Archive for category TV Drama
Doctor Who fans converged on Washington, D.C. for Awesome Con on earlier this month to see Peter Capaldi and Jenna Coleman. The U.K. actors were interviewed by Kristen Page-Kirby, the Senior Arts Editor for the Washington Post Express. The half hour panel also featured a Q&A with the audience.
“I’m not sure how successfully Clara was able to wipe [the Doctor’s] mind,” Capaldi hinted about future episodes. He stopped mid-sentence before giving away anything else. Though Clara has left, it remains to be seen where these leftover pieces, if any, will take the Doctor. Read the rest of this entry »
Bonnie MacBird visited the Virginia Festival of the Book to promote her latest book, Art in the Blood: A Sherlock Holmes Adventure. Her long career as a screenwriter, producer, and director includes the screenplay for the original TRON as well as three Emmy Awards and eleven Cine Golden Eagle Awards. A lifelong Sherlockian, MacBird lives in Los Angeles and takes frequent trips to London.
Is this your first time at the Virginia Festival of the Book?
Yes, it’s my first time and I love it! I’m very impressed with Charlottesville. It’s beautiful. The whole town and the festival itself are quite impressive.
I know you have a background as a screenwriter, producer, and actress. You’ve put on a Sherlock Holmes play, The Blue Carbuncle. What was the transition like from screenwriting to novel writing?
My background is in the movie business. I’ve been 35 years in the entertainment business in Los Angeles. I started as a studio exec. I did development and that meant reading literally thousands of scripts. I think during that very formative time in my career, I got many lessons on story structure by doing that and working on screenplays, which are highly structured pieces of writing. Then I was a screenwriter for a number of years. I was the original writer of the movie, TRON, and then did a bunch of other scripts that sold. Read the rest of this entry »
The Case of the Sympathetic Barber
About thirty minutes before his Red Carpet appearance, Robert Carlyle gave his frank opinion about the titular character from The Legend of Barney Thomson. “He’s not a very nice person, this Barney,” the Once Upon a Time star admitted at the Whistler Film Festival, where his directorial debut was welcomed for its North American premiere. “It’s one of the most difficult things about the script: How do I play this guy and make him somehow sympathetic? Because he’s a tit, he really is!”
It helps immensely that Carlyle dwarfs Barney’s unpleasant “outbursts” towards customers by bringing on the full force of an outrageous personality like Cemolina. Emma Thompson, a two-time Academy-Award-winning actress, is both delightful and horrifying as Barney’s mother. Only two years older than Carlyle, Thompson benefited from the expertise of Mark Coulier (Spectre, Iron Lady) for the prosthetic make-up design needed to transform her into the feisty Scottish woman. It’s Emma Thompson as you’ve never seen her.
Despite being in her seventies, Cemolina stays active with her betting at the dog races, her lively Bingo nights, and old lady dance parties. But by no means would we ever expect her to garner the accolade of “Mother of the Year” for the scathing verbal abuse she unleashes on Barney, the hapless and lonely barber. “I never saw the f***ing point of you,” she tells her long-suffering son. Ouch.
A View from the Barber’s Chair
The Legend of Barney Thomson follows the misadventures of Barney, who has been relegated to the last chair at rear of Henderson’s Barbershop. About to be fired, he accidentally kills his boss (Stephen McCole) and attracts the fierce scrutiny of Detective Inspector Holdall (Ray Winstone) and Detective Sergeant MacPherson (Kevin Guthrie). The citizenry of Glasgow are on edge about a strange wave of murders carried out by a killer who mails body parts to the loved ones. An overwhelmed Barney turns to his mother for help, which leads him to uncover some startling revelations. He’s also at a loss about what to do with his so-called friend, Charlie (Brian Pettifer), who connects the dots about the unfortunate accidents at the barbershop.
