The Matchmaker is my third foray into Gibbons's fiction (after Westwood and The Bachelor). This tells the story of Alda Lucie-Browne who, with her three daughters, is awaiting her husband's decommission from the army in a small run-down cottage in the country. Her neighbours include Mr Waite, a chicken farmer, and Mr and Mrs Hoadley who own a nearby farm and supply their milk. The three workers at the farm at two Italian prisoners who live in the nearby camp - Fabrio and Emilio - and Land Girl Sylvia. Rounding out the group is Jean, Alda's old friend, who comes to stay following the death of her father. Alda gets it into her head that Jean would be perfect for Mr Waite (because Jean needs a husband and he needs a wife really) and that Sylvia and Fabrio should marry. She sets around engineering the matches but her calculations don't always prove effective.
I enjoyed this book as much I did the others. Alda is a difficult character to appreciate, meddlesome as she is, but other characters are far easier to relate to. Jean, desperate for a love affair and flirting with religion, became my favourite as she decides on one course, changes her mind then changes her mind again. Sylvia is a complex character, a wannabe actress who doesn't really stand a hope, and manages to repel Fabrio when she's herself and accidentally ensnare him during a visit to another village.
Gibbons's writing style - serious with touches of amusement hidden in almost every line - perfectly accentuates the flaws in each character. Her descriptions of Alda's two elder daughters Louise and Jenny show their differences beautifully without them becoming tedious characters. Fabrio also has the potential to be irritating but his evolution from uninterested in Sylvia to besotted by her mitigates the effects of his romantic personality.
I'm discovering, however, that when I reach the end of a Gibbons book I'm strangely unsatisfied by the finale. This may be because I've lived with the characters and am disappointed to leave them at all. But the ending of The Matchmaker ignored one of the confrontations I wanted to see - that between Alda and Jean - in favour of a 'wrap-up' chapter focused on Alda and then another one focused on Fabrio. I felt somewhat miffed that we skipped a few years then said a swift goodbye to the characters. Still, I don't think this detracted from the book as a whole. There are some memorable characters in this one, as with Gibbons's other novels, and some wonderful observations that had me giggling aloud.
Tuesday, 14 May 2013
Friday, 10 May 2013
Classic Film Review: Experiment Perilous (1944)
Experiment Perilous stars George Brent as Dr. Huntington Bailey, a man who becomes embroiled in the Bederaux family and suspects murder at the heart of it. He first becomes acquainted with Cissie (Olive Blakeney) during a difficult train journey and she lets slip that she's kept a secret diary about her brother, Nick Bederaux's (Paul Lukas), life. However, she doesn't want to return to his house in New York so she asks Bailey to arrange her a room at his hotel and send her luggage on. He parts from her but later learns that she died soon after her arrival at her brother's home. He visits the house and encounters Bederaux and his nervous wife Allida (Hedy Lamarr). He also finds Cissie's notes on her brother mixed up with his own luggage and finds himself on a quest to discover the truth behind Nick Bederaux.
As a mystery this works quite well. Paul Lukas shows the various sides to Bederaux without much villainous flourish and Hedy Lamarr's portrayal of the anxious Allida is contrasted neatly in flashbacks to how she was in her earlier days with Nick. However, whilst Bailey's attempts to free Allida are understandable, I didn't at all buy the whirlwind romance that has the hardy doctor essentially fall in love at first sight. It felt like an unnecessary strand of plot, though perhaps it was just hugely undeveloped.
In addition, I felt a little betrayed by the progression of the plot. Cissie was an integral character for the first fifteen minutes of the film and, really, her suspicious death was the most interesting aspect for me. I thought this was swiftly passed over later during the confrontation between Bailey and Bederaux and unjustifiably so. The romance between Allida and Bailey becomes the centre of the plot and dilutes the effect of the confrontation scene somewhat.
That said, Hedy Lamarr put in an excellent performance, particularly in the flashback scenes without Brent. He was also good but, together, the story seemed to falter. There was one scene, however, which stays in my mind as the most intelligent scene of the film. Bailey is visiting his sculptor friend Clag (Albert Dekker) and they discuss Bederaux while Bailey walks about the studio of half completed heads. If more of the film had been employed in such ways I would've enjoyed it more. As it was, though, I found it to be a tense little mystery, though one that relies too heavily on romance as its solution.
Thursday, 9 May 2013
Classic Film Review: A Man For All Seasons (1966)
A Man For All Seasons tells the true story of Sir Thomas More who stood up to King Henry VIII following the split from Rome and eventually lost his life for his principles. It stars Paul Scofield as Sir Thomas More, Wendy Hiller as Alice More, Susannah York as Margaret More, Orson Welles as Cardinal Wolsey, Leo McKern as Cromwell and John Hurt as Rich.
This film deserves its reputation as a powerful and enthralling work. Paul Scofield delivers a stunning central performance. It's difficult to pick out particular scenes as especially worthy of merit but the courtroom drama towards the end of the film was compelling. Scofield embraces the character so completely that he becomes More and adds an authenticity to the role which I doubt would have been present with another actor.
The rest of the cast is almost as captivating. Leo McKern makes an excellent Cromwell while John Hurt's performance as the traitorous Rich is equally as good. Although Orson Welles is only in the film comparatively briefly, his Wolsey is certainly one to remember. Nigel Davenport as the Duke of Norfolk and Corin Redgrave as Will Roper are also worthy of praise. That said, there's no cast member large or small who makes this film weaker in any sense.
Beautifully filmed, it invokes Tudor England marvellously, from the splendour of the palace to the idyll of More's home in Chelsea. The opening scenes with a messenger being dispatched and rowing along the river roots the audience in an England that is both recognisable and distant. It may be hard for a modern viewer to understand the devout religious belief which is the cornerstone of More's story but the idea of a man holding firm to his principles, whatever the cost, resonates throughout the ages. It also shines a light on those willing to sacrifice their beliefs in order to save their lives and further their careers, another lesson for modern audiences.
All aspects considered, this is an excellent film, the most realistic and engrossing of any I've seen focused on the Tudor era. It wholeheartedly deserved the clutch of Oscars and BAFTAs it won.
This film deserves its reputation as a powerful and enthralling work. Paul Scofield delivers a stunning central performance. It's difficult to pick out particular scenes as especially worthy of merit but the courtroom drama towards the end of the film was compelling. Scofield embraces the character so completely that he becomes More and adds an authenticity to the role which I doubt would have been present with another actor.
The rest of the cast is almost as captivating. Leo McKern makes an excellent Cromwell while John Hurt's performance as the traitorous Rich is equally as good. Although Orson Welles is only in the film comparatively briefly, his Wolsey is certainly one to remember. Nigel Davenport as the Duke of Norfolk and Corin Redgrave as Will Roper are also worthy of praise. That said, there's no cast member large or small who makes this film weaker in any sense.
Beautifully filmed, it invokes Tudor England marvellously, from the splendour of the palace to the idyll of More's home in Chelsea. The opening scenes with a messenger being dispatched and rowing along the river roots the audience in an England that is both recognisable and distant. It may be hard for a modern viewer to understand the devout religious belief which is the cornerstone of More's story but the idea of a man holding firm to his principles, whatever the cost, resonates throughout the ages. It also shines a light on those willing to sacrifice their beliefs in order to save their lives and further their careers, another lesson for modern audiences.
All aspects considered, this is an excellent film, the most realistic and engrossing of any I've seen focused on the Tudor era. It wholeheartedly deserved the clutch of Oscars and BAFTAs it won.
Wednesday, 8 May 2013
Television Review: The Village
The Village aims to tell the story of a single village throughout the twentieth century. This first series covers on the years 1914-1920 and we focus on the Middleton family - John (John Simm), Grace (Maxine Peake) and their sons, Joe (Nico Mirallegro) and Bert (Bill Jones). Other villagers of importance include the rich Allingham family, vicar's daughter Martha Lane (Charlie Murphy) and schoolteacher Gerard Eyre (Matt Stokoe).
One of main criticisms of this programme is that it is unfailingly grim. In the course of six episodes we had the outbreak of war, shell-shock, alleged desertion, rape by a doctor, suicide, mutilated cows, sick babies, dead children and Spanish flu. Those are only the ones I can remember off the top of my head. However, despite the dreariness, it's difficult to stop watching because it's so brilliantly acted. Maxine Peake has already established herself as one of Britain's most versatile actresses and her performance as Grace merely reiterates that. John Simm is excellent as John, an alcoholic who finds God but is still incredibly difficult to like. Bill Jones deserves praise as young Bert while Nico Mirallegro was heartbreaking in some of his final scenes as Joe. Equally the rest of the cast worked well, especially Juliet Stevenson as Clem Allingham and Augustus Prew as George Allingham.
One aspect of the series irritated me, however. The first five episodes take place over the course of two years but between the fifth and the sixth episode there is a four year jump. This was probably for continuity reasons (they wanted to introduce the next incarnation of Bert before the second series) but it jarred incredibly for me. All the emotion at the end of episode five was left unresolved and, frankly, I think we needed an episode just afterwards to deal with some of that. The cast were certainly up to it so why not? My guess is that apart from the Bert issue they wanted to resolve the war in the first series. Nevertheless, I did get the sensation while watching the sixth episode that I was viewing the first episode of the second series - the viewer was trying to catch-up far too much and scenes which would have been interesting to see (George's successful wooing of Martha, for instance) were ignored. For me, the series lost a little emotional resonance due to this choice.
Will I watch series two? Yes, because I'm invested in a few characters and occasionally there is a scene of absolute brilliance. However, I know several people who have had enough of the bleak atmosphere. I can't say I blame them but this is probably more historically accurate than most programmes set in this era. Finally, it's worth noting that the use of the Peak District scenery is excellent and the score for the series is beautiful. From the opening strains over the first episode I knew I'd carry on watching for the music alone.
One of main criticisms of this programme is that it is unfailingly grim. In the course of six episodes we had the outbreak of war, shell-shock, alleged desertion, rape by a doctor, suicide, mutilated cows, sick babies, dead children and Spanish flu. Those are only the ones I can remember off the top of my head. However, despite the dreariness, it's difficult to stop watching because it's so brilliantly acted. Maxine Peake has already established herself as one of Britain's most versatile actresses and her performance as Grace merely reiterates that. John Simm is excellent as John, an alcoholic who finds God but is still incredibly difficult to like. Bill Jones deserves praise as young Bert while Nico Mirallegro was heartbreaking in some of his final scenes as Joe. Equally the rest of the cast worked well, especially Juliet Stevenson as Clem Allingham and Augustus Prew as George Allingham.
One aspect of the series irritated me, however. The first five episodes take place over the course of two years but between the fifth and the sixth episode there is a four year jump. This was probably for continuity reasons (they wanted to introduce the next incarnation of Bert before the second series) but it jarred incredibly for me. All the emotion at the end of episode five was left unresolved and, frankly, I think we needed an episode just afterwards to deal with some of that. The cast were certainly up to it so why not? My guess is that apart from the Bert issue they wanted to resolve the war in the first series. Nevertheless, I did get the sensation while watching the sixth episode that I was viewing the first episode of the second series - the viewer was trying to catch-up far too much and scenes which would have been interesting to see (George's successful wooing of Martha, for instance) were ignored. For me, the series lost a little emotional resonance due to this choice.
Will I watch series two? Yes, because I'm invested in a few characters and occasionally there is a scene of absolute brilliance. However, I know several people who have had enough of the bleak atmosphere. I can't say I blame them but this is probably more historically accurate than most programmes set in this era. Finally, it's worth noting that the use of the Peak District scenery is excellent and the score for the series is beautiful. From the opening strains over the first episode I knew I'd carry on watching for the music alone.
