September 8, 2011
Go… West?

It seems like taboos’s are dropping like flies on the screen these days. A mould was shattered, surprisingly by the German’s, when Bruno Ganz did the unthinkable and unbelievable by portraying Hitler in ‘Downfall’. How were we supposed to relate to one of history’s most maligned characters? Surely too much to handle, too difficult to connect to, and a step too far. Yet, with our hands covering our eyes, our curiosity getting the better of us, we still peeped out to see the bigger picture, and realise that it was a necessary educational step. To learn more about Hitler, it helped to witness someone leaving no stone unturned in exposing every nook and cranny on his ghastly, yet ultimately, human character. Then, you could move on.

Now, ITV have decided to break another taboo, by portraying one of Britain’s grisliest serial killers, Fred West. While Hitler was given a period of 50 odd years to be represented on screen, it is understandable that the cries of ‘too soon’ are audible given that Fred West escaped punishment, custody and this earth no more than 17 years ago, for a litany of some of the most horrendous and brutal serial killings the UK had ever known. A grossly perverted and mentally erratic individual, this character streak made his victims suffer more, and his acts more vile and unfathomable. It also meant his character was more complex, straddling a scary dichotomy of both a strange charm and deranged sociopathy. In other words, perhaps a character whose portrayal on screen may lead us to gain some more insights about just what he was like…

A less infamous West, Dominic, has bravely assumed the mantle of playing Fred, in his latest effort to scrub the lustre of Jimmy McNulty from his acting career. And he may have just done so, being one of many outstanding aspects of ITV’s ‘Appropriate Adult.’ On paper, the drama is geared more towards the story of Fred West’s ‘Appropriate Adult’, Janet Leach, (Emily Watson) who was present throughout the investigation and grisly confessions. While it is a slight curveball, and a tad more politically correct to have the story told from Leach’s perspective, there is no denying that Fred and Rosemary (Monica Dolan) are the core of this, gripping the viewer with every, skin crawling second on screen, whether it is through a subtle nuance, Fred’s happy go lucky way of frankly admitting the most macabre of crimes, or Rosemary’s genuinely frightening fits of rage.

Just representing the gruesome twosome was enough of a maverick move by ITV in itself. But the fact that their portrayal was quite ordinary on the surface, and indeed, laced with the odd moments of comedy, extremely dark comedy, but comedy nonetheless, was even more daring. Those who will glance at this will be appalled, and be queuing up to call OFCOM, bit on closer inspection, this is this kind of subtlety that has made Appropriate Adult one of the most outstanding dramas to grace a TV screen in a long time.

It is odd to see Fred West as a human, and particularly as this is not a straight up villification. Just like the charming Fred West who approached random, vulnerable women, he must have seemed simple and innocuous in person initially. In other words, the way ITV and Dominic West have decided to portray him. However, the brilliance is in the fact that, once you read between the lines of West’s performance and dialogue, his casual grotesque talk, his eerie charm, and the sheer absurdity of it all, you are overcome by a subliminal and highly effective discomfort. West’s creepy facial expressions, and the glare of Rosemary’s eyes are enough to send shivers through your spine.

As a result, the attention to detail is the piece de resistance. Without alluding to anything in blunt dialogue, and utterly resisting the temptation to paint either of them as vile monsters, instead, the slow and voyeuristic trips through the interior of Cromwell Street were enough to pierce your core with a horrible revulsion, and grim awareness of how depraved and sordid this entire scenario had been. And although Fred would reel off charming lines, and play the naive simpleton, the imagery, and expressions that lay beneath were enough to lay everything so horribly bare. I recall when I was younger, and something in that ‘25 Cromwell Street’ sign used to always fill me with deep unease. Here, the entire house seemed to have painstakingly recreated that effect, only it is supplemented by the characters of Fred and Rosemary filling the poisoned air, and a repulsive insight into what their lives were like.

Watson, as Leach, fittingly provides a core conceit for how we, as society, reacted and dealt with the West’s. Although society’s reaction can never match that of the victim’s families themselves, we, like Leach, would have been naive, ill equipped, all of a sudden exposed, traumatised, yet for some reason, felt she had to go back for more even though it was the worst thing to do. Given that Appropriate Adult continues next Sunday Night with its second part, going back for more is exactly what we will do. It has everything, despite its moments of dark comedy, it is discomforting, but via the medium of utterly compelling and riveting drama. This is just great television, with extremely meaty subject matter.

