Let’s not muck about: this was the best episode yet. The first twenty minutes to half an hour in particular, were as gripping as anything on TV. The quality of the opening alone made this the highlight of a bold series.
What made the beginning so absorbing was the reveal of the much talked of, but never seen, Peter Glickman, and some superb writing and acting. Indeed it was the acting above all else that made this so good, especially when Stephen Rea’s Gatehouse squares up to Anthony Sher’s Glickman. Before that unbelievably tense encounter though, we’re treated to Sher’s portrayal of Glickman’s alter ego Paul Donnelly, who lives a simple life as a clock shop owner in Ireland.
The unlucky passing of an old business associate, an American flashing plenty of cash, transforms our Irish accented and mild mannered old chap devoted to his clocks into a slick and ruthless criminal. The script excels itself as we see Glickman follow the man from his shop, cleverly work out the number of his hotel room and then pull off a near perfect murder.
The conversation between Glickman and the American in his room is chilling and realistic. The moment Sher’s performance switches from one persona to another is astounding. Glickman is a quietly menacing character very much in the mould of Gatehouse but also somehow on another, less predictable level. The murder itself was surprisingly brutal, jumping out at you just as Glickman is showing a compassion Gatehouse seems to lack and contrasting starkly with the meticulous but unnoticeable preparation.
Accomplished ad hoc killing complete, Glickman slots seamlessly back into the shoes of an old fashioned and harmless shop owner. He has cultivated the last resort escape route of his alter ego for twenty years, making regular but short appearances in Ireland as Donnelly to flesh out the believability. Echoing all the talk of him dividing his life into boxes in previous episodes, he describes his double life as a room kept ready for him and where nothing looks odd when he moves in full time, because really, he’s been there all along.
Despite his calculating nature and devious credentials to match Gatehouse, Glickman nevertheless seems more human than Stephen Rea’s character. He claims to have genuinely loved his girlfriend and to deeply regret not having the opportunity to say goodbye. Later in the episode he meets Christopher Eccleston’s Joseph Bede for a dead drop on a bench, ignorant of the fact that he’s been banging the woman he misses. She has sought comfort in the arms of the florist/drug trafficker, somewhat predictably after last week’s flirtatious behaviour, because they both live in the “loneliness of the past” or something.
Anyway what do we actually learn when Gatehouse and Glickman have that awesome standoff? Admittedly I’ve been putting off an explanation because I’m not quite sure I’ve digested it all. But the big thing that surprised me, amongst the quick fire, back and forth dialogue was that Gatehouse is Glickman’s “controller”. I always assumed Glickman was the real big cheese and that Gatehouse was pissed because he’s the hired help, albeit a rather active, expert and efficient employee. But I guess a theme of the series is that people appear to have roles and responsibilities which they don’t, to protect the real puppet masters (e.g. Bede).
Glickman got Wratten out of jail because the two had been working together for thirty years. Gatehouse disapproved because Wratten was threatening to expose something massive, an extremely secretive operation called “Counterpoint”. Gatehouse implies he wanted the satisfaction of killing Wratten himself, rather than having him eliminated in jail. Glickman of course ends the conversation by trying to blow up Gatehouse, unsuccessfully, thus postponing the real showdown for a later date.
Crudely ejected from his cover life, Glickman tips off Gabriel about the drugs, kick-starting an unveiling of police corruption on a huge scale and taking us closer to the truth about Gabriel’s memory loss. The police are selling drugs from the evidence room (Honey and Gabriel discover UV codes; two sets from the police and one from customs) and even very top officers know about it. Gabriel, in trying to confront his superior, is confronted with his own apparent corruption and the extent of the rot. Blimey.
As if that wasn’t enough for one episode, Bob Harris pulls out of the deal to buy Bede’s drugs, only for his rent boy to bump him off and take his place. Someone must be backing him and this becomes one of the new mysteries, along with what exactly is “Counterpoint”?
As I’ve said before, this is a series that can infuriate as well as inspire, with some of the many references to “shadows” in this episode deflating the subtlety somewhat. But undoubtedly, The Shadow Line is now beginning to reward commitment in a big way.
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After things really seemed to be getting somewhere with episodes 2 and 3, last night (the first time I have watched The Shadow Line as scheduled, 9pm BBC 2) things once again became a blend of baffling plot lines and bad dialogue, punctuated by the odd superb scene. This is one of those programmes so determined to keep us guessing that no sooner are we given a clutch of answers, a bucket full of more questions is splashed into our bemused faces.
The answers come in the form of customs officer Robert Beatty, who was the guy sultry sidekick Honey had a fight with last time. He’s one of these deep cover types working beyond the police, doing things they can’t like he doesn’t give a shit. It turns out that the drugs murdered Harvey Wratten used to get his rare Royal Pardon were already his. Beatty also reveals there was a second requirement for the Pardon; saving the life of a cop. In this case information was given to save him and his family from a car bomb. But it quickly emerges that the bomb was probably planted by Wratten too. So Wratten arranged a get out of jail free card for himself. Well mostly free, just minus millions of pounds worth of drugs.