Tuesday, 7 May 2013
Classic Film Review: Irene (1940)
Irene stars Anna Neagle as the outspoken Irish girl of the title in this musical comedy romance. When we first meet her she's living with her grandmother (May Robson) and working as an upholsterer's assistant. While at the home of the wealthy Mrs Vincent (Billie Burke) she meets a friend of the family, Don Marshall (Ray Milland), who is instantly attracted to her. He gets her a job as a model for 'Madame Lucy', the designer who is actually Don himself. She attends a ball at the Vincent home and is an instant success, resulting in Don and Bob Vincent (Alan Marshal) starting to compete for her. She is assumed to be the niece of a very prestigious O'Dare and doesn't contradict the assumption, leading to a riot of publicity and excitement for the previously-unknown Irene. But who does she want to marry?
Anna Neagle essentially plays two roles in this film - the real Irene O'Dare and the mythical one she creates by accident. Of course, it's Don who fell in love with the real one and with him, she admits, she can be herself. Ray Milland does a good job as Don while Alan Marshal seems a little bland as Bob but, then, he's meant to be. There are some excellent supporting performances, notably from May Robson and the magnificent Billie Burke, but watch out as well for Roland Young as Mr Smith, with an 'i' not a 'y', and Arthur Treacher as the butler.
The plot's a little fantastical but that's to be expected from an adaptation of a state show from 1919. However, the songs are very well integrated into the action. The primary theme music comes from the gorgeous 'Alice Blue Gown' which is repeated at various points in the story, once beautifully performed in a dance by Neagle and Milland. It also forms the centrepiece of a 'Moviebone News' segment.
One of the most delightful aspects of this film comes from the sudden break into colour as Irene descends the stairs in her beautiful blue gown. The rest of the ball takes place in colour but then the grey dawn appears and things are back to normal. I have to say, I was a little disappointed the finale didn't merit a little colour explosion too. In fact, I was also disappointed that we didn't get a nice 'reveal' sequence when Mrs Vincent finds out that her potential daughter-in-law is not related to a countess after all. Given the wonderful performance of Billie Burke throughout, and accentuated in the final minutes, I would've liked to have seen that.
All in all, though, this is a light, frothy film that had me humming and smiling along (and singing 'Alice Blue Gown' for hours afterwards). Watch for the final scenes between Mr Smith and the butler alone.
Anna Neagle essentially plays two roles in this film - the real Irene O'Dare and the mythical one she creates by accident. Of course, it's Don who fell in love with the real one and with him, she admits, she can be herself. Ray Milland does a good job as Don while Alan Marshal seems a little bland as Bob but, then, he's meant to be. There are some excellent supporting performances, notably from May Robson and the magnificent Billie Burke, but watch out as well for Roland Young as Mr Smith, with an 'i' not a 'y', and Arthur Treacher as the butler.
The plot's a little fantastical but that's to be expected from an adaptation of a state show from 1919. However, the songs are very well integrated into the action. The primary theme music comes from the gorgeous 'Alice Blue Gown' which is repeated at various points in the story, once beautifully performed in a dance by Neagle and Milland. It also forms the centrepiece of a 'Moviebone News' segment.
One of the most delightful aspects of this film comes from the sudden break into colour as Irene descends the stairs in her beautiful blue gown. The rest of the ball takes place in colour but then the grey dawn appears and things are back to normal. I have to say, I was a little disappointed the finale didn't merit a little colour explosion too. In fact, I was also disappointed that we didn't get a nice 'reveal' sequence when Mrs Vincent finds out that her potential daughter-in-law is not related to a countess after all. Given the wonderful performance of Billie Burke throughout, and accentuated in the final minutes, I would've liked to have seen that.
All in all, though, this is a light, frothy film that had me humming and smiling along (and singing 'Alice Blue Gown' for hours afterwards). Watch for the final scenes between Mr Smith and the butler alone.
