Classic Film Review: The Red Pony (1949)

The Red Pony stars Peter Miles as Tom, a rancher's son who longs for a pony. When he's given one, however, he learns sharp lessons about responsibility and pain. The cast also features Myrna Loy as Alice Tiflin, Shepperd Strudwick as Fred Tiflin, Robert Mitchum as farmhand Billy Buck and Louis Calhern as Grandfather with a brief appearance from Margaret Hamilton as a schoolteacher. Also watch out for an eight year old Beau Bridges as one of Tom's friends. Based on an episodic novella by John Steinbeck, the screenplay was also written by him.

This is a gentle film where, really, very little happens. It hinges on Tom and, fortunately, Peter Miles does a very good job as the boy. Rather surprisingly - for me anyway - Robert Mitchum has a good rapport with Miles, making their scenes together some of the best of the film. While I enjoyed Mitchum, Loy and Calhern, it felt as though they were all bigger than their parts. The same couldn't be said for Shepperd Strudwick, who feels tacked on as an afterthought, both in terms of character and actor.

It does a very good job of grounding the story in its time and location and it's delicately shot. There are moments which feel a little outlandish - Tom imagining leading an army on the way to school, for instance - and it's fairly obvious from the outset that disaster's going to strike. If you don't have a high tolerance for films with child leads then you won't like this one. However, as part of Robert Mitchum's filmography, I found it fascinating. Probably not one I'll watch again, but I'm glad I saw it.

Classic Film Review: Pride and Prejudice (1940)

An adaptation of the Jane Austen novel, Pride and Prejudice stars Laurence Olivier as Mr Darcy, Greer Garson as Elizabeth, Maureen O'Sullivan as Jane, Ann Rutherford as Lydia, Mary Boland as Mrs Bennet, Edmund Gwenn as Mr Bennet and Edna May Oliver as Lady Catherine. The screenplay was co-written by Aldous Huxley.

If you take this adaptation as a completely different animal to the book then you'll probably enjoy it a lot more. It takes a lot of artistic licence, not least bringing the drama out of the Regency period in order to make the most of costumes. Compressed and with some plot points altered, it nevertheless manages to be an entertaining piece of cinema if you separate it from the book.

Laurence Olivier generally shines and this film is no exception. It's fairly difficult to tell most of the Bennet sisters apart in the early stages of the film and, really, Mary Boland and Edmund Gwenn are much more vibrant in the first portion. Greer Garson grows into the role, but it could be that the necessity for scene-setting stifles her characterisation at points. I enjoy Edna May Oliver in any role and she manages a disagreeable character very well. Most of the cast actually inhabit their roles well; it's just that the characters aren't necessarily what they were in the book.

Overall, this is a very 'Hollywood' adaptation of Jane Austen. It works on one level because of the cast but if you're a serious Austen fan I'd be inclined to stay away.

Classic Film Review: An Inspector Calls (1954)

Based on the J.B. Priestley play, An Inspector Calls stars Alastair Sim as Inspector Poole, a mysterious detective who intrudes on a well-respected family in 1912 to inform them of the death of a poor girl. It transpires that all of the family knew the girl in some form or another, leading to secrets spilling out and the younger members of the family becoming convinced that things are irreparably altered for them. The film also stars Arthur Young as Mr Birling, Olga Lindo as Mrs Birling, Eileen Moore as Shelia, Bryan Forbes as Eric, Brian Worth as Gerald Croft and Jane Wenham as Eva Smith.

This is a brilliantly successful adaptation of the play which, while remaining faithful to the text, intersperses the dialogue with flashbacks to alter the location somewhat. It's a trade-off - you sacrifice watching the reactions of the characters for a little variety in setting - but it works. It assists what is otherwise a very static piece of writing to become a very good piece of cinema.

This was my first experience of Alastair Sim in a dramatic role and, actually, I'm wondering if he was wasted in all those comedies. He inhabits the character of the inspector so thoroughly that I won't be able to think of the role again without linking him to it. Sinister yet congenial, it's a fantastic performance that is easily the highlight of the film. That isn't to say, however, that the other actors are inferior. I particularly enjoyed Bryan Forbes as Eric, who has to run through a lot of emotions during his time on screen, and Eileen Moore as Shelia.

There are niggles, of course. Some of the flashbacks went on a little too long and the music jarred at times. Even so, this is an excellent adaptation of an excellent play, definitely worthy of a viewing.

Classic Film Review: Cat on a Hot Tin Roof (1958)

An adaptation of Tennessee Williams's play, Cat on a Hot Tin Roof tells the story of a troubled Southern family, led by Big Daddy Pollitt (Burl Ives). He is unaware that he's dying of cancer and has returned home on his 65th birthday determined to take the second chance he thinks life has offered him. But he's concerned by the fractured relationship between his alcoholic younger son, Brick (Paul Newman), and wife Maggie (Elizabeth Taylor) while his elder son, Gooper (Jack Carson) is plotting with his shrew of a wife Mae (Madeline Sherwood) to take over the business properly and shut Brick out of the equation. Rounding out the main cast is Judith Anderson as Big Momma Pollitt.

This is a stunningly strong film. You need to concentrate while watching it because the dialogue is so complex that it merits full attention. That said, the plot isn't difficult, centring around Brick's alcoholism and the trickling out of the secret about Big Daddy's health. The action is static but the performances are so brilliant that everything else does simply become a stage for them to stand on. Firstly, Elizabeth Taylor shines as Maggie and the decision to film this in colour helps keep attention on her though, really, it's difficult in scenes between her and Newman to decide who to look at. They are both captivating. Judith Anderson, equally, deserves a mention for her role as Big Momma, particularly in the wonderful scene where Gooper and Mae are trying to intimidate her. While the relationship between the matriarch and patriarch is strained, the way this develops throughout the day, with the revelations about Big Daddy's health, is very subtle and Anderson handles a difficult character with aplomb. Similarly, while character of Mae is the most odious, irritating person I've encountered in film for a while (along with her brood of kids), Madeline Sherwood does a fine job with her.

However, this film unquestionably belongs to Burl Ives. From about a third of the way through it becomes apparent that you're watching one of the best performances committed to film probably ever. There's a brilliant extended scene between Big Daddy and Brick, later joined by Maggie, which is one of the most charged moments of the entire piece but the conversation between father and son in the basement is the highlight of the film. It's just exquisite and left me in awe.

That direct references to Brick's homosexuality were cleansed from the adaptation is unsurprising and, to be honest, I don't think it makes a difference but perhaps that's just because I watch everything with an eye to the subtext anyway. Ultimately, this film is a simple story told using outstanding dialogue and some compelling actors. I lost myself in it and was genuinely surprised when I realised I'd sat transfixed for so long. It's not a film you can easily stop in the middle of a scene, one of the highest forms of praise there is in this day and age.

Classic Film Review: Wuthering Heights (1939)

This adaptation of the Emily Bronte novel stars Laurence Olivier as Heathcliffe with Merle Oberon as Cathy, David Niven as Edgar Linton and Flora Robson as Ellen. It only tells half the story of the novel, up to Cathy's death and misses out everything to do with the children. It works well, centring Heathcliffe and Cathy in a somewhat compact adaptation.

It maintains the frame narrative, the story being told by Ellen, which allows for the passages of time to be easily glossed over. The childhood scenes are surprisingly well acted with Rex Downing doing an excellent job as the young Heathcliffe. Once Olivier takes over, the role becomes necessarily more nuanced and it is a very good portrayal, faltering at times. I was less impressed with Merle Oberon overall - her confrontation scenes with Isabella (Geraldine Fitzgerald) late in the film are more memorable than most of her scenes with Olivier. The character is, of course, a difficult one to like but there's depth missing from Oberon's performance. For me, the standout stars were two of the supporting cast - Flora Robson as Ellen and Hugh Williams as the older Hindley Earnshaw, drunk and bitter with Heathcliffe.

Something this adaptation does exceptionally well is generate atmosphere. Although filmed in America, the outdoor scenes do have the sense of wild Yorkshire moorland. The lighting is perfect and the direction just subtle enough. I think the score, slightly overpowering at times, assisted in scenes where not a lot was said but a great deal was conveyed.

Overall, this is an excellent - if curtailed - adaptation of a very complex book. Olivier was a good Heathcliffe but credit for the atmosphere of this film must go to all involved.

Classic Film Review: The Lost Moment (1947)

This film was based on a Henry James novel called The Aspern Papers. Restyling it as The Lost Moment probably had something to do with them changing the name of the integral character from Aspern to Ashton. I can't help thinking that the novel title is a more intriguing one than The Lost Moment though.

Publisher Lewis Venable (Robert Cummings) travels to Venice in search of the love letters of the poet Jeffrey Ashton. Ashton disappeared years earlier quite suddenly and the last place he was seen was this house. His lover, Juliana Borderau (Agnes Moorehead), still survives at the age of 105 and lives in the house with her niece, Tina (Susan Hayward). Venable takes a false name and takes rooms in the house but it soon becomes clear that getting the letters will be hampered by the fact that Tina displays a remarkable tendency to take on her aunt's life, putting them all in danger.

This film worked well on several levels. It was atmospheric with some good performances from the leading players. However, I felt it lost some of its plot tension halfway through, as the mystery of Tina has already been revealed and the secondary concern - what happened to Ashton - has been mentioned so little as to drive it from the mind. The second half of the film is a psychological exploration as Venable tries to make sense of Tina and then cure her.

There are some truly good scenes, such as the one where we finally see the withered face of Juliana and the explosive finale, but in others the narrative descends into melodrama. Words that wouldn't seem preposterous on the page sound bizarre coming from the mouths of actors. The original text was quite short and, after seeing this, I'm keen to read it to find out how much of his characters James actually put across and how much was artistic licence on the part of the producers.

Classic Film Review: A Tale of Two Cities (1958)

In this adaptation of the Dickens novel, Dirk Bogarde heads the cast as drunkard Sydney Carton. Alongside him are Dorothy Tutin as Lucie Manette, Cecil Parker as Jarvis Lorry, Stephen Murray as Dr. Manette and Paul Guers as Charles Darnay. A Tale of Two Cities blends revolutionary France with matters of the heart, this adaptation achieving perhaps more of the latter than the former.

To summarise the plot for those unfamiliar: Dr. Manette has been imprisoned in the Bastille for eighteen years. He is released and moves to England with his daughter. She then meets a French aristocrat masquerading as an Englishman, Charles Darnay, and they marry. However, when revolution breaks out in France, Darnay's heritage leaves him a target. Advocate Sydney Carton is quietly in love with Lucie and is determined to save her happiness at any cost.

On the whole, this film is excellent. It deals with the revolution scenes thoughtfully, showing enough to get the flavour but without it becoming a film more about action that emotion. There are certainly some stand-out moments, for instance, when Manette first meets his daughter again and when Sydney drunkenly confesses his love for Lucie. Then, of course, there are the scenes when Sydney makes and sticks to his great decision. Bogarde is astounding in these scenes, as he is throughout the course of the film. The final scene actually brought tears to my eyes thanks to his performance.

There are some niggles, of course. Paul Guers is dubbed, creating some irritating moments when the dialogue and the miming don't fit. It particularly ruined an important scene between Sydney and Darnay. In addition, there were moments of over-acting, though it could just be that, in comparison to Bogarde, other performances were bound to look weak.

It's been a while since I read the book so I can't comment on adaptation accuracy but, as a piece of film, this works exceedingly well. Sydney grows as a character and the last half of the film ratchets the tension up nicely making the inevitable conclusion even more bittersweet.

Classic Film Review: The Adventures of Michael Strogoff (1937)

The Adventures of Michael Strogoff, also known as The Soldier and the Lady and based on a work by Jules Verne, stars Anton Walbrook as the title character, a Russain courier who has been tasked with getting a message to another Russian base about a Tartar uprising. However, he is being followed by the glamorous traitor, Zangarra (Margot Grahame), reporting to her lover and fellow traitor, Ivan Ogareff (Akim Tamiroff). On his travels, Strogoff encounters a young woman, Nadia (Elizabeth Allan), and is also forced to pretend that he doesn't know his own mother (Fay Bainter).

From reading a little about this film, I've learned it was a mish-mash of fresh footage and material from the original French version. While the footage is integrated nicely, that answers some of the questions I had about different approaches to filming throughout, particularly in the group scenes. However, as well integrated as the two versions were, they still couldn't make this film altogether satisfying.

There seemed to be a distinctive lack of emotion from all the main players, with the exception of Fay Bainter. In an attempt to make Strogoff stoic, Walbrook gives him almost no personality bar a few flashes and the 'rescue' of his mother. It makes him a difficult protagonist to like and follow. Far more complex is Zangarra, who is a slightly more successful character.

Special mention must go to the two characters designed to add a little light relief to the film - Eric Blore and Edward Brophy as the British and American newspapermen trying to report on the war zone. While both are stereotypes, at least they have a little presence, rendering their scenes more memorable than the stoic Strogoff or the stereotypically villanous Ogareff.

Classic Film Review: Hindle Wakes (1952)

Also known as Holiday Week, Hindle Wakes tells the story of a young mill worker and her employer's son who become properly acquainted while on holiday in Blackpool. Jenny Hawthorn (Lisa Daniely) goes off with her friend, Mary (Sandra Dorne), wanting something different from the norm. She finds it when she encounters Alan Jeffcote (Brian Worth), a man she has always admired at home. She decides on a whim to go off to Wales with him, setting a tragic chain of events in motion.

Essentially, this film serves as an advert for Blackpool and Llandudno. The two are displayed at their best and, really, the setting becomes another character. As for the actual characters, there is no real chemistry between Jenny and Alan and her posh accent really does the character no justice at all - her parents, played by Leslie Dwyer and the wonderful Joan Hickson, are real Northerners and the impact of Jenny's character is diluted by the fact that she sounds no different to Alan and his family. Alan, meanwhile, is a difficult character to like - spoiled, selfish and workshy.

What was trundling along as a fairly contented film suddenly got very sombre very quickly, with a twist I wasn't expecting. From that point on, it became a much more serious prospect, divorced from the Big Dipper and picturesque beaches. I did feel that the tragedy didn't have the resonance in the finale that it could have and there were a few threads that could have been joined up to make Jenny feel worse about what had happened. However, I did think that the finale was half-true to Jenny's character - the other half would have remained discontented with it, I feel.

This is a good British film with some good performances along with pinches of overblown acting. It shows a snippet of Northern life whilst also grappling with the question of female sexuality and how it fits into the new world, although the play was written and set far earlier than this film version.

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.

Classic Film Review: Macbeth (1948)

This adaptation of Macbeth stars Orson Welles as the title character with support from Jeanette Nolan as Lady Macbeth, Dan O'Herlihy as Macduff and Roddy McDowall as Malcolm. Welles also directed and apparently altered some things, assigning speeches to other characters etc. I must admit that it's been a good ten years since I read or saw Macbeth so I can't be sure what he changed but it doesn't make a difference to the plot and sequence of events.

By use of a sparse set, the film is very stagey and claustrophobic. There is also an intelligent use of light and shadow, though it becomes too shadowy at times. The entire film is a bleak spectacle, just the way Macbeth should be. The use of a stone staircase as the centrepiece was exceptionally useful, offering background for pivotal scenes such as Lady Macbeth waiting for her husband to return from Duncan's room and, later, her own sleepwalking being observed by onlookers.

As far as performances go, Orson Welles is very good as Macbeth, specifically in the scene after the murder and Banquo's ghost scene. But I was entranced by Jeanette Nolan as Lady Macbeth, particularly in her extended scene while Macbeth is away in Duncan's room but, really, throughout the piece. She doesn't overplay the character at pivotal points and therefore comes across as a little more nuanced than other interpretations I've seen. Dan O'Herlihy was an excellent Macduff, especially in his family news scene, but I had difficulty with Roddy McDowall's Macolm - I can't work out whether it was the character or the portrayal I had a problem with.

Naturally, the story is cut a little to make the transition from stage to film. The transition also means that passages of time which would have seemed more 'real' on stage are lost by the camera focusing on a point until the actors come back on stage. I suspect, too, that some of the scenes cut or trimmed would've helped solve this problem.

Overall, a very good adaptation with two excellent leads. A static film but no worse for it.

Classic Film Review: Rebecca (1940)

Based on the book by Daphne Du Maurier, Rebecca tells the story of the second Mrs de Winter (Joan Fontaine) who marries Maxim de Winter (Laurence Olivier) after a whirlwind romance in Monte Carlo and returns to England to his family home of Manderley. Once there, however, she finds the house, her husband and the servants - particularly housekeeper Mrs Danvers (Judith Anderson) - all preoccupied with his first wife, Rebecca. Mrs de Winter at first feels inferior but the truth has the potential to be much more damaging.

You can certainly tell this is a Hitchcock film. Even as an early one, it displays some of the techniques he employs to such effect in later films. For instance, the scene when Mrs de Winter ventures into Rebecca's chamber is atmospheric to the extreme, with camera angles and lighting being deployed to their full potential. Equally, the character of Mrs Danvers is represented as menacing at all times thanks to Hitchcock's direction. Mixed with excellent performances from the three main actors, along with those from George Sanders, Florence Bates, Edward Fielding and Leonard Carey, this is a truly remarkable film.

Joan Fontaine is outstanding as the anxious bride. In a few scenes she seemed to almost quiver out from the screen, especially in her pivotal scene in the bedroom with Mrs Danvers. Laurence Olivier is equally engaging in his pivotal scenes towards the end of the film. In fact, whether it's a small scene or a large one, Olivier commands attention. In his first few scenes with Fontaine I actually found it difficult to concentrate on her, so overwhelming was Olivier's presence.

This is truly a gripping film. Some elements were altered in the transition from book to film but they work cinematically and that's the most important thing. Judith Anderson's performance works completely and I came away this film deeply unsettled by the character of Mrs Danvers. For me, she was the one who lived on, despite the chilling finale.

Classic Film Review: Of Human Bondage (1934)

Of Human Bondage is labelled as Bette Davis's breakout role and she certainly shines as Mildred, a cold-hearted woman who winds trainee doctor Philip Carey (Leslie Howard) around her little finger. Following their initial meeting in a cafe, Carey is smitten, despite the fact that Mildred only tolerates him because he adores her. Although he breaks away and manages relationships with Norah (Kay Johnson) and Sally (Frances Dee), there's always the chance the Mildred will pop up and ruin everything. The film is based on the book by W. Somerset Maugham (reviewed here last year).

Leslie Howard portrays the slightly uncertain Carey magnificently but, really, this film belongs to Davis. Although her accent wobbles at times that's negated by her otherwise excellent performance. The major confrontation scene as Mildred tells Carey what she really thinks of him should go down as one of her best moments on film.

In other ways, Of Human Bondage falters a little. It's difficult to stomach Carey allowing her to repeatedly ruin his life, even more so than it was in the book. Although his club foot goes some way to explaining his choices, it's used as an all-encompassing tool to stop much character introspection. Equally, the way the film flits about a lot can be distracting, fragmenting an exceptionally long book into numerous bites of scene that occasionally only scratch the surface.

It's difficult to say a lot about this film because it essentially repeats the same pattern: Carey gets his life together, Mildred ruins it. However, there are some excellent moments in this and it's worth watching for Davis's performance alone.

Television Review: Parade's End

I was told before I started watching this that if I persevered past the first episode then I'd enjoy it. That advice was sound, though I can't help thinking that isn't the way to draw viewers to a five part series. While I understand the need to frame the story correctly, I think much of what was covered in the first fragmented episode could have been inserted elsewhere in the form of flashbacks (which we got anyway) so that the first episode didn't become a mess of confusing images. It set up back-story, yes, but at the expense of front-story.

To briefly surmise: Christopher Tietjens (Benedict Cumberbatch) married Sylvia (Rebecca Hall) when he discovered she was pregnant, despite not being certain that the baby was his. That act sums up his whole demeanour - he is a noble man, often misrepresented and a product of the past on a collision course with the future. Although he falls in love with Valentine Wallop (Adelaide Clemens) he clings on to the remnants of his marriage even while Sylvia indulges in affairs and stays with him only to make him suffer. She is a thoroughly despicable character with few - if any - redeeming features. It's a mark of how well Rebecca Hall portrays her that I detest the character and not the actress.

WWI is an integral aspect of this story. Tietjens shuns protection in order to go into the trenches, struggling with memory loss and shell shock after his first return from the trenches. We see more when he goes back, experiencing the destruction and pointlessness through Tietjens eyes. There are a few bitter comic moments as orders are given and rescinded and the establishment proves itself to be the incompetent force that history depicts. These are grim moments of humour but in an adaptation as heavy as this I'll take whatever I can get.

I don't mean to say that it wasn't a good adaptation of a good original story by Ford Madox Ford. It is very forceful in places, dramatic in others and emotional when the cap fits. It has an excellent supporting cast including Roger Allam as General Campion, Rupert Everett as Mark Tietjens and Miranda Richardson as Mrs Wannop. There is also a spectacular performance from Rufus Sewell as Reverend Duchemin, a mad vicar who perturbs both other characters and the audience.

There is a lot crammed into five hours: war, suffrage, marriage, infidelity, deceit and misunderstandings. As a consequence, it is very heavy and requires attention. That said, if you make it past the first episode then there are some exquisite scenes to enjoy. The period detail is wonderful and it is beautifully shot and presented. There are a few particular scenes which stick in my head. The first is when Christopher and Valentine get lost in the fog and spend the night looking for the way home. It's beautifully set-up and executed and sets the tone for their romance. Secondly, there is a quiet little scene when Christopher is showing his son, Michael, the well at the family estate. It's a touching little moment, although I can't really explain why.

All in all, I'd recommend persevering with this, though don't expect an easy ride.

Television Review: The Scapegoat

The Scapegoat, based on the 1957 novel by Daphne du Maurier, tells the story of John Standing and Johnny Spence, two men who are remarkably similar in appearance. Standing, an out of work teacher, and Spence, a failed businessman, (both played by Matthew Rhys) meet in a pub and Spence decides he can use the situation to his advantage: he gets Standing drunk, steals his clothes and wallet and effectively gives his life to him. Standing is awoken the next morning by Spence's chauffeur and finds himself pushed into being Johnny Spence, who turns out to be a thoroughly despicable man. His wife is so scared of him that when she breaks a special plate of his their young daughter offers to fix it so he'll be mad at her and not her mother; his sister blames him for a tragedy; his mother has a morphine addiction funded by her son and he's sleeping with his sister-in-law. Added to which, he's completely ruined his business. Standing sets about fixing things as best he can but what will happen when Spence returns to claim his life?

This only works if you can look past the three levels of implausibility it poses at the start: firstly, that two men who look so similar would meet at a moment so fortuitous to one; secondly, that the reluctant impersonator wouldn't run away the moment things became clear; thirdly, that the family wouldn't recognise the imposter. In fairness to the story it attempts to deal with the last two but not wholly successfully. However, an excellent cast makes up for any plot deficit. Aside from Matthew Rhys the cast includes Eileen Atkins as Lady Spence (the mother), Jodhi May as Blanche (the sister) and Sheridan Smith (the sister-in-law). Phoebe Nicholls also deserves a mention as housekeeper, Charlotte. They combine to make a perfectly plausible - if completely dysfunctional - family unit.

I think the length of the episode (100 minutes) suited the story. Any longer and the situation would've become ridiculous but there was enough tension in the plot to keep it going for this length of time. There are a few particularly memorable scenes but I don't want to spoil the story for anyone who doesn't know it. Worth a watch, in my opinion, but don't expect action and thrills. This is much more slow-moving and all the better for it.

Classic Film Review: The History of Mr Polly (1949)

Starring John Mills as the title character, The History of Mr Polly is an adaptation of a story by HG Wells. Alfred Polly is a somewhat directionless dreamer who we first encounter being sacked from his job for being late (he was busy reading elsewhere). When his father dies he comes into a little money and finds himself marrying a woman he barely knows and starting a shop. Fifteen years later, their marriage is stale and painful so Alfred decides to kill himself. When he can't do that right, he just leaves but as he walks away from one problem he walks straight into another.

This is a very episodic film which flits around a fair bit with various jumps in time. As such, it can be difficult to know anyone but Alfred Polly himself. The supporting cast is huge but each have their own little moments to shine. My personal favourite was Uncle Pentstemon played by Moore Marriott, an Albert Steptoe figure who seems to appear just at funerals and weddings. Sally Ann Howes also marks her mark as Christabel, a schoolgirl who climbs over a wall and makes Alfred fall head over heels in love with her. Unfortunately, she isn't quite as serious as he is.

There are some wonderful little moments in this film and Mills is perfect as Alfred. Nevertheless, the time shifts do make it tricky to warm to, although the scenes where he tries to kill himself are nothing less than hilarious. I enjoyed this one for the comedy and Mills combined together. Watch out for the 'bit of arson', the barge crossing and the nightgown chase.

Television Review: Case Sensitive S2

My review of series one can be found here.

In all honesty, I remember very little about the Sophie Hannah book this was adapted from, despite enjoying it so much! That meant that I again came into watching this with something of a fresh mind but it also means I can't point out discrepancies between the book and adaptation. No matter - this stood up well as a piece of drama in its own right once more.

Olivia Williams and Darren Boyd return as DS Charlie Zailer and DC Simon Waterhouse. Charlie's new acquaintance, Ruth (Eva Birthistle), mentions that 'a friend's' partner has claimed to have hurt someone in the past. Charlie's astute enough to know Ruth's talking about herself and stubborn enough to check out the man she thinks she's talking about - Ruth's husband, Jason. Unfortunately, when she pokes around Jason's house she finds his dead body there and a murder investigation begins. Prime suspects are Ruth and her new partner, Aidan (Theo James), a talented pianist but with the mysterious past he half-confided in Ruth.

I won't, of course, ruin the ending. However, I will say the whole arc was masterfully put together. One particular aspect that shone for me was the use of music - linked primarily to Aidan's piano skills - which provided the backdrop to some of the tense moments throughout the two episodes. I also appreciated seeing some of the lost sets from The Bill being used again, though it did make me miss it more. There were some moments that deliberated detached from reality - as Ruth watched the world go by in the police station for instance - but they were sparse and worked when used.

And what about the personal relationship between Charlie and Simon? Well, it certainly moved on a bit. Both parties experienced a bit of jealousy, Charlie when Simon seemed overly interested in DC Amber Williams (Christina Chong) and Simon in his roundabout way at various points. As I noticed in the first two-parter, Olivia Williams and Darren Boyd have a definite connection as Charlie and Simon. It's a partnership that works, even if Charlie - and the viewer - want to bash his head against a brick wall on occasion. I think it's difficult to sympathise with Simon as much as you do in the books because Charlie's viewpoint is the predominant one. That said, more scenes focused on Simon would be scenes of no movement. Boyd plays him to perfection, hovering just on the boundary between genius and irritant.

There was tension simmering throughout this one - both crime related and personal - and I'm already hungry for more. I do hope ITV don't disappoint me...again.

Classic Film Review: Gaslight (1940)

This review relates to the British version of Gaslight, released in 1940 starring Anton Walbrook and Diana Wynyard. It's based on Patrick Hamilton's play of two years earlier and, I think, follows the plot closely, even if the name of the main character is altered. Paul Mallen (Walbrook) and his wife Bella (Wynyard) move into a house which has been unoccupied since the murder of Alice Barlow twenty years ago. They are joined in the house by servants Elizabeth (Minnie Rayner) and Nancy (Cathleen Cordell) but it soon becomes clear that this is no idyllic marriage. Bella, it seems, is losing her mind and hiding things before claiming she has no knowledge of their whereabouts. The audience is soon let in on the fact that Paul's to blame for the objects moving and that his intention is to drive his wife insane.

Gaslight is a atmospheric film. While Walbrook was very much a stereotypical villain, I enjoyed Wynyard's portrayal of Bella. However, my favourite moments came courtesy of Frank Pettingell as Rough, a former detective involved in the original murder case. His interest is piqued by the arrival of Mallen, whom he immediately identifies as the nephew of the murder victim. He attempts to discover more, partly by befriending Bella and partly by using his employee's relationship with Nancy the parlourmaid. Paul Mallen is also utilising the parlourmaid for entertainment of his own.

Knowing what's going on gives the audience an edge over Bella and it creates unbearable suspense as Paul manipulates her more and more. The final few scenes were very good, particularly as Bella uses his own manipulations against Paul. For me, though, my favourite scene was Rough charging a hoop at Bella and her dog as an excuse to make her acquaintance. I loved that scene and I can't even explain why. Pettingell's an actor I want to look out for in other films and, yes, I would like to see the MGM version of Gaslight (1944, with Angela Lansbury as Nancy) at some point in the future.

Television Review: The Night Watch

I love Sarah Waters. I've watched the adaptations of Tipping the Velvet, Fingersmith and Affinity and enjoyed them all. In the case of Affinity I think I preferred the adaptation to the book. However, The Night Watch struck me as a completely different animal. How do you dramatise a book that begins at the end and works backwards? Thankfully, the concept worked better than I thought it would on screen and a good story was backed up by some outstanding performances.

Credit has to go to Paula Milne for a terrific script and to director Richard Laxton. They brought a difficult novel to life and the bomb scenes in particular were haunting. The barest dialogue in those was enough. Of course, an excellent script and direction only count if you've got a great cast and The Night Watch certainly had that.

Anna Maxwell-Martin was known to me for her recent role in South Riding. I have to say, I wasn't sure she was right for the role of ambulance driver Kay but she fit the part very well. I couldn't warm to her immediately but - as with most characters - as we moved backwards I understood her more. It's difficult to pick my favourite Kay scene but her breaking down in the rubble when she thought her beloved Helen was dead was painful to watch - along with what happened directly after that.

Claire Foy as Helen did very well with a character whose motivations aren't as clear-cut as those of other characters. Equally, Anna Wilson-Jones as Julia was alluring, manipulative and guarded - sometimes all in the same scene. As for Jodie Whittaker playing Viv...well, I think I've found one of my favourite actresses for years to come. She was by far my favourite character in the adaptation when I felt indifferent to her during the novel at times. Harry Treadway as Duncan, Viv's brother, was something of a revelation to me since I wasn't expecting to like him. Duncan's a pretty complex character but, to my surprise, the layers were there without the necessary explanation. I particularly liked the prison scenes, especially when he started crying in the visiting room. That was another of those haunting scenes this adaptation did so well.

I could list almost every scene if I began talking about the ones I liked but I'll settle for a select few: Julia and Helen's conversation in the rain; Viv's first encounter with Reggie on the train; Kay's decision to lie for Viv as they travelled to hospital; the bombs falling on the prison... Honestly, the list goes on and on.

As with the book, you really need to watch this again to get the full effect of it. Did I like it? Yes. More than the book? No. But I think that's true of most adaptations. It certainly stands on its own feet though.

Television Review: Case Sensitive

As a devotee of Sophie Hannah's books (as demonstrated by the reviews on this blog) I was both excited and worried by the fact that ITV were going to adapt one of her books for screen. I was more perplexed when I found it was The Point of Rescue, the third in the series. My notion has always been start from the beginning. I was especially concerned that the personal relationship between Charlie Zailer and Simon Waterhouse, an integral part of the novels, would be - for want of a better phrase - buggered up. On that score, at least, I was wrong.

It just so happens that, of all Hannah's novels, The Point of Rescue was the one I remembered least about. That meant that in some respects I was able to enjoy the plot as if I was a complete novice. And the plot works, albeit it a little differently to the books. A major difference is that the books are narrated in alternating chapters - one police, one victim etc. Television's a medium where viewers can discern much more than their reading counterparts. That forced a little reorganisation as far as narrative method was concerned, but I certainly think it worked.

The cast was outstanding, both the police and public. I have to say, I was quite worried about how they would transfer the antagonistic and annoying character of DC Simon Waterhouse onto screen without altering him into something unrecognisable. Fortunately, Darren Boyd is a genius. I wasn't too sure at first but pretty soon I was convinced that the fidgeting, abrupt and slightly dim (in certain respects) man on the screen was Simon Waterhouse. And that is some accomplishment. DS Charlie Zailer was equally as well cast. I can't put into words how many differing little character facets Olivia Williams managed to demonstrate in the two hours of the programme. Cold, caring, uncomfortable, slightly-less-uncomfortable. I don't think they could have cast two better leads.

I was equally impressed by the supporting cast. I do think if I'd gone into it with absolutely no background knowledge I would've enjoyed it nonetheless. As it was, I found myself pleasantly surprised as to how easily the transfer from page to screen had worked. I heard the ratings were between four and five million, not bad considering the competition was John Simm drama, Exile. Williams confirmed that she's signed on if ITV decide to commission more and I seriously hope they consider it. I think they've got a leading pair with some excellent chemistry and some great material to work with from Hannah's books.

Read an interview with Olivia Williams here.

Read an interview with Darren Boyd here.