Obviously Gabriel thinks this is getting somewhere with the case, that he’s been given three extra weeks to save. But it’s difficult to say where this breakthrough leads or what it means and his boss has a problem with that. Even though they’ve got a blurry picture of Gatehouse on CCTV too AND they’ve linked him to a big drug deal, where Gatehouse appeared to be acting on behalf of the vanished but ever present Glickman, who was in turn acting for Wratten because he was banged up. Confused much?
And that’s just the professional side of the police case. We haven’t even mentioned Gabriel’s personal problems. He didn’t have any agonising moments staring at that inexplicable briefcase full of cash this week but the mother of his secret child told him to tell his wife of their existence, who is finally pregnant. This is the cue for just one of many terrible lines in this episode. Gabriel, clearly in a sticky situation, blankly says “I’m in hell” only for the mother of his child to hit back with “No, we’re in limbo”. She then says she won’t have her son growing up in the shadows, which is far too forced a reference to the show’s title.
On the criminal side of the case, Bob Harris is sweating his hairy backside off because one of his supply lines has been compromised by customs, which is how the police know about Glickman getting the drugs for Wratten. How do I know he has a hairy backside you ask? I don’t for sure but I’m judging by the rest of his portly, sagging, ageing body. We’re treated to a scene with Harris and a gay lover, with Harris sporting a pair of very tight pants and awkwardly resting on his side like a beached whale, and the lover wearing nothing at all. He is sprung from a police station by an anonymous benefactor at the beginning of the episode and ever since has been stuck in camp seductive mode. He also gets some terrible lines and provides Harris with the information that apparently Jay Wratten is responsible for the busting of his line.
Jay of course, has been told by Andy Dixon the driver, that Harris killed Harvey. So he has a reason to piss him off. But Christopher Eccleston’s Joseph Bede interrogates Jay and he insists he didn’t do anything. We see very little of Bede this week, apart from when he’s questioning Jay and Glickman’s girlfriend, but Jay does get to pay another over the top, intimidating visit to Glickman’s son. And this is where we see the mysterious, deadly Gatehouse again.
Perched atop a mountain of office furniture, Gatehouse is across the street from Glickman’s son with some very fancy tech for listening to phone conversations etc. Eventually he decides to pop round to the home of Glickman’s son and play the kindly old fashioned gentleman card. Glickman’s sceptical daughter-in-law is won over by his harmless demeanour and Gatehouse gains access to the downstairs loo. After opening and closing the window briefly, he lets himself out. After calling her husband about the visitor, the wife goes upstairs to check on the wailing baby, prompted by the baby monitor. Their little girl is not there.
I was glad when Gatehouse showed up eventually last night because the rest of the episode had been poor. With Gatehouse though you know things are going to be suspenseful and tense and that something is going to happen, even without him doing very much. Here he’d magically whisked the baby outside, simply by opening and shutting a window in the toilet. Surely he must have had help? After dashing about the house absolutely distraught, she finds her baby and then Gatehouse, who chillingly tells her to call her husband “NOW” via the baby monitor. Glickman is then told Gatehouse wants to hear from him.
This episode has time for one more confusing but majestic scene. The journalist, otherwise known as that bloke from Casino Royale, who has been investigating police corruption throughout the series, features strongly in this episode asking people questions without really getting anywhere. Then he’s given the job of city editor at his paper, along with a far from feasible pay rise. Prior to this Gatehouse calls him up for an anonymous meeting but does nothing; not even speaking to him. Instead he gets hold of his home address pretending to be a deliveryman. Then comes the outstanding scene.
McGovern (name of said journalist) rides out of the city in his leathers and into the countryside towards home and his wife, where he can tell her the good news of his promotion. The tension slowly builds as it’s evident something will happen. Then we see a car in the distance on a straight road, with McGovern heading towards it. Both vehicles, bike and automobile, disappear into a dip in the middle of the road. We hear a screech and only the car emerges on the other side. The episode ends with a close up of our fallen journalist, in the middle of a sun drenched road, blood dripping in vivid drops from his helmet against a background of bright blue sky.
Scenes like that are the reason I continue to watch The Shadow Line. Some of them use too much style but most are refreshingly well executed, subtle and classy. This episode was full of irritating performances, including McGovern/Casino Royale man’s intonation that made everything sound like a question, hardly a subtle portrayal of an investigative journalist. It also had some of the worst dialogue so far and perhaps more of it. And the plot development became frustratingly unsatisfying too. But occasionally I am still gobsmacked, even in this mostly bad episode, and I am still intrigued.
With some questions answered new ones arise. Why kill the pestering journalist when he appeared to know very little? More interesting still, why did Gatehouse kill him, when he was investigating police corruption? Do Gabriel and Gatehouse know each other? Perhaps Gabriel simply can’t remember with that bullet inconveniencing his brain. And how exactly did it get there? Was Gabriel responsible for the death of partner Delaney? Can Chiwetel Ejiofor put in a good performance despite increasingly ludicrous plot twists for his character and sledgehammer emotional dialogue? Will Bede and Glickman’s girlfriend get together? Will next week be more enjoyable and make more sense? Will I get to see Bob Harris completely naked?
I’ll keep watching for the answers.
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There are instructional guides for everything nowadays. Bright sparks and academics compile recipes for far more than just food. Type the word “instruction” into Amazon and you get back motivational guides, martial arts handbooks, “Traditional Patchwork Quilt Patterns” and even “The Baby Owner’s Manual”.
Personally, I’ve never owned a pet. As a child I would recoil at bounding dogs, repulsed by their drooling eagerness. I’d love a canine companion now, my very own incarnation of man’s best friend to walk and pamper and pat, but I wouldn’t know the first thing about caring for an animal. Well I’d like to think I wouldn’t kill it too swiftly, but it would be handy to avoid charges of animal cruelty or worse, incur the brutal intimidation and mudslinging of animal rights activists. So another scan of Amazon and perhaps “The Dog Owner’s Maintenance Log” is for me or “Dog Grooming for Dummies”.
I can’t help but think that, given my inept fondness for dogs, I’d be even more out of my depth with a creature that’s much harder to love. A tarantula or iguana for example. I know for a fact that should I bump into a dragon in a dark alley or atop a windswept cliff, a pocket sized book entitled “How To Train Your Dragon” would be of considerable use.
There are countless books and “must have” guides to the film industry as well, with everything from screenwriting to lighting covered somewhere in print. I’m willing to bet that somewhere there’s a section on the importance of a title for your Hollywood Blockbuster. Get that name wrong and nothing else will matter. The title of your story should be an instant hook, with an air of mystery and definitely not so dull as to repulse potential viewers before they’ve so much as glanced at the rest of your poster. At first How To Train Your Dragon seemed a poor idea for a film title to me, despite the inevitable quirky interest around that last word. It’s a name for a user’s guide not an all conquering family movie phenomenon.
How To Train Your Dragon became something of a surprise hit though last Easter, and had not only sizeable audiences but unanimous critical praise. Rotten Tomatoes carries a 98% critic rating and 90% audience satisfaction for the film. For me this was initially surprising, given that How To Train Your Dragon contains hearty helpings of a foul smelling ingredient most recipes for good films would advise strongly against.
How To Train Your Dragon is completely predictable. And predictability, it’s easy to learn watching, writing and reading about films, is often just another word for bad. Samey storylines you’ve seen before, nine times out of ten stir up nothing but annoyance in the mind of an audience, and if not audiences then almost certainly reviewers. If the trajectory of a film is obvious and its ending plain from the opening scene, it doesn’t usually make for engaging entertainment.
But How To Train Your Dragon has flagged up an important truth for me. Some films thrive on the predictable, namely family films. There has to be a certain satisfactory happy ending, a particular sense of bonding and struggle, a recognisable group of relationships between characters. And I was wrong to say that How To Train Your Dragon is completely predictable. It’s got a refreshingly non-American setting for a start and a reasonably original twist on a familiar premise.
There’s something of a 3D trend in films at the moment, specifically in animation. I get the feeling that a handful of moments in this film, spectacular flying sequences and fluid fire, would be as good as anything yet seen in 3D. But as it was I made do with the small screen, DVD experience. And How To Train Your Dragon is still a pretty little film.
It kicks off with a funny and adrenalin pumping action sequence, with a Viking village under attack from marauding dragons swooping from above. Buildings explode and burn vividly in the night, illuminating the dark coastal scenery. We’re swiftly and efficiently introduced to all the main players with considerable humour and the set-up of age old conflict between two races is established. For an animated film it’s a surprisingly impressive start. And best of all the ending trumps this memorable beginning.
We meet Hiccup, voiced by Jay Baruchel, working out of the way in a Blacksmiths. He’s the weak son of Viking leader Stoick the Vast, voiced by Gerard Butler as an essentially family friendly version of his Spartan king in 300. Hiccup’s a disappointment and an outsider. But as the film progresses he finds he has a strange affinity with the dragons and begins to uncover the reality of their nature. He’s guided along the way by sympathetic Gobber (Craig Ferguson), a Viking trainer, and finds a love interest in Astrid, voiced by America Ferrera. Astrid is cleverly and amusingly introduced in the opening action scene, walking away from an explosion in a satire of typical action films, to the sarcastic, smitten voiceover of Jay Baruchel.
In my opinion How To Train Your Dragon, a Dreamworks production, lacks the heart wrenching sentimentality and visual wow factor and beauty of a Pixar film. But as other films like the Shrek franchise show, Dreamworks do funny, tongue in cheek, successful animation, with good characters, really well.
Two interesting DVD extras delve into the casting process behind the film and its technical processes respectively. I find the process of characterisation and casting when there’s only a voice to work with extremely interesting and it’s intriguing to hear the filmmakers’ thoughts on how they got that right. In the visual production segment of the extras there’s a wonderful explanation of the various types of dazzling fire used to help distinguish between the wide varieties of dragons on show.
In short How To Train Your Dragon is a perfectly cooked family meal. It’s hardly dining at the Ritz but no one likes a snob and sometimes there’s nothing more fun than well executed comfort.
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