Tag Archives: BBC

BODYGUARD (2018) – BBC TV REVIEW

BODYGUARD (2018) – BBC TV REVIEW

Producer(s): Priscilla Parish, Eric Coulter, BBC

Created and written by: Jed Mercurio

Director(s): Thomas Vincent, John Strickland

Starring: Richard Madden, Keeley Hawes, Gina McKee, Sophie Rundle, Paul Ready, Vincent Franklin, Stuart Bowman, Nina Toussaint-White,  Stephanie Hyam

Composer(s): Ruth Barrett, Ruskin Williamson

Cinematography:   John Lee

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Jed Mercurio has written and show-run some seriously good television over the years. I remember watching the acerbic medical comedy-drama Cardiac Arrest in the 1990s and enjoying greatly the honest, bleak and black humour of the show. So much so it made hospital soap Casualty look like a kids’ birthday party. Being from a medical background Mercurio would later revisit the NHS for the critically acclaimed programme Bodies (2004 – 2006); a show that contained graphic depictions of surgical operations amidst the cut-throat administrative and medical drama. Subsequently he would have, arguably, his biggest hit with the show Line of Duty. Gaining massive viewing figures Line of Duty concerns a crack team of police officers who investigate corruption within the force.

Mercurio created a solid genre premise with each officer under examination being played by a formidable lead actor. These included: Lennie James, Keeley Hawes, Daniel Mays and in Season 4, Thandie Newton. His strengths as a writer are to use realistic settings, scenarios and characters and twist them for every ounce of suspense possible. His work also contains brilliant narrative twists that often go against genre expectation. Indeed, he has no qualms casting a famous actor and killing them off when you least expect.

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With his latest show Bodyguard, Mercurio has again looked within the police force as a starting point. His main protagonist David Budd (Richard Madden) is part of the Royalty and Specialist Protection Branch tasked with protecting the ambitious Home Secretary, Julia Montague; portrayed by the always brilliant Keeley Hawes. Over six episodes Budd has dangerous encounters with: his own force, MI5, Counter Terrorism Command, terrorist cells, organised crime and in-fighting Government officials too.  Safe to say Montague becomes a target and very soon Budd is fighting not just for her life but his own.

Opening with an incredibly tense scene involving an Islamic suicide bomber on a train, the show raises the pulse with incredible consistency. Another stunning set-piece involving a terrorist attack on a school plus a vicious sniper assault on the Home Secretary in a later episode demonstrates that Mercurio wants us in the heart of the action. In terms of the politics of the series they are incredibly murky and confusing, in a good way. What I mean is we live in a confusing world of fake news, terrorism, racism, suspicion, paranoia, violence and corruption. It’s difficult to know what to believe and who to trust. Mercurio doesn’t offer any easy answers and everyone is a suspect. Even Richard Madden’s Budd is a tortured soul showing skill at his job but a heart and mind riddled with post-traumatic stress. He deals with the separation from his wife by drinking and burying his angst in his dangerous work.

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Bodyguard had me hooked from the beginning and really turns the screw dramatically throughout. The ensemble cast are uniformly excellent but Richard Madden and Keeley Hawes are particularly memorable. One could argue the representation of the terrorists’ borders on the stereotypical, but it’s a tough call because Mercurio is effectively reflecting events which have occurred within the U.K. in recent years. Whether such violent situations should be turned into primetime entertainment is a question for a whole different essay, but the writer and creator has shown once again he can take serious issues and produce exhilarating genre television.

Mark: 9 out of 11

 

 

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DOCTOR WHO – SEASON 11 REVIEW: THE WOMAN WHO FELL TO EARTH (2018)

DOCTOR WHO – SEASON 11 REVIEW: THE WOMAN WHO FELL TO EARTH (2018)

Directed by: Jamie Childs
Written by: Chris Chibnall
Cast: Jodie Whittaker, Bradley Walsh, Tosin Cole, Mandip Gill
Producer: Nikki Wilson
Executive producer(s): BBC Productions, Chris Chibnall, Matt Strevens, Sam Hoyle
Composer:   Segun Akinola

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As a massive Doctor Who fan I was very much looking forward to the latest incarnation of one of the galaxies’ longest running television shows ever. With a new Sunday screening slot it was great to see the show back with a new Doctor, new showrunner, new sonic screwdriver, new companions, new theme tune, new Doctor Who costume and new, soon to be seen, inside-of-the-TARDIS. Yet, while there were lots of new stuff flying about on screen there was pretty much no major changes in the narrative formula. Basically, an alien from outer space, along with various sidekicks, battle to save the Earth or whatever planet they are on, while using: skill, luck, gadgets, guile, time-travel paradoxes, intelligence, stupidity, righteousness, technology, diversity, bravery, action, morality and good old fashioned running and jumping about.

