck
Released by Big Finish Productions – June 2015
The second audio series based on Terry Nation’s original series first broadcast in 1975, picks up events immediately following on from the last episode of the first TV series and approximately five weeks after the climax of last year’s first audio series. The audio series runs concurrently with the TV version, successfully allowing original TV characters Greg and Jenny to interact with new characters such as Daniel and Jackie, whose stories are picked up for this second series which exploits the rather generous continuity gap between the end of the first TV series and the start of the second. With most of the first audio series having taken place in the London area, the second returns to the West Country roots of the TV series with stories set mostly in the West of England and Wales. This provides the arc of this boxset with a more satisfyingly contained feel and yet some of the remote locations come across as being very dangerous thanks to some excellent sound design. It is also pleasing that having had the first series written mostly by regular Big Finish contributors this series has allowed two new writers to contribute, which adds a fresh feeling to the proceedings.

The set opens with Dark Rain, the first of two contributions from regular director Ken Bentley, who has a clear grasp on the characters’ voices from having directed the previous series. This cleverly serves to set the scene as we are reintroduced to Daniel and Jackie, the two main protagonists introduced for the first audio series, both sympathetically portrayed by John Banks and Louise Jameson. Simultaneously this story returns to the Grange community of the TV series, bringing with it the proper reintroduction of Carolyn Seymour as Abby Grant, alongside fellow original series actors Ian McCulloch and Lucy Fleming as Greg and Jenny. Having only heard her fleetingly in the first audio series, it is great to have Abby return to a central role in the proceedings as her ongoing search for her missing son forms a crucial part of the arc of this second audio series. The culmination of the A and B plots bring all the regular characters together before sending them off to new adventures whilst also adding Tim Treloar as Russell into the mix.

The second story, Mother’s Courage, features an all-female cast as Abby, Jenny and Jackie continue the journey to look for Peter and find themselves at an all-women community with extremely hostile views about men. They are joined on their way by another new regular, Molly, played very sympathetically by Fiona Sheehan. Sheehan makes a powerful impression in this and the subsequent episodes and will hopefully return although apparently not in series three. This unique episode is extremely well written by Louise Jameson, and provides an opportunity to delve deeper into the views and attitudes of the women survivors.

As a direct contrast, Ken Bentley’s second offering, The Hunted, features the male characters, who are joined by Big Finish and The Archers regular Tim Bentinck as survival expert Irvin Warner. This story really pushes the boundaries of how dark this series is capable of being with some scenes particularly towards the conclusion which are all the more distressing for being on audio. There are also some more pleasant surprises including a very touching scene, played with great sensitivity by John Banks and Tim Treloar.

The scene is neatly set for the finale, Savages by Matt Fitton, which brings together perfectly all the strands from the mini-arc that has run through this boxset. Without wanting to give too much away a special mention must go to Bernard Holley for his key role in the proceedings.

Survivors returns with a third audio series in November, with two further series already confirmed for 2016. On such strong form as this, long may it continue.





FILTER: - Audio Drama - Big Finish

Game Of Thrones Season Five - Episodes Seven And EightBookmark and Share

Saturday, 18 July 2015 - Reviewed by Martin Hudecek

7) The Gift 8) Hardhome. HBO/ Sky Atlantic - 2015
Tyrion: He did what he had to do to survive. ... I suspect he’s the main reason you weren’t slaughtered in your crib.

Daenerys: Jorah sent my secrets to Varys. For 20 years the spider oversaw the campaign to find and kill me.

Daenerys: But you trust him?

Tyrion: Yes, oddly. He might be the only person in the world that I trust. Besides my brother.
                                                                                       

This season is the most radical yet in condensing and altering the storylines of the source novels by George RR Martin. But many decisions seem for the best. These latest episodes have much to do, and generally do those things with conviction. Pacing is no longer ponderous, and some wonderful production values are evident for all to see.

The Gift is a title with many different meanings; most obviously being Jorah's presenting Tyrion to his former Khaleesi, and Littlefinger assisting the Faith of the Seven's relentless pursuit of the 'truth' in getting Lancel to betray his own cousin Cersei.

Hardhome is rather clearer in its connotations; the heart of the episode involving a Battle Royale, but one rather one-sided towards the forces of darkness. The usual number of set up scenes and character development also feature, which ultimately make the episode a truly special one and rather difficult to top for the next pair. This is notable, as traditionally Episode Nine gets the most attention from Thrones' creative and production talents.