Friday, 3 May 2013
Classic Film Review: The Lady Vanishes (1979)
Although it has many flaws, The Lady Vanishes still remains an enjoyable film, not to be taken too seriously with some amusing performances. Based on the novel The Wheel Turns by Ethel Lina White and the 1938 Hitchcock film, this version too self-conscious and hammy on occasion but, having neither seen the original film nor read the book, I can't really comment on comparisons.
Cybil Shepherd stars as Amanda, an American woman heading to England to marry for the fourth time. She makes a spectacle of herself in the hotel the night before her departure, leading to a hangover. Once on the train, the kindly Miss Froy (Angela Lansbury) looks after her and takes her for a cup of tea. They return to the carriage and Amanda falls asleep. But when she wakes up Miss Froy is gone and the other occupants of the carriage swear that she never existed. Amanda refuses to give up, enlisting the help of photographer Robert (Elliot Gould) and Dr. Hartz (Herbert Lom) to help her prove her case but things get stranger as the journey continues.
Apart from Angela Lansbury - who puts in a typically understated performance - the stars of this film are Arthur Lowe and Ian Carmichael as Charters and Caldicott, two British cricket-obsessives who are desperate to get home to England and find out the score of the test match. They provide some of the most memorable lines of the film and I cared more about their survival than Amanda and Robert's.
This a light mystery and an opportunity for Cybil Shepherd to be seen in a very nice dress for ninety minutes. Gould seems more suited in his role, mocking himself constantly, whilst Shepherd becomes shrill and too melodramatic, even for this film. It's not a spectacular piece by any stretch of the imagination but there are some good moments, mostly related to cricket and tea.
Cybil Shepherd stars as Amanda, an American woman heading to England to marry for the fourth time. She makes a spectacle of herself in the hotel the night before her departure, leading to a hangover. Once on the train, the kindly Miss Froy (Angela Lansbury) looks after her and takes her for a cup of tea. They return to the carriage and Amanda falls asleep. But when she wakes up Miss Froy is gone and the other occupants of the carriage swear that she never existed. Amanda refuses to give up, enlisting the help of photographer Robert (Elliot Gould) and Dr. Hartz (Herbert Lom) to help her prove her case but things get stranger as the journey continues.
Apart from Angela Lansbury - who puts in a typically understated performance - the stars of this film are Arthur Lowe and Ian Carmichael as Charters and Caldicott, two British cricket-obsessives who are desperate to get home to England and find out the score of the test match. They provide some of the most memorable lines of the film and I cared more about their survival than Amanda and Robert's.
This a light mystery and an opportunity for Cybil Shepherd to be seen in a very nice dress for ninety minutes. Gould seems more suited in his role, mocking himself constantly, whilst Shepherd becomes shrill and too melodramatic, even for this film. It's not a spectacular piece by any stretch of the imagination but there are some good moments, mostly related to cricket and tea.
Thursday, 2 May 2013
Bomb Girls Cancellation (Spoilers)
Bear with me. I don't usually get militant when shows I love are cancelled but, having watched the Bomb Girls S2 finale, in the knowledge that it may be the last time I see those characters, I bypassed upset and got angry. For those unfamiliar with the show, it tells the story of a group of women in a munitions factory in Toronto during World War II. It concluded its second series this week but last week it was announced that it's been cancelled. They have said there'll be a two-hour television movie next year to wrap up loose ends but, one, fans don't entirely believe them and, two, this deserves another series and not a tie-up movie.
I wrote in my email to Global as soon as I learned about the prospect of cancellation: Bomb Girls has a global appeal. It's a well-written show centred around women, and some very interesting women at that. It's sad that in 2013 this should still feel like a novelty but it does! To encounter four leading characters as different as Betty, Kate, Gladys and Lorna was wonderful for me and all credit to the writing team and the actors for that. I stand by those words. But not only is it a programme about strong women, it's about an important aspect of the war that hasn't been delved into properly. It's gold and that's why fans have come out fighting to save it.