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The first episode in this series called The Woman Who Fell to Earth was a fine, if safe, introduction to the new Doctor. It had a lot ground to cover introducing all the various elements I mention above and on the whole Chris Chibnall delivered a fun, linear script with some great lines of dialogue, decent jokes and an emotional pull not always present in Steven Moffat’s often very complex temporally challenging narratives. The “Predator” style alien invasion was something we’d seen before in Doctor Who and many science-fiction shows, films and books but the actual alien monster itself was quite scary. Moreover, some good comic mileage was mined from name “Tim Shaw” alone.

Jodie Whittaker, an instinctive and ultra-talented actor, was effervescent in the lead role and her earthy Yorkshire accent is certainly a change from the gravelly Scottish brogue of Peter Capaldi. The Internet broke when Whittaker was cast as the first female Doctor with protestations on the gender switch. All I can say is: get a life! The Doctor is both an alien shape shifter with two hearts who has lived for many millenniums and let’s face it, fictitious!  Who cares what gender they are because the most important thing is the quality of production, storylines and performances?  Based on this episode and the future clips I think this season will be very fine entertainment. I think that once Whittaker settles in to the role and is given some meaty and passionate storylines we will see her Doctor soar. Due to the characters’ regeneration and the wicked pace of the episode, Whittaker’s emotional range was not really tested, but I’m sure it will be.

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Perhaps the most surprising thing for a show with so much change was how familiar it all felt. But the one thing I did enjoy was the feeling we’ll be spending time with an interesting and diverse set of characters within a pseudo-family unit. You have the Doctor, obviously, representing both mother and father, Bradley Walsh’s character representing the Grandfather and Tosin Cole and Mandip Gill representing older children. It remains to be seen whether the latter will have a will-they-won’t they-romantic relationship, which would require a re-write on this observation. Nonetheless this new-styled A-Team-in-Space will be a force to be reckoned with I’d say. Perhaps more time could have been allowed for the characters to question the fantastical events but the episode went for fast, fast and faster so hopefully later episodes will give us a chance to breath a tad more.

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Ultimately though, Doctor Who is thematically a show about hope, family, caring, inclusion and doing the right thing in space and time. It’s also meant to be a lot of fun. Chris Chibnall, as showrunner, hasn’t aside from casting a female Doctor, attempted to reinvent the wheel but instead concentrated on the strengths of the show.  He has demonstrated by the diverse castings, the opening Northern setting, and introduction of a dyspraxic character that inclusion will thrive, as usual, in the Doctor Who ‘Universe’. So, if this series delivers some fine emotional scripts with scary monsters, space-ships, aliens and some good old time-travel bits then BBC1 on Sunday evenings will certainly be worth watching. Unless you record the show and watch it in the future!  In which case the future is in safe hands too.

Mark: 8 out of 11

A VERY ENGLISH SCANDAL – BBC TV REVIEW

A VERY ENGLISH SCANDAL – BBC TV REVIEW

Directed by: Stephen Frears

Written by: Russell T Davies – Based on A Very English Scandal by John Preston

Starring: Hugh Grant, Ben Whishaw, Monica Dolan, Alex Jennings, Blake Harrison, Eve Myles, Patricia Hodge etc.

Composer(s): Murray Gold

Production Company: BBC

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**MAY CONTAIN SPOILERS**

I’ve never been a fan of politicians. They are a necessary evil. Perhaps I shouldn’t blight a whole raft of people who may, in their hearts, believe they are trying to do well for their country.  But, I just cannot help feeling there is something not quite right with someone who wants to be in control or lead or rule. I’m of the view that power does corrupt the individual and even though they may begin with great altruistic tendencies they will, ultimately, be poisoned by the job. Or worse than that they have sociopathic tendencies and the prestige of being voted in will feed their greed and lust for control. How does one explain the amount of wars and conflicts there are? Humanity is greatly flawed and the leaders of the so-called free world are more flawed than most.