Perhaps a large taboo has been broken by finally portraying such an abhorrent soul as Fred West. By doing it in such convincing and grimacing style however, is probably the largest step to putting getting over the atrocity of all things Fred West once and for all, if that is in any way possible. ITV must take credit for such a sterling approach, and in particular, Dominic West and Monica Dolan and to a lesser extent, Emily Watson, for such a vivid portrayal of a horrifically difficult chapter of recent English history. Check out the first part here on ITV Player, and the second part continues next Sunday night(11/09/2011)

http://www.itv.com/itvplayer/video/?Filter=269442

November 24, 2010
‘The Trip’

The strangely innovative platform that BBC2’s ‘The Trip’ has laid for itself becomes more and more genius with every passing moment. Your first encounter with the show will probably be spent as an acclimatisation period, wondering is this actually a real feature or not…

The premise is that Steve Coogan and Rob Brydon, essentially playing themselves with a few slight touches(if any, actually…), are travelling across the most scenic parts of Northern England, whilst sampling an array of some of the finest restaurants the country has to offer. Coogan, asked to write the resulting piece for the Observer, was originally supposed the complete the trip with his latest young trophy girlfriend. However, given her sudden departure to the US for work, he turns to Brydon to accompany him and add a different dimension. The resulting voyage is a fascinating relationship of a friendship with a lurking professional rivalry. This showcases a clash of acerbic wit, endless virtuoso comic talent, underlying tensions and a constant squabble to gain oneupmanship on the other. Set as fly on the wall/roadshow mish mash, both protagonists are given ample room to flourish. Travelling around the Northern Countryside in a Range Rover allows room for sing offs, cutting loose and bellowing laughs, while the dining across from each other in fine restaurants serves as a boxing ring of sorts. Both face off in an endless array of hilarity with duelling impressions and the most scything of snide remarks. Who could have thought an argument over who does a better ‘Michael Caine’ could keep giving so much…

Indeed, this premise, although remarkably formulaic on the surface, has proved to be a masterstroke, and it seems as though Michael Winterbottom has cunningly come up with the perfect way to optimise the pair of old comrades at his disposal. As they are playing slightly fictionalised versions of themselves, Coogan is paranoid and still desperately trying to rise above Alan Partridge. Brydon on the other hand, is seemingly utterly complete in all he’s achieved, and is childlike and giddy in his contentness. Being themselves, with these slight accentuations on their real and brutally honest personalities (done ever so subtly) has allowed them to achieve some of the best work they’ve ever done. There is a clearly a huge amount of room to maneouvre and have a bit of ‘improv’, which allows them come into their own once their banter and wit gathers momentum. Much like where some of Curb Your Enthusiasm’s finest moments emerge from too…

The clash of ambition and antagonistic view of each others work proves to be a flickering flame towards the gunpowder of their bristling comic genius. While the meal time assumes the mantle of battle lines drawn, or indeed the occasional agreement and flowing viewpoint, it doubles as some of the most incessant side splitting humour you’ll ever see. Some have dismissed this as incredibly indulgent. However, in a ploy for optimisation of your talent, it has proven to be the right call. Secondly, I could imagine if it were any other actors, that it may grate. With Coogan and Brydon possessing such a bottomless well of talent however, too much is never enough.

Some of the innovative brilliance of The Trip, and what marks it out as perhaps as a potential landmark in comedy (much like The Office showed on its arrival), is its new approach and edge. It is wonderfully layered, particularly when the pair’s screen time is split. Coogan is well aware of his flaws and idioysncracies. He portrays himself to be insecure, constantly thinking of his career, vulnerable, leading a jagged love life and susceptible to the odd use of stimulants. Not too far from the image he has built up in the media really. Brydon on the other hand is regularly on the phone to his other half, seemingly in an idyllic relationship, and surprise, surprise, never holding back with his incessant impressioning. Also incredibly immature at times, every other encounter with anyone apart from Coogan results in cringey hilarity, and the urge for him to be wrapped in a straitjacket.

This expose into their characters adds a different dimension to the digestion of the comedy and endless entertainment. Winterbottom builds on this with some incredibly scenic cinematography and elegiac choices of soundtrack, which as an end product, gives ‘The Trip’ a very pensive side to its brilliant humour. A garnish of pathos if you will. Given that a lot of the underlying theme with both seems to be aging, coming to grips with that, and a rapid progression towards being at a more elderly stage in their careers, its results in a very ‘odd couple’ type brand of humour, and a touch of the Matthau and Lemmon’s. Its complex yet simple foundation must take the credit for producing what is a very unique, but richly rewarding take on comedy, much like the Office’s once did. Highly, highly enjoyable and an exhibition of engaging comedic brilliance. I can’t recommend it enough. 

November 23, 2010
The Trip - Now showing on Monday nights on BBC2 and BBC iPlayer. Currently halfway through thIs comical tour de force…

The Trip - Now showing on Monday nights on BBC2 and BBC iPlayer. Currently halfway through thIs comical tour de force…