We now must bid goodbye to Maester Aemon, who has been a wonderfully acted by Peter Vaugn since the opening season of the show. It may be surprising but this is effectively the first character to die of nothing more than old age and related natural illness. The Night's Watch give him a suitable send off as Sam's speech emphasises Aemon's worth - particularly his decision to forsake his (limited) prospects of sitting on the Iron Throne.

However it also becomes clear that Alliser Thorne is still a difficult man to deal with; despite Jon's gracious decision to keep him as a second-in-command. Thorne threatens Sam, noting that his friends are diminishing. Worse ensues for the royally-appointed librarian as his girlfriend Gilly is almost raped by two of Thorne's sympathisers, which would be the first time since the dark days of her life with the now-deceased Craster.

Immediately after Ghost rescues both her and a depressingly outmatched Sam trying to scare off her assailants, Gilly is somehow able to not only tend to her beau medically but to proceed to deflower him. That makes one more Night's Watchman to forsake their vows, but given the innocence and decency of Jon Snow and Samwell Tarly very few viewers could blame them.

Sexual violence does unfortunately continue for fan favourite Sansa back in Winterfell, and it is soon established that her brave attempt to escape with help from a local supporter was doomed to fail. Ramsey's display of the old woman's partially flayed corpse and commentary on her degree of resistance to his handiwork is another fine bit of acting from Iwan Rheon. Here is one of the best villains on TV currently, especially with Joffrey now killed off.

I did find the lack of Roose in The Gift a touch unfortunate. It is all very well having his heir convey the information on Stannis' decreasing prospects, but the rich tones of Michael McElhatton would have been just perfect in drumming up interest for the impending battle of Winterfell. There are some misgivings with book purists over making the Jeyne Poole storyline into the present path for Sansa, but in all honesty this works brilliantly, and many will hope for a major climax in the near future. I also welcomed Sansa hearing of Jon's elevated fortune.

"Night Commander now, I've gone up in the world" would be a fun line to hear from her half brother, but this show is pretty grim at the best of times, and with Jon's plans to recruit Wildlings to the cause any meeting of these half-siblings is rather moot anyway.

The million dollar question however rests on whether Theon will help his childhood 'sibling' and enable an escape for her after all. That he has admitted that Bran and Rickon were not killed and thus may perhaps be safe is maybe an indicator. Yet one must remember the grievous mental and physical torture that he will never be able to exorcise from his soul. Alfie Allen is truly superb in this role, somehow avoiding hamming it up. He evokes true concern from many a cynical viewer.

There is not too much focus on Stannis in this pair of episodes, with just a brief scene in Episode Seven as his sum-total. Things have not got any more promising for the 'true king' since his departure from the Wall. He faces an increasingly hostile Winter, and now must resolve himself to either march onto battle or to retreat in abject fashion to the confines of the Night's Watch. Also he has lost some sell-swords, who would probably have been some of his best fighters in hand to hand combat. (As we know Bronn is certainly an accomplished warrior despite his lowly roots).

Most significant though is the Red Witch offering dark magic to gain an advantage. But this latest ritual would be something else. She point blank requests that Stannis' soul heir Shireen be burnt alive. Suddenly the touching moment seen in 'Sons of the Harpy' is looking shaky. Stannis' immediate reaction is to shout Melissandre out of the tent, but such is Stephan Dillane's skill of acting without dialogue that we know he is not discounting this most harrowing of chess piece sacrifices.

King's Landing does get a good amount of attention by contrast, with proper confirmation at last that Littlefinger did conspire with Olenna to take care of Joffrey once and for all. However the result yielded with Tommen, who is so passive as to be on the other end of the spectrum, has only allowed opportunist like the High Sparrow to turn the status quo on its head. Jonathan Pryce's latest work as the religious zealot is just as strong if not even better, especially when sharing the screen with the legendary Diana Rigg.

The High Sparrow for now is pulling quite a few strings, and not content with threatening Highgarden's influence in terms of food supply by mentioning the might of the 'many' who could take action to stop the crops being processed, he goes on to arrest another of the 'few'. None other than Cersei Lannister.

Yes, a proper comeuppance for the demented beauty, still believing she was the Queen proper has arrived. This works extremely well in both episodes. Her visit to Margaery where she displays mock sympathy is the effective pride before the fall. Cersei must listen to a well-articulated speech by the High Sparrow on the 'essence' that all people have beneath their appearance and status. She then is brutally given the same grim imprisonment that her daughter-in-law suffers.

Come episode eight we see Cersei struggle to survive both mentally and physically, and despite her arrogance she is having to seriously consider confessing to her alleged crimes. For the moment though we are not witness to a dramatic humbling of the most off-kilter of the Lannisters.

But what of the exiled 'Lion', who is now betraying his own family through and through by finally going through with his plan to ally with the enemy Daenerys?

Well he barely manages to make it into the open fighting pit which Dany and her new husband visit as spectators as part of their royal commitments. Just moments earlier Jorah had managed to defy the slave master's will and incapacitate other combatants that were left standing after one round of lethal gladiatorial action. However the 'Imp' timed his move well and helps Jorah's desperate attempt to win back Dany look credible by approaching the Royal Box and firmly stating 'I am the gift. It's a pleasure to meet you, Your Grace'.

Onto the next episode then for Tyrion and we see that Dany (despite increased impulsive action since conquering Meereen) has at least granted a formal audience to the two outcasts at her court. Mormont is however on a hiding to nothing, with Tyrion quickly stating that he is a liability to Dany even if his intentions are borne out of the purest love (and lust!) for her. Then Tyrion must justify why he should breathe any longer by provocatively entering Meereen in the first place. We all know that Tyrion is a fantastic wit and intellect, and not long after there is a tremendous two-handed scene with Peter Dinklage and Emilia Clarke. This is perhaps the best character moment of the entire season, and I quoted a small portion at the beginning of this review.

That these two even meet at this particular time is a definite change to the much more protected events of Book Five in the source material. Yet it is most welcome and a brand new dynamic where two of the best characters verbally spar with one another.

 As with Stannis and his followers, the set of character over in Dorne are only required for the first of these episodes. I  will admit that the three Sand Snakes are ever so slightly more engaging this time round, but perhaps the credit really  goes to Jerome Flynn's Bronn. He really gets the audience's full concern for his welfare. Being threatened with a  brutal  poison that can only be cured with rapid use of an antidote certainly makes Bronn look a bit less than his usual  unflappable self. Yes we get a display of bare breasts from Tyne which is really of main appeal to the adolescents      that follow the show. I can give a pass on this as it fits the characterization established and the precedent shown by  parents Oberyn and Ellaria in Season Four.

 A little weaker is a generic scene where Jaime scolds Myrcella. She almost impresses in her defiance over just how  much she loves Doran's dashing son, but such is the lack of groundwork for the young couple, the whole exchange    just ends up as mere bluster.  Doran is nowhere to be seen, which disappoints me as well.

Arya's allotment of screen time by contrast is confined to Hardhome and is a reasonably diverting update for the most amoral of the Starks. She has a new occupation of selling seafood goods on a cart, but of course this is just cover for her latest mission for the Faceless Men, i.e. assassinating one of the more ruthless denizens of Braavos.

Lana (as she is for the moment called) is clearly disturbed by the so-called Thin Man's scheme of profiting from desperate sea captains. The men only are rewarded with death in reaching their destination leaving their widows and children facing abject poverty. This would be one enforced kill that would feel satisfying to Lana. Arguably this is one of the clearer instances of set-up out of what an episode charged with bringing significant progress to plot threads.

Arya rarely follows the status quo however, and she may well find herself either cheating to ensure the outcome, or using her new identity to try and meet her own agenda. And nothing has happened to suggest Mace Tyrell and Meryn Trant are not going to make it over to this location very soon now.

As the song goes, I have decided to 'Save The Best For Last' and the Battle at Hardhome is worthy of gaining special praise. It is a major feather in the cap for a perhaps harshly judged season of a TV juggernaut. Everything building up to this set piece is essential viewing, beginning with Tormund's brutal close of negotiations with the Lord of Bones, and then proceeding into the well directed debating scene in a wildling hut. Jon almost shoots himself in the foot by referring to his shooting of Mance Rayder in the heart, but Tormund again ensures that the Lord Commander's desperate gambit remains on track.

The tense moments in the hut featuring a pensive Giant in one corner, combined with Wildling chieftess Karsi and Thenn leader Loboda - both out for as much crow blood as they can get - is a good suspenseful section. But the real  excitement soon arrives as the King and Lieutenants of the White Walkers, and their myriad minions, burst onto the  scene. The chilling sacrifice of those Wildling who couldn't get to safety in time is a reminder of just how cruel a world  George RR Martin created in the first place.

What follows is a massive battle set-piece and one of the most demanding but perfectly executed use of talent and resources by the production crew. We are privy to so much detail with various types of shots and focuses used. Yes, the rapid jumps from the various sword fights or arrow assaults on the wights can potentially be tiring but something just works despite all the chaos. Ultimately the passing of time becomes irrelevant. Mood is dominant.