But, what alternative is there to the capitalist system we have?  Running a country and leading millions of various people must be tough; and difficult decisions must be made everyday. Many have tried the commune lifestyle and socialism has also led, in the Soviet Union and China for example, and, to dictatorial regimes replete with fear, repression and murder. Not that the West hasn’t had its fair share of Dictators and sociopathic leaders. General Franco in Spain is one such fascistic leader and our own Iron Lady, Margaret Thatcher,  hiding within the illusion of democracy, crushed Union leaders, working class lives and whole industrial communities. As such, crooked and nefarious politicians are often a staple of film and television shows. A case in point is the BBC’s recent adaptation of John Preston’s book, A Very English Scandal.

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This strange true life tale focussed on the Liberal party leader Jeremy Thorpe and his relationship with a troubled young man called Norman Scott. What first starts off as an illicit but touching love story soon becomes a desperate, twisted and darkly amusing black comedy of insane proportions.  First off, Thorpe and Scott are portrayed with absolute brilliance by Hugh Grant and Ben Whishaw. Both sterling film actors they bring gravitas, sparkling chemistry and humour to their respective roles; while Alex Jennings, Adrian Scarborough, Eve Myles and Patricia Hodge also excel in supporting roles. Furthermore, acclaimed director Stephen Frears ties the strands of Russell T. Davies brilliant script, expertly switching between comedy and heightened drama, without losing tonal control.

Set against the backdrop of English Parliament and the United Kingdom’s homophobic laws which outlawed gay sex, Jeremy Thorpe, is presented as an honourable man at first. He champions workers’ rights and lambasts the policy of Apartheid in the House of Commons. He has to hide his homosexuality though due to the oppressive legal system and the fact that, as a politician in the public eye, this would seriously harm his ambition to become Prime Minister. When he meets Ben Whishaw’s highly strung stable lad he immediately falls for him and they begin a secret affair. The relationship goes wrong and Thorpe moves on to become the leader of his political party, but an ever increasingly unstable Scott, just won’t go away. That’s when things begin to go awry for Thorpe. Scott won’t take a pay-off and Thorpe won’t give him the National Insurance Card, Scott hilariously demands.

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So, like Henry II demanding, “Someone rid me of this meddlesome priest”, he allegedly, as per the script, takes a more sinister route. I won’t spoil it but the events which are presented are both funny and shocking and have to be witnessed to be believed. The privileged Jeremy Thorpe, garners some empathy due to having to hide his sexuality, however, his subsequent decisions to shut Scott down, as presented in this fascinating tale, are shown to be the actions of a spoilt, desperate and sad man wielding power over someone less fortunate. They say absolute power corrupts absolutely but as shown in A Very English Scandal it also leads to incredible poor decisions by individuals from the ruling classes. Indeed, the main reason I dislike and distrust politicians in general is they can and should afford to be better behaved and more compassionate than those they lead.

(Mark: 9.5 out of 11)

 

THE ASSASSINATION OF GIANNI VERSACE (2018) – TV SHOW REVIEW

THE ASSASSINATION OF GIANNI VERSACE (2018) – TV SHOW REVIEW

Executive Producer: Ryan Murphy

Writer: Tom Robb Smith

Based on: Vulgar Favours: Andrew Cunanan, Gianni Versace, and the Largest Failed Manhunt in U.S. History by Maureen Orth

Original Network: FX / FOX

Starring: Edgar Ramírez, Darren Criss, Ricky Martin, Penelope Cruz, Finn Wittrock

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I watch a lot of telly but don’t always review stuff because I don’t have time. The Assassination of Gianni Versace was one of those shows which I enjoyed when on the BBC but did not feel like reviewing. But then it kind of stuck with me; it nagged at my psyche as a chilling, violent and intense work of television drama. Hence I thought it was worth recommending it for those who are interested in excellent crime stories.

The Assassination of Gianni Versace: American Crime Story is the second season of the FX true crime anthology series American Crime Story. It explores, over nine compelling episodes, the murder of designer Gianni Versace by spree killer Andrew Cunanan. Those coming to the show looking for an in depth story about Gianni Versace – as a man or designer – may be slightly disappointed.  Save for three or four episodes the lion’s share of the drama is about his killer, Cunanan.  What we do see of Versace and his sister Donatella, as expertly portrayed by Edgar Ramirez and Penelope Cruz, is a man who grew up from humble beginnings to become one of the finest fashion designers of all time. Personally, fashion does not interest me so I was pleased that world did not dominate the focus of the story.