The script was written by Richard Cowan and Colin McLaren, as an adaptation of Douglas Lindsay’s The Long Midnight of Barney Thomson. Understandably, there’s a bit of humor that you can’t pull over to the screen from chapter titles on paper like “Forgive Me, Mother, For I Have Sinned.” But the weakest point of the film for me is how Barney and Charlie are pitted against each other. It feels a bit too contrived, compared to the more natural comparisons between Barney and Holdall. Cowan and Carlyle said at the general Q&A that a lot of creative liberties were taken with Charlie. There’s a connection with Carlyle’s past (a local from “the cinema queue” in Glasgow) that feels far too distant for viewers to readily grasp. At the same time, there are still jokes and a richness to be gleaned from their scenes. The fair or carnival setting is a perfect backdrop for two of their conversations and not solely because they are on the teacup ride.
Dissecting the Barber’s Cut
That point leads me into a far more interesting and pleasant discussion topic: where Robert Carlyle succeeds with his directorial debut. Strong casting, already mentioned with Emma Thompson, is of great importance when the shooting schedule is very tight. Barney Thomson benefits from the talents of Ray Winstone, Tom Courtenay, Ashley Jensen, and others. Another positive aspect is the gallows humor. Adding the Glaswegian accent into the mix makes it possible for Barney’s panicked line of “His freezer is too wee!” to reduce a crowd to full-bellied laughter.
The film has a sophisticated level of cinematography, due to the fantastic artistry of Fabian Wagner (Game of Thrones, Sherlock) in scenes like the Bingo night and Barney’s daymare. The active camera, especially with a complex arc in the latter, pulls the viewer completely into the barber’s state of mind. Closely tied to the cinematography is how the sets were conceived by Carlyle and designer Ross Dempster.
It seems that some critics have found it to be “lacking” or spare, questioning the atmosphere of the Glasgow portrayed. However, Carlyle does have a very specific agenda in keeping things simple and outfitted in a sort of retro style. The jaunty tunes in the soundtrack highlight the irony in Barney’s misadventures, but they also cement a sense of timelessness in hearkening back to decades long gone. After all, legends are timeless, supposedly outliving the hazy eras and rubble in which they take shape. Barney Thomson is a neo-noir film, too, taking some inspiration from David Lynch’s Blue Velvet near the end.
There’s one last series of backdrops and background elements that I want to analyze in a way that might stretch credulity. Kasabian posters bearing Serge Pizzorno’s face pop up regularly, an obvious reference to one of Robert Carlyle’s favorite alternative rock bands. The office of Chief Superintendent McManaman (Tom Courtenay) features a taxidermy bear with its arms outstretched over Holdall as he bickers with DI Robertson (Ashley Jensen). Earlier I mentioned the fair, where Charlie and Barney circle round in the teacup.
Whether it’s entirely intentional on Carlyle’s part, (I suspect it is that) each instance of playfulness carries the underlying motif whereby violence or chaos is ready to burst into the frame. The connection is subtly drawn by the band posters, but plenty of Kasabian’s tracks (“Switchblade Smiles,” “Underdog”) are explicitly about fights. That bear looks just as menacing as it appears comically innocuous with its claws and massive size. Fairs and carnivals have a dark and maddening side (if a bit cliché) as well. Thus it’s surprising when other critics express doubt about the build-up to the inevitable, hilarious, and explosive outcome at Loch Lubnaig. There is a very convincing and well-laid trail.
The Legend of Barney Thomson is a carefully constructed film under the direction of Robert Carlyle. It’s full of surprises and great fun at every turn. You don’t want to miss the blooper reel at the end credits.
This opening feature for the Edinburgh International Film Festival is worthy of the BAFTA Scotland Awards and nominations it garnered recently. It also came out as the runner-up for the Audience Award at the 2015 Whistler Film Festival. The Legend of Barney Thomson comes out on VOD on February 2, 2016, followed by a theatrical release in North American theaters on March 11.
This article was originally posted on Blogcritics.org with the same title. I added photos and made size adjustments.