I have to admit, like many fans there is one particular character I'm eager to save: Betty McRae. Like all of them, she is complex and brilliantly acted but her storyline over the two series has undoubtedly appealed to - and probably helped - lots of women all around the globe. Ali Liebert has been outstanding in every scene, but she shone especially in the finale. And all I can think at the moment is that it can't end like that. I mean, they've left Betty languishing in prison covering for the woman she loves. Yes, I predicted such a thing happening but that's only because I know these characters and I love these characters.
I've chuckled with these characters, I've been haunted by them. There's an industrial accident in series one that was one of the most traumatic scenes I've ever watched and I still think about it. Nor did the writers shy away from showing the repercussions of that accident in some of the most touching scenes I've seen on television in years. That's another thing I love about this team - they don't forget a thing because they know the viewer won't. Betty McRae fans found that out the hard way in the finale.
There are suggestions that the television network didn't treat the show right, budging it around the schedules in an effort to lower the ratings. And, some cynics have said, that the reason they have promised a movie is so that no other Canadian network picks the show up. THIS IS THE WRONG WAY TO TREAT YOUR AUDIENCES.
Bomb Girls still has potential. It has an outstanding cast and an outstanding production team. It's been nominated for awards and, as this fan backlash has demonstrated, it is intensely popular where people have heard of it. Below is the petition and some further reading. Signing the petition will only take a moment and there is a precedent in Canada for these type of campaigns working. So, please, donate a minute of your time and you'll have my eternal gratitude.
Gladys and Lorna quoted Churchill on El Alamein in the final moments of the series finale: "Now this is not the end. It is not even the beginning of the end, but it is, perhaps, the end of the beginning." Every Bomb Girls fan is hoping this proves prophetic.
Petition
Toronto Standard Article
The Globe and Mail Article
Huffington Post Article
I wrote in my email to Global as soon as I learned about the prospect of cancellation: Bomb Girls has a global appeal. It's a well-written show centred around women, and some very interesting women at that. It's sad that in 2013 this should still feel like a novelty but it does! To encounter four leading characters as different as Betty, Kate, Gladys and Lorna was wonderful for me and all credit to the writing team and the actors for that. I stand by those words. But not only is it a programme about strong women, it's about an important aspect of the war that hasn't been delved into properly. It's gold and that's why fans have come out fighting to save it.
I have to admit, like many fans there is one particular character I'm eager to save: Betty McRae. Like all of them, she is complex and brilliantly acted but her storyline over the two series has undoubtedly appealed to - and probably helped - lots of women all around the globe. Ali Liebert has been outstanding in every scene, but she shone especially in the finale. And all I can think at the moment is that it can't end like that. I mean, they've left Betty languishing in prison covering for the woman she loves. Yes, I predicted such a thing happening but that's only because I know these characters and I love these characters.
I've chuckled with these characters, I've been haunted by them. There's an industrial accident in series one that was one of the most traumatic scenes I've ever watched and I still think about it. Nor did the writers shy away from showing the repercussions of that accident in some of the most touching scenes I've seen on television in years. That's another thing I love about this team - they don't forget a thing because they know the viewer won't. Betty McRae fans found that out the hard way in the finale.
There are suggestions that the television network didn't treat the show right, budging it around the schedules in an effort to lower the ratings. And, some cynics have said, that the reason they have promised a movie is so that no other Canadian network picks the show up. THIS IS THE WRONG WAY TO TREAT YOUR AUDIENCES.
Bomb Girls still has potential. It has an outstanding cast and an outstanding production team. It's been nominated for awards and, as this fan backlash has demonstrated, it is intensely popular where people have heard of it. Below is the petition and some further reading. Signing the petition will only take a moment and there is a precedent in Canada for these type of campaigns working. So, please, donate a minute of your time and you'll have my eternal gratitude.
Gladys and Lorna quoted Churchill on El Alamein in the final moments of the series finale: "Now this is not the end. It is not even the beginning of the end, but it is, perhaps, the end of the beginning." Every Bomb Girls fan is hoping this proves prophetic.
Petition
Toronto Standard Article
The Globe and Mail Article
Huffington Post Article
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