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The main focus, however, was the spree killer Andrew Cunanan. Writer Tom Robb Smith, adapting from Maureen Orth’s book takes many risks, notably telling Cunanan’s story in reverse chronological order. I’m not always a fan of non-linear storytelling for the sake of it, however, beginning with Versace’s murder and then flashing backwards revealing, episode by episode, the sad demise of each of his victims made for absorbing viewing. Darren Criss as Cunanan is absolutely brilliant. His performance of the fantasist murderer is equally scary, embarrassing and darkly funny at times.

Evoking the characterisation of Christian Bale’s Patrick Bateman, Criss nails the confidence and desperation of a very conflicted person. His Cunanan is not just a straightforward psycho but a rather complex loner with delusions of grandeur. The reveal in the later episodes that go some way to explain Cunanan’s psychosis are especially chilling. The show is also very honest about Cunanan’s sexuality. Via Cunanan’s, and other characters’ experience, the representation of gay men in America is illustrated in a fascinating way. Finn Wittrock, Mike Farrell, and Cody Fern, who portray three of Cunanan’s victims, are very empathetic as they battle the prejudices and expectations of gay men in society. It is a tragedy their lives, and others including Versace, were so violently ended at Cunanan’s hands.

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Overall, I was extremely absorbed by The Assassination of Gianni Versace. While not as grandstanding as The People Versus O.J. Simpson (2016), this character drama both shocked and stunned in equal measure; thanks to an excellent script and Criss’ haunting acting performance. Also, kudos goes to show-runner Ryan Murphy. This uber-producer is best known for creating/co-creating/producing a number of successful television series, including the FX medical drama Nip/Tuck (2003–10), the Fox musical comedy-drama Glee (2009–15), the FX anthology series American Horror Story (2011–present); Feud (2017–present); and with this latest season of American Crime Story (2016–present) he has overseen another memorable televisual experience.

Mark: 8.5 out of 11

DETECTORISTS  (2014 –      ) –SEASONS 1 and 2 – BBC TV SHOW REVIEW

DETECTORISTS  (2014 –      ) – SEASONS 1 and 2 – TV COMEDY REVIEW

Written by: Mackenzie Crook

Directed by: Mackenzie Crook

Cast: Mackenzie Crook, Toby Jones, Rachael Stirling, Aimee-Ffion Edwards, Gerard Horan, Sophie Thompson, Pearce Quigley, Divian Ladwa

Opening theme: “Detectorists” by Johnny Flynn

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Picture the scene: a bird’s eye view of two men pacing slowly across a lush, rural landscape. The green grass shines and ploughed dirt sits proud flanked by golden wheat fields. As an acoustic guitar chimes and lilting mellifluous vocals of Johnny Flynn drift across the countryside vista, we are serenely introduced to our “heroes”, Andy and Lance, the Detectorists. Serene is probably the perfect word to describe this character comedy. Gentle too. It moves at its own perfect pace and gives us something of a break from faster-paced, heightened, rude and farcical nature of other more urban-based comedies. There are obviously jokes but never at the expense of well developed character moments and empathy.

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Set in the fictitious town of Danebury, in the county of Essex, this wonderfully dry comedic delight was created by Mackenzie Crook. Probably best known for playing David Brent’s bowl-haired “yes-man” Gareth, from seminal sitcom The Office, plus many other film and television roles, Crook has fashioned a brilliant show that exudes a quiet confidence in both writing and direction. He himself plays a budding archaeologist Andy, a non-careerist beta male who pays the rent via a series of agency jobs; while his school teacher partner, Becky, (Rachael Stirling) provides the ambition and drive in the relationship. His best mate, Lance, is portrayed with nuanced comedic timing by character actor, Toby Jones. Lance drives a forklift and hankers after his ex-wife who runs a local holistic shop. Plus, these two ordinary blokes happen to be part of the DMDC – ‘Danebury Metal Detecting Club.’

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One may think that the whole premise of a rural metal detecting club is slightly underwhelming and parochial; and to be honest you would be right. But herein lays the strength of the show because the peace and quiet between the narrative and comedy is very hypnotic. The plot in Season 1 finds the DMDC in direct competition with stupidly named “Antiqui-Searchers” over a big historical find; while Season 2 has them searching for crash-landed WW2 German bomber. Amidst these strands the loves and lives of our protagonists and club-members intertwine carefully; as a brilliant supporting cast breathe life into an array of oddball and eccentric characters.

Overall, I found Detectorists very funny throughout creating real inner warmth.  I mean, as Andy and Lance softly walk across the landscape, discussing last night’s University Challenge, scanning for that possible jackpot of medieval gold, nothing very much happens. But there’s The Detectorists’ main strength, nothing much happens with characters you really love spending time with.

