Sunday, 12 January 2014

TV Review: THE 7:39 and SECRETS OF THE LIVING DOLLS.

This article was originally published in The Courier on 11th January 2013.


The 7:39: Monday and Tuesday, BBC1

Secrets of the Living Dolls: Monday, Channel 4

Paul Whitelaw

A Ray Davies song in waