Yet Another Lesbian Television Tragedy

As I prepared to watch the series finale of Call the Midwife yesterday I already expected something bad to happen to the lesbian couple. A couple of months ago I doubt I would've been so pessimistic, but since then we've had a pregnant lesbian mown down by a car the day after her wedding in Last Tango in Halifax so I've been watching Call the Midwife with a deep sense of foreboding. It turned out to be justified, since Delia Busby was knocked off a bike just as she was preparing to move in with her secret girlfriend Patsy Mount. Delia woke up in hospital with amnesia and is going back to Wales with her mum to recover. Is there something in the guidance for Sunday night BBC television that insists lesbians have to be killed or maimed by the end of a series? It's certainly not a phenomenon contained to the BBC though, or British television. Sure, there are some exceptions but, examined in context, these two storylines are particularly frustrating.

First, a little lesson from my viewing history. One of the first lesbian storylines I became invested in was from the now-defunct British soap Family Affairs in 2002. It followed Kelly's love for her married friend Karen and her willingness to become a surrogate mother for her. Long story short - Karen fell in love with Kelly, they were caught out after the baby was born, they tried to make a go of it and, accidentally, Karen's ex pushed Kelly down the stairs. Lesbian storyline ended in the morgue and Karen reconciled with her ex.

Fast forward to 2015. Any suggestion that Kate's death in Last Tango in Halifax was necessary to propel the narrative and to fix a family rift between Caroline and her mother is a ridiculous defence. It meant that not only did we lose a lesbian (and a black lesbian at that) but the casual homophobia and racism peppered throughout the dialogue was never challenged. At the end of the series, while everyone else celebrated her step-sister's wedding, Caroline sat outside with baby Flora chatting to the ghost of her dead wife while, quite literally, covered in manure.

As for Call the Midwife... Well, I was prepared for this storyline to progress badly. However, the way I expected it to go was completely in-keeping with the challenges of the era: I thought homophobia and the pressures of a secret relationship would get to Patsy and Delia. That would've been sad, yes, but comprehensible. However, a road accident and amnesia feels just like a deliberate attack on the lesbian characters. The heterosexual couples in this series faced difficulties, yes, but they were based on deeper issues than chance: Shelagh and Patrick Turner had a few ups and down regarding their workloads but came through it as a strong couple; Chummy and Peter lived separately for a while to aid the health of their son but were solid throughout; Fred and Violet overcame shyness and family objections to marry by the end of the series; and Trixie and Tom were drawn apart by differing expectations and her drinking. All very human problems but the lesbian couple? Car crash and amnesia. It doesn't fit, does it?

When you watch the end of a series and your one consolation for the lesbian characters is 'at least you're not dead' then you know there's a pretty serious problem of representation, usually reliant on tropes. These shows were written independently of each other so how do you explain two such disasters in two months?

I suppose Call the Midwife could salvage this storyline in the next series. I might be convinced by a continuation where Delia slowly regains her memory and falls in love with Patsy all over again. But is that likely? I don't know. I'll just have to cross everything. In the meantime, the first couple of months of 2015 had been lousy for lesbian representation on popular programmes. Exactly what has changed from 2002?

Classic Film Review: Letter from an Unknown Woman (1948)

Letter from an Unknown Woman stars Louis Jourdan as Stefan Brand, a former concert pianist who travels home one night having been challenged to a duel. He intends to leave town to avoid it but a letter has been delivered that captures his attention. It's from Lisa Berndle (Joan Fontaine) and begins with the proclamation that she may be dead by the time he reads it. She had fallen in love with him at first sight many years earlier and much of the film is comprised of flashbacks to show how their relationship developed and how it came to be that the intimate letter was from an 'unknown woman'.

I've heard it said that this film is Joan Fontaine's finest and I'm happy to concur. She is outstanding, as much of a presence here as she was in Rebecca eight years earlier (reviewed here). It was impossible for me to look away from her face in any given scene, though sometimes I wanted to due to the strength of emotion she was portraying. A couple of scenes stand out in this regard. The scene where she flees her mother and stepfather and returns to see Stefan is heartbreaking, as is the scene later in the film where she realises that he doesn't remember her at all. Fontaine's ability to convey so much in one look is what makes her one of my favourite actresses and this film showcases that tremendously.

Jourdan is well-cast as Stefan, particularly in the present-day scenes as he struggles with what he's reading. He portrays his charming selfishness perfectly until it eventually cracks under his realisation. The rest of the cast is good but mostly in the background. This film belongs to Fontaine and Jourdan - and more Fontaine than Jourdan. However, a word must be given to the exquisite direction, especially in the scenes where Lisa is watching Stefan. These scenes are works of art and the film as a whole is put together so lovingly.

I can't think of a bad thing to say about Letter from an Unknown Woman. It left me feeling as though my heart had been ripped out but the ending did the story justice. I think perhaps this is Fontaine's finest film, but I'll have to continue my journey through her filmography to confirm that.

Classic Film Review: Becket (1964)

Becket is based on the true story of the assassinated Archbishop of Canterbury (Richard Burton) and his relationship with King Henry II (Peter O'Toole). It follows his promotion first to chancellor then to archbishop and the impact that has on his close friendship with the king. The conclusion of the story is, of course, no surprise, but the interplay between the two makes this an exceptional film. The supporting cast includes John Gielgud as King Louis VII of France, Donald Wolfit as Bishop Folliot, David Weston as Brother John and Sian Phillips as Gwendolen. 

The basic facts of the Becket story remain the same but quite a bit has been simplified. The main reason for the initial fracture between Henry and Becket becomes one criminal clergyman when, in reality, the reasons were much more complex. Still, the simplicity works because the main attraction of the story is the relationship between the two protagonists and Burton and O'Toole are nothing short of brilliant. Burton's performance in one particular scene, praying for guidance because he feels trapped between his king and his new role, deserves acclaim. Equally, O'Toole's stand-out scene comes when he, deliberately or otherwise, orders Becket's execution. This isn't to say that their scenes together aren't memorable and effective, just that their individual torture is captivating.

I suppose a common criticism of this film might be that it's rather stagey. It shows in places but this is tempered by some of the external scenes which give a sense of a wider world. The sets are excellent and the costumes beautiful. For the most part the dialogue is effective but, again, the simplicity of argument the film relies on renders it unrealistic in places. Some of the alterations, most notably labeling Becket as a Saxon when his lineage was Norman, are done for dramatic effect and to highlight the peculiarity of the strong relationship between king and friend. On the grounds of historical accuracy it fails but on the grounds of memorability it certainly passes. Becket is another one of those excellent historical dramas of this period to be ranked favourably with A Man for All Seasons (reviewed here).

Axed - The Paradise

Learning that The Paradise has been axed, I have to say, I wasn't too surprised. Don't get me wrong, I enjoyed it a lot. I reviewed the first series on here but didn't have time to review the second. The thing is, the second series seemed much less ordered than the first. By the end of it, with Denise (Joanna Vanderham) starting her own business away from the department store, there was a sense of fragmentation. And, also, I'm afraid, of things having progressed a little too quickly with Denise going from shop girl to department head to running her own business with undue haste.

I think the resolution of Miss Audrey's (Sarah Lancashire) storyline in the first two episodes of series two was a real problem for the programme as a whole. However, it was nice to see her ride off into the sunset with Edmund (Peter Wight). Then again, his dithering and returning, obviously giving Denise something of a safety net in her uncle, was a little demeaning to their happily-ever-after. It just accentuated the sense of fragmentation I got throughout the series, along with plots and schemes piled on top of one another. I found the really interesting characters - Clara (Sonya Cassidy), for one - got their screen time but they deserved much more. Equally, I enjoyed Katherine's (Elaine Cassidy) difficult relationship with her new husband and step-daughter but it melted under the conspiracy plot.

When I reviewed the first series it was on a week night and I suggested it was typical Sunday night fare. They did move it for the second series but put it on at 8pm - not exactly what I had in mind. It works for Call the Midwife because that programme has a devoted following but a lot of people watching live just skip over the 8pm slot and tune in later as this household does. Perhaps it was too late to save The Paradise after lacklustre first series figures caused by dodging scheduling. It's a shame but, as I said, not unexpected.

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.

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.

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 

Television Review: The Paradise

Although this series was based on a book by Zola, I'm treating it as an isolated drama series since I haven't read the book for comparison. The Paradise tells the story of a country girl who joins the staff of a prestigious department store. Denise (Joanna Vanderham) has come to work for her uncle, Edmund (Peter Wight) but finds his shop across the street from the department store desolate and unable to support her. Starting work in Ladieswear under the withering gaze of Miss Audrey (Sarah Lancashire) she faces animosity from colleague, Clara (Sonya Cassidy), but Denise is full of ideas, some of which capture the attention of owner, John Moray (Emun Elliott). There is a spark between them but Moray is in the process of wooing Katherine Glendenning (Elaine Cassidy), the daughter of Lord Glendenning (Patrick Malahide), although the spectre of his late wife troubles him on a daily basis.

In all honesty, I found the first episode a little disjointed and difficult to watch. That's a sticking point with many dramas and the introduction of Denise to the world of the department store was much less effective than her immersion in it in later episodes. Characters who seemed like cardboard cut-outs in the first episode are fleshed out much more as the series progresses, notably Miss Audrey and the impassive clerk, Jonas (David Hayman). There is enough in the later episodes for me to recommend persevering with this - if you're a fan of period drama, of course.

The sets and costumes seemed perfect, most of the dialogue was in keeping with the period. Denise's accent was a little all over the place at first and, given the fluctuations, I never managed to accurately pinpoint where she was supposed to be from. One of the most enjoyable aspects of this series was perhaps the use of some excellent younger actors who are going to be in many, many things to come. Some of them were already familiar to me - Emun Elliott (Lip Service), Elaine Cassidy and Stephen Wight as Sam (both Fingersmith), Matthew McNulty (The Syndicate) - but Joanna Vanderham and Ruby Bentall as Pauline were both new faces to me.

As the series progresses there are some surprises and some predictable twists, enough of the former to make the latter bearable. I particularly enjoyed the finale, but primarily for the resolution of Miss Audrey's own storyline as much as anything else. The series was left open enough for the BBC to renew it and I hope they do, although I remain a little puzzled by their scheduling. The Paradise was not a midweek offering - it's typical Sunday night entertainment which would've fared better in that slot than I suspect it did on Tuesday nights. While I realise that the schedulers were probably trying to avoid a Downton Abbey clash, pushing The Paradise back until perhaps next year would've ensured it got the audience it deserved. If it returns, I'd like to see it on a Sunday evening where it belongs.