In early December, I caught up with Robert Carlyle twice at the Whistler Film Festival (WFF) as a writer for Blogcritics. The Once Upon a Time actor was at the snowy ski resorts in Whistler, Canada, for the North American premiere of his directorial debut, The Legend of Barney Thomson. He mingled with screenwriter Richard Cowan as well as producers Emily Alden and John Lenic at the Red Carpet. Read the rest of this entry »
The Whistler Film Festival held a Spotlight on Robert Carlyle earlier this month in British Columbia, Canada. As part of the WFF Signature Series, the actor-director was presented with the Maverick Award. Carlyle’s directorial debut, The Legend of Barney Thomson, was screened later in the evening for its North American premiere.
The event included an intimate conversation with critic Jim Gordon of CTV, a major news network based in Vancouver. Much of the focus on Carlyle these days seems to be on his work with Once Upon a Time and the upcoming Trainspotting 2, projects that he himself appreciates. “One of the lovely things about Once Upon a Time is that [my family and I] can all sit and watch it on a Sunday night together. You can’t really do that with Trainspotting,” he remarked. Read the rest of this entry »
Caution: This review contains spoilers.
The latest episode of Doctor Who takes the Doctor (Peter Capaldi) and Clara (Jenna Coleman) to the hidden streets of London, where aliens reside somewhat peacefully away from the world. Lording over them is none other than Me/Ashildr (Maisie Williams) as an enforcer. Sentencing for crimes is rather strict, resulting in a tattoo that counts down to zero. At zero, the Raven comes in for the kill.
Clara’s friend, Rigsy (Joivan Wade), has the tattoo on his neck, but he has no memory of killing a creature the day before. Clara and the Doctor seek to clear his name through their investigation. They speak with the victim’s son, who really turns out to be a girl (Naomi Ackie). The situation turns out to be a trap for the Doctor, laid by Ashildr and presently unknown enemies.
Ashildr promised her personal protection to Clara at the Doctor’s insistence. However, Clara gets Rigsy to transfer the death counter to her. It’s reminiscent of the Doctor’s willingness to take risks, like the time he took the 60 seconds on the Orient Express to figure out the mummy. However, Clara’s gamble backfires, since another one of Ashildr’s deals only extended to Rigsy.
The Doctor suffers major losses here: Clara’s death and surrendering his TARDIS key. It’s not clear who contracted Ashildr to go after the Doctor and teleport him away. The Daleks, Missy, or even the Gallifreyans could easily fit that role. If Clara’s echoes are around, there’s a chance that we’ll be seeing her again as well.
Unfortunately, season nine has been rather disappointing so far. The two-part format has been largely unnecessary with weak scripts and only a mere flicker of excitement by the end of the second part. Here, we’re back to the single episodes, but again, the stories are not particularly strong. There’s an opportunity in next week’s episode ‘Heaven Sent’ to retool things and get back on track.
One of the other larger questions for the series is the identity of the next companion. Ashildr is not a likely candidate, given that the Doctor wants her to stay out of his way. For now, River Song (Alex Kingston) is coming back for the Christmas Special, which should be interesting to see. There’s already an amusing promotional photo circulating through social media, depicting an uneasy River holding onto the Doctor’s shoulder. What trouble will they be taking on together and what sort of dynamic will their relationship have?
PBS drama Mercy Street received a warm welcome on Friday at the Virginia Film Festival in Charlottesville, Va. Students, medical professionals, and Civil War history enthusiasts flocked to the University of Virginia’s Culbreth Theater for an advance screening. The first episode, “The New Nurse,” introduces Mary Phinney (Mary Elizabeth Winstead) and Emma Green (Hannah James), two volunteer nurses tending to the wounded at the Mansion House Hotel in Alexandria. Mary is a staunch abolitionist and widow, while Emma is a young Southern Belle. Both Union and Confederate soldiers arrive at this makeshift hospital for treatment, highlighting the regional differences and prejudices in 1862 about society and nationhood.
The series was filmed in Richmond and Petersburg, cities located over an hour away from Charlottesville. The local connections don’t stop there, particularly because the story is based on real people from history. After the war, Emma Green relocated to Woodberry Forest School in Madison County, only minutes from where actress Hannah James grew up. Members of the Green family were present at the event and greeted the cast later in the evening. Read the rest of this entry »