The aftershock from this episode, which ends in eerie silence, will never be forgotten by me anytime soon. Jon may have demonstrated that his 'Longclaw' sword can kill a White Walker emphatically and swiftly. The problem is that such a weapon is rare and difficult to make in bulk. And with each ally cut down by the Others' forces, another soulless zombie foe arises. The moment of purest horror is when the Wildling Karsi stares like a rabbit in headlights at Wight 'children' before being eviscerated. She later becomes a Wight herself as part of the brutal final defeat for the humanoid forces.

Perhaps one-in-ten of the fledgling alliance leaves Hardhome intact. And the overriding impression is that this is a deliberate stay of execution, and Winter Is Coming faster and with more fury than ever before.

I truly salute Deneiof and Wiss for having the courage to carve their own path. This epic battle was barely covered properly in the books, even if it had some significance. Yet by galvanising it so as to probably forge the jewel in Season Five's crown, the showrunners have once again proved just how worthy they are to be in charge.

Thrones is as cinematic as TV gets, and yet can also offer all the subtleties of character dynamics that can be found in the mediums of theatre or radio. The traditionally pivotal episode nine, and the season finale, will need to be strong to do justice to the many adventures, intrigues and battles unfolding. On the evidence presented recently, that goal should indeed see a translation of intent into substance.




FILTER: - Game of Thrones

Jonathan Strange & Mr Norrell Episode Seven - Jonathan Strange & Mr NorrellBookmark and Share

Monday, 29 June 2015 - Reviewed by Martin Ruddock
Jonathan Strange and Mr Norrell (ep 1) (Credit: BBC)Written by Peter Harness Directed by Toby Haynes First transmitted 28th June 2015, BBC One
All good things must come to an end, and the finale of Jonathan Strange & Mr Norrell is the most spectacular episode yet. So much happens, with so much nuance crammed in, and so much startling imagery. The ensemble cast, all so good in previous instalments all crank it up a notch here. This is a satisfying end to a big story.

It opens ominously. The mirrors of England have all been smashed by Strange's trick with the ravens, Magic is in disgrace, its reputation in ruins, shouted down by the whole of government. Strange is still in his black tower, Norrell has taken his leave back to Yorkshire, and the Gentleman is still continuing his lengthy, cruel dance.

In fact, reputation turns out to be a major theme, it's hinted at in previous episodes, but really comes to the fore here. The disgraced Drawlight, his clothes in tatters, meets with Lascelles - who really has turned out to be a nasty piece of work. Drawlight has been reduced to a tragic figure, determined to deliver Strange's messages (and Lady Pole's missing digit). Lascelles refuses to let him near Norrell, and kills his former associate to preserve Norrell's reputation, and therefore his own.

Lascelles then visits Norrell, where Childermass quickly cuts through the bluster to the truth. Lascelles pulls a knife on Childermass and cuts his face (Norrell is too busy attempting to erect a magical barricade to notice), but Childermass takes the opportunity to steal back what Lascelles has taken. The two men neatly spell out that this version of England truly has its own North-South divide, Lascelles sees himself as a 'gentleman', and Childermass as 'from the gutters of Yorkshire'. Childermass, a man who's had a belly full over the last six episodes, calmly reminds Lascelles that he is in the North, where the Raven King lives on in hearts and minds, witheringly resigns from Norrell's service, and leaves like a boss.

This leads straight to the confrontation between the increasingly raddled Strange and scared Norrell, as Jonathan appears in Norrell's library. The two have shared little screen time over the last couple of episodes, but they finally lock horns here. It all ends with bathos, as Norrell has little recourse to Jonathan's onslaught but to make it rain. 

But the dying Strange doesn't want to kill Norrell, he wants his help. Norrell is still in denial about his bargain with the Gentleman, but ruefully says that didn't want Strange to fall into his mistake. When Strange decides to attempt to summon the Raven King, he and Norrell finally truly work together. Norrell even manages a compliment about Strange's book -  "The most beautiful book of magic I have ever read". The relationship between the two men is complex, but teased out beautifully by Bertie Carvel and the more understated Eddie Marsan, whose quiet, nuanced performance is never better here.

This leads to the showstopping arrival of John Uskglass, the Raven King - who sweeps in spectacular fashion, finding the hanged Vinculus, reviving him from the dead, and rewriting the book Vinculus has tattooed on his person. He may look like the singer from a Black Metal band and say nothing whatsoever, but this guy has serious presence. It's a shame he has so little screen time, but there is a lot to cover here.

Back at Chez Segundus, things finally come to a head, as a freshly resigned Sir Walter Pole learns Stephen serves the Gentleman.

Well-meaning Segundus finally reunites Lady Pole with her finger and her sanity, pulling her out of the Gentleman's dance, and incurring the Faerie Host's fury. Lady Pole finally gets to give the Gentleman both barrels, she is quite done with being bartered by 'gentlemen'. The malevolent Faerie manages a classic quip of "Why are you firing Walnuts at me?" before we see him at his cruellest, taking a different sense away from both the Poles, Segundus, and Honeyfoot in a scene of magical body horror.

Strange and Norrell's efforts to put all of English Magic into the Raven King backfire (much to Norrell's chagrin, as his entire library goes in the process, (in a nice touch, Norrell's wig is blown off) and, as a result of a misunderstanding of naming convention, all of the power goes into Stephen - who is promptly shot dead by Lascelles. Lascelles gets his comeuppance at the hands of the furious Gentleman, who turns him to shattering glass before taking Stephen's body back to Lost Hope, where he is revived.

The magicians pursue them to Lost Hope, where Stephen, the 'nameless slave' finally rebels against his bonds of slavery and kills the Gentleman in a huge, powerful set piece, that destroys the Faerie King's domain, freeing Arabella, and flinging her through a mirror into the care of the Greysteels in Venice.

Norrell and Strange have been both master and pupil and bitter enemies up to now. It's a joy to see their excitable chemistry at work as they finally become a team of equals. It's a little too late though. Strange is still somehow trapped in the 'Black Tower', and Norrell, a man not known for his valour or moral character, is trapped with him. They enter a sort of limbo together as friends, as the Raven King restores order, unseen, observed by Childermass and Vinculus.

An elegaic scene follows in Venice between Arabella, and Strange's reflection in a well. Jonathan, looking sane and healthy, speaks to Arabella from whatever realm he is in, reaffirming his love for her - but telling her not to wait for him and become a widow. It's emotional stuff, delivered well by Carvel and Charlotte Riley. Strange's love for his wife has powered the series, and his appearance to say goodbye is touching.

The last word is left to Childermass, in a scene echoing the first scene of episode one, revisiting the same gathering of would-be magicians to symbolically hand over the torch, bringing in Vinculus as the set text to study.

This series has been one of the BBC's best efforts in some years. It never captured the public's imagination to any great degree ratings-wise, but as a prestigious production it may prove a watershed, the BBC doesn't traditionally go to town on anything that won't get a lot of commercial return back. At seven episodes and with no follow-up book to base a potential second series on, it stands alone - wonderfully adapted by Peter Harness and Toby Haynes. The cast is great, Carvel and Marsan are excellent leading men, but the show is often stolen by Enzo Cilenti's brooding, charismatic Childermass, and Marc Warren's malevolent Gentleman. It looks fantastic, and I'm running out of superlatives. I'll just sign off with this - it's been magic.




FILTER: - Jonathan Strange and Mr Norrell

Jonathan Strange & Mr Norrell Episode Six - The Black TowerBookmark and Share

Tuesday, 23 June 2015 - Reviewed by Martin Ruddock
Jonathan Strange and Mr Norrell (ep 2) (Credit: BBC) Written by Peter Harness Directed by Toby Haynes First Transmitted 21st June 2015, BBC One
The Penultimate episode of Jonathan Strange & Mr Norrell finds pieces aligning for the endgame. 

In the background, we finally learn the true nature of Vinculus, and Stephen shows signs of beginning to wriggle free from the Gentleman’s thrall, as Vinculus reveals that his skin also has significance, and the two men share a moment. It doesn’t end well for Vinculus, naturally, but as he was as much book as man, can you really kill an idea?

In the foreground, Strange and Norrell are still at odds, even with Strange currently on the run. Norrell is appreciative of the quality of Strange’s book, but is making every copy of it disappear, and sending the disgraced Drawlight to spy on Strange, under threat of magical menaces.

Norrell’s involvement in this episode is mostly limited to hanging around in the background, plotting against Strange. And where is Strange?

He’s in Venice, trying to drive himself mad enough to summon a Faerie, in the mistaken belief that he can revive Arabella - who he still believes dead. Increasingly unkempt and raddled, he falls in with the Greysteels, suspicious Father James (Clive Mantle), and starry-eyed daughter Flora (Lucinda Dryzek). The latter is a bit too taken with Strange for her Father’s liking, even if he is tunnel-visioned on reviving Arabella.