(Mark: 9 out of 11)

The Detectorists — Seasons 1 – 3 are available on DVD/BLU RAY

Seasons 1 and 2 are available to stream on NETFLIX.           

THE LEVELLING (2016) – SKY CINEMA REVIEW

THE LEVELLING (2016) – SKY CINEMA REVIEW

Directed by: Hope Dickson Leach

Written by: Hope Dickson Leach

Starring: Ellie Kendrick, David Troughton, Jack Holden

Music by: Hutch Demouilpied

Cinematography: Nanu Segal

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I grew up watching visions of the English countryside as represented by television shows such as H.E. Bates’ The Darling Buds of May and James Herriot’s All Creatures Great and Small. With such rural narratives you were never far from a beautiful landscapes, wonderfully sunny skies and country folk working together, on the main, as a community. Hope Dickson Leach’s independent British drama is an altogether different beast. It’s a muddy, grieving, bloody and filth-ridden exploration of how tough family and farming existence is.

Featuring some fantastic performances from Ellie Kendrick and David Troughton the story is very simple. Clover (Kendrick) returns from Veterinary College following the sudden death of her brother. While her father is steadily drinking himself to death, she tries to make sense of her sibling’s apparent suicide. Her father, an army man and farmer is living in a caravan next to the battered family home. The farm business is sliding to bankruptcy and their home has been rotting since the Somerset floods a couple of years before. All round their property and livestock are threatened by damp, disease and death.  In short: this is NOT The Darling Buds of May.

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Ellie Kendrick, who I recognised from several TV shows including Game of Thrones, absolutely owns the character of Clover. She is seen as weak and unreliable by her father but is in fact an intelligent and resilient character who is prepared to work hard and dig deep for some respect. The plot itself reminded me a lot of the Michael Caine gangster classic Get Carter (1971); accept with a female lead and more cows. As Clover attempts to steady the fortune of the farm, caused in part to mis-management by her father and brother, she also turns detective, stealthily delving into circumstances relating to her brother’s death.

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Overall, Hope Dickson Leach has made a really touching personal story of grief. This is a very emotional story about a family torn apart by death on personal and financial levels. I don’t know much about farming life, but while it may be idealized in certain books and films the reality is much tougher. Animals, while commodities are often culled because of disease and farmers are at the mercy of the weather. Moreover, it would appear to be much tougher for women too progress in a male-dominated world which favours sons over daughters.  What the film ultimately shows too, in many brilliantly acted and directed scenes, is we must transcend our differences and work together as one – as family – in order to survive.

(Mark: 8.5 out of 11)

 

MY CINEMATIC ROMANCE #13 – MIKE LEIGH

MY CINEMATIC ROMANCE #13 – MIKE LEIGH

There is no way a mere simple page of words from my keyboard can do justice to the decades of incredible theatrical, televisual and cinematic work of the genius that is Mike Leigh. He has, since the 1960s, worked tirelessly creating: drama, comedy, pathos, empathy, love, hatred, politics, harmony, conflict, nihilism and hope through an orchestra of characters and creative endeavour.

For me Mike Leigh is a true artist. He has not only been involved in innumerable film, TV shows and plays since the 1960s but also created his own production modus operandi in the process. He is rightly well regarded for working intimately with his actors organically creating character and stories from the kernel of an emotion or idea. His works are legion and often feature representations the working or under-classes. There are no superheroes or special effects but rather raw emotion and feelings within his body of work.

The My Cinematic Romance series has always sought to praise filmmakers and actors I really love and Mike Leigh is no different. I would have to say though that to pick FIVE of my favourite works is an impossible task as there is so much choice. Nonetheless, these are five of my favourite Mike Leigh works but do check out any of his films as they have much to say about humanity and life and are also very entertaining in their own inimitable style.

**CONTAINS SPOILERS**

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ABIGAIL’S PARTY (1977) – BBC TV PLAY

Opening as a stage play in 1977, the seminal tragic-comedy Abigail’s Party sold out for months at the Hampstead Theatre when first released. A filmed TV version was released later to much acclaim that year and starred: Alison Steadman, Janine Duvitski, John Salthouse, Thelma Whiteley and Tim Stern. It’s a comedy of crumbling relationships featuring the passive aggressive clashes between the aspirational classes. The performances, notably from Steadman as the brash and formidable Beverley, are astute, over-the-top but somehow hilariously nuanced too. Moreover, the barbed dialogue and bitchy asides are perfectly delivered during a dinner party that, once seen, will have you laughing throughout. But, like much of Leigh’s work, by the end you somehow feel sad too.

