Midwives and singers
Jan. 31st, 2013 11:03 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
selenakCall the Midwife 2.02: Cynthia rarely gets the spotlight, but here she does, in the aftermath of a sudden baby death. Incidentally, while I was with Trixie for a moment in that Cynthia's panicked flight made for a strangling wish (the poor woman in labour!), I also thought that I would not feel this way if Cynthia was a shell shocked soldier sent back too early into the trenches and responding by running away. And this show, to its eternal credit, treats midwivery as seriously as male-centric war narratives treat fighting, and what had happened to Cynthia, especially the getting the premature blame part, had certainly been traumatizing.
The subplot about Chummy and Peter departing for Africa, showcasing them once more as the currently most adorable couple of marrieds on an ongoing show, makes me wonder whether it was for Watsonian or Doylist reasons. I.e. given that older Jenny's voice over assures us Chummy will be back (read: dear viewer, don't send us indignant letters, she's not written off the show), this is only a temporary absence, but was it caused because of the actress having to work elsewhere (a film, theatre) or was it for plotty reasons? Anyway, it makes sense for the character, given that she really did talk about Africa the first time we met her.
I never thought Jenny's will they, won't they thing with Jimmy was particularly interesting, but the first season with the exception of one episode only treated it as a very occasional subplot, so I don't mind as long as it stays that way and doesn't become dominating.
Quartett: a film in which Dustin Hoffman makes his director's debut by using a Ronald Harwood play to showcase four of Britain's finest veterans. The story - retired star soprano Jean Horton (Maggie Smith) arrives at a home for old musicians, where her ex husband (Tom Courtenay) & two old friends and colleagues from ye olde days (Pauline Collins and Billy Connolly) just happen to be living, the home is in danger of being closed if a big charity concert by the inhabitants doesn't go through, but Jean doesn't want to sing because of her voice's decline with age, and her ex husband has massive issues with her; will there be a happy end? (You think?) - is predictable, but the execution so well done and charming that one doesn't mind. Especially since the film doesn't just talk the talk but walks the walk; the various inhabitants of the home are partly real life old musicians (including Gwynneth Jones as Jean's old rival) and some real life old actors, including Michael Gambon having a great time as a vain and bitchy director ("it's Ceeeeedric"); in the end credits, you see everyone with a photo from their youth juxtaposed to a photo of them in the film. As for the four leading actors, they're great to watch interacting, and I do mean interacting in all combinations, not just Jean with her ex (i.e. Smith with Courtenay). Cissy, who is losing her memory rapidly (the film doesn't say whether due to dementia or Alzheimer's), and remains sweet natured and optimistic has as many scenes with Jean as Reggie the ex does, and Billy Connolly is having a great time being your archetypical rogue, who flirts with the home's director whenever he can but also is the no-nonsense common sense type as far as everyone else's personal dramas are concerned. Maggie Smith plays a typical Maggie Smith role, delivering arch put downs but also showing the vulnerability and panic within. Not one for nominations but immensely enjoyable to watch on a rainy or snowy, as the climate may be, afternoon.
The subplot about Chummy and Peter departing for Africa, showcasing them once more as the currently most adorable couple of marrieds on an ongoing show, makes me wonder whether it was for Watsonian or Doylist reasons. I.e. given that older Jenny's voice over assures us Chummy will be back (read: dear viewer, don't send us indignant letters, she's not written off the show), this is only a temporary absence, but was it caused because of the actress having to work elsewhere (a film, theatre) or was it for plotty reasons? Anyway, it makes sense for the character, given that she really did talk about Africa the first time we met her.
I never thought Jenny's will they, won't they thing with Jimmy was particularly interesting, but the first season with the exception of one episode only treated it as a very occasional subplot, so I don't mind as long as it stays that way and doesn't become dominating.
Quartett: a film in which Dustin Hoffman makes his director's debut by using a Ronald Harwood play to showcase four of Britain's finest veterans. The story - retired star soprano Jean Horton (Maggie Smith) arrives at a home for old musicians, where her ex husband (Tom Courtenay) & two old friends and colleagues from ye olde days (Pauline Collins and Billy Connolly) just happen to be living, the home is in danger of being closed if a big charity concert by the inhabitants doesn't go through, but Jean doesn't want to sing because of her voice's decline with age, and her ex husband has massive issues with her; will there be a happy end? (You think?) - is predictable, but the execution so well done and charming that one doesn't mind. Especially since the film doesn't just talk the talk but walks the walk; the various inhabitants of the home are partly real life old musicians (including Gwynneth Jones as Jean's old rival) and some real life old actors, including Michael Gambon having a great time as a vain and bitchy director ("it's Ceeeeedric"); in the end credits, you see everyone with a photo from their youth juxtaposed to a photo of them in the film. As for the four leading actors, they're great to watch interacting, and I do mean interacting in all combinations, not just Jean with her ex (i.e. Smith with Courtenay). Cissy, who is losing her memory rapidly (the film doesn't say whether due to dementia or Alzheimer's), and remains sweet natured and optimistic has as many scenes with Jean as Reggie the ex does, and Billy Connolly is having a great time being your archetypical rogue, who flirts with the home's director whenever he can but also is the no-nonsense common sense type as far as everyone else's personal dramas are concerned. Maggie Smith plays a typical Maggie Smith role, delivering arch put downs but also showing the vulnerability and panic within. Not one for nominations but immensely enjoyable to watch on a rainy or snowy, as the climate may be, afternoon.