Strange eventually turns a crazy cat lady into a cat herself in return for the hallucinogenic mouse that allows him to finally tip over the edge enough to see a Faerie. He really picks his Faerie as well, summoning the Gentleman, who’s somewhat aghast that Strange can finally see him. The tension between the two in this episode is electric, with an unwitting Strange first asking the Gentleman for the bargain of the return of his wife, before eventually coming to the realisation that the Gentleman - and by extension, Norrell is responsible for his loss, as Strange finds his way into the enchanted ballroom of Lost Hope, and finds the enchanted Arabella. The Gentleman is caught on the back foot for the first time by Strange’s power, and his fury.

A furious magic battle ensues between the two, with Strange only just losing, as the Gentleman imprisons him in a ‘black tower’ of darkness. The increasingly pathetic Drawlight is drawn in, and sent back out with tale between legs by Strange with a promise to Norrell. He is coming.

Toby Haynes outdoes himself visually again, with the scenes in Venice and the darkness of the sequences in the Black Tower and Lost Hope, as well as Vinculus's demise all standing out. The episode ends with hordes of ravens smashing through Norrell’s mirror, the latest in a long line of spectacular images. The scripts are superb. The central performances, from the understated Eddie Marsan, to the increasingly maniacal Bertie Carvel, and the quiet malevolence of Marc Warren's Gentleman are quite inspired. Within a week this series will be no more. We may not see its like from the BBC again.




FILTER: - Jonathan Strange and Mr Norrell

Jonathan Strange & Mr Norrell Episode Five - ArabellaBookmark and Share

Wednesday, 17 June 2015 - Reviewed by Martin Ruddock
Jonathan Strange and Mr Norrell (Credit: BBC)Directed by Toby Haynes First Transmitted 14th June 2015, BBC One
Things continue to go from bad to worse for our Magicians in episode five of Jonathan Strange and Mr Norrell, as the Gentleman’s scheming continues.
 
Opening with a bravura bit of direction by Toby Haynes, we’re plunged straight into the battle of Waterloo. Haynes’ camera swoops in from high above and dive-bombs right to the thick of the action, where Jonathan Strange is back on the front-line – doing spectacular things, surrounded by explosions, mud, and weather of his own making. Wow, frankly.
 
We see this in flashback, cutting back to Blighty, where Strange is recovering from his time at war, and winding down with Arabella. Finally it seems, they’re free to move on together, but their domestic idyll proves short-lived. Arabella is summoned from their bed at night, where she accompanies Stephen in a Faerie carriage, under the impression she is to visit a distressed Lady Pole. 
 
Needless to say, it’s a trap, and part of the terrible bargain the Gentleman is trapping an unwitting Strange into, as she finds herself in the eerie ballroom from Lady Pole’s visions. Meanwhile, her facsimile, all bark and gleaming sap, is found in a state of confusion and delivered back to Strange – who accepts her as his wife, therefore sealing the real Arabella’s fate. 
 
The poor replica doesn’t survive long, her unnatural life soon expires, leading to Jonathan’s failed attempts to revive her from the grave. The Gentleman and Stephen observe unseen, with the former trying to persuade his flunky to flick Strange’s head – like a mean kid pulling the wings off a fly. By the end of the episode, a grief-stricken Strange has ended up behind bars for attacking Norrell, and escaped through the Kings Roads to destinations unknown. Bertie Carvel’s performance in this episode is nothing short of brilliant,  conveying variously fear, trauma, exhaustion, grief, and fury towards Norrell – who refuses to help him.
 
Speaking of Norrell, he’s having another fallow week, not much to report apart from his continued stick-up-posterior. Childermass has much more to do, brooding and trying to pick a side to choose – basically he’s prepared to nail his allegiance to whoever loses the passive-aggressive battle between Strange and Norrell. What a guy.
 
Meanwhile, Lascelles continues to be Norrell's vicious acolyte, whilst Drawlight is still, as we see, behind bars. Vinculus pops up again to sow intrigue, and Mr Honeyfoot - probably the slightest character so far, finds sense in the 'ramblings' of Lady Pole, and is decoding the meaning.
 
As the series begins to draw to a close, all these disparate threads are drawing together. However, this is Jonathan's episode, and rightly, his cliffhanger. We've seen what he is capable of in battle, what might such a magician do in anger?




FILTER: - Jonathan Strange and Mr Norrell