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MEANTIME (1983) – CINEMA

The epitome of classic working-class-kitchen-sink-council-estate tragic-comedy, Meantime, features a “Who’s-Who” of now famous actors including: Gary Oldman, Tim Roth, Phil Daniels, Alfred Molina; plus an early appearance from Leigh favourite Peter Wight. Set amidst the bleak concrete landscape of East London the episodic story focusses on the Pollock family, notably the unemployed brothers portrayed by Daniels and Roth. The former is an answer-for-everything-clever-dick while Roth’s Colin is the more subdued, shy and possibly autistic one, very much in his brother’s shadow. Furthermore, a very young-looking Oldman pops up as a bored, thuggish, glue-sniffing and racist skinhead who bullies those around him, especially Colin. Overall, Meantime evokes memories of my own childhood growing up on a rough Battersea council estate and captures the ennui and inertia of unemployment in Thatcher’s Britain. While it may sound depressing there’s also some classic dialogue and a number of hilarious exchanges between the family and characters which certainly silvers the dark, grey clouds on the horizon.

NAKED (1993) – CINEMA

We need to talk about, Johnny! Arguably, of all the characters and creations from Mike Leigh, Johnny Fletcher is the darkest manifestation and representation of his worldview. Unlike the permanently positive Poppy from Leigh’s Happy Go Lucky (2008), Johnny is a dress-in-black, biting and bilious shadow who drifts like smoke from North to South with no aim other than to attack those around him. Sardonic and severe in his outlook, Johnny’s misanthropy knows no bounds as he angrily castigates his ex-girlfriend’s lack of ambition, portrayed by Lesley Sharp, before beginning a doomed sexual liaison with her flatmate, the self-hating Sophie (Katrin Cartlidge).  It is not an easy film to watch due to the flagrant and offensive misogyny exhibited by the male characters and the seeming lack of hope throughout. Yet, it remains a compelling portrait of pre-millennial nihilism with some epic monologues delivered by the rasping and mercurial voice of David Thewlis’ in a never-to-be-bettered acting performance.

SECRETS AND LIES (1996) – CINEMA

After the nihilistic dissonance of Naked (1993) Leigh’s next film would return to familial roots and gentler, if still emotionally resonating, domestic drama. The story centres on Marianne Jean-Baptiste’s optometrist attempting to locate the birth mother who gave her up for adoption. In an extremely tender and serene performance, Baptiste as Hortense Cumberbatch finds her search turn up unexpected results. Brenda Blethyn, in the more melodramatic role of Cynthia Purley, runs the gamut of emotions; while the imperious Timothy Spall steals the floor with his noble rendition of Cynthia’s brother, Maurice. Spall’s Maurice is an ordinary, yet noble man, trying to hold the disparate family strands together. I especially loved the opening vignettes of Maurice’s photographic customers which established themes of surface appearances contrasted to hidden family secrets. This overall is what I class as a small epic containing so many brilliant character details, funny looks, and very touching moments where the emotion, quite often, is in the silence. Secret and Lies (1996) was, to date, Mike Leigh’s most accessible and emotionally satisfying film and would deservedly garner acting and directing awards and nominations from the Academy, BAFTA and Cannes.

VERA DRAKE (2004) – CINEMA

Having presented the lively Topsy Turvy (1999) world of Gilbert and Sullivan a few years before, Leigh created another period piece with Vera Drake. Set in 1950s London it centres on Imelda Staunton’s kind housewife who harbours a secret life. Amidst her family and work existence Vera assists young woman who accidentally get in the “family way”. I don’t want to say too much but this is a gut-wrenching and tragic story which highlights the issues of the day with a stunning emotional power. Imelda Staunton is one of the best actors I have ever witnessed on stage and screen and she brings to Vera’s character sympathy, pride and passionate inner strength. The supporting cast of Philip Davis, Eddie Marsan, Daniel Mays, and Sally Hawkins are superb; and a special mention to cinematographer Dick Pope, who has lit most of Leigh’s films. Pope creates, within a palette of greys, greens and browns a salient mood which enhances the performances and Leigh’s masterful direction.

 

Mike Leigh’s new film PETERLOO (2018) will be released this year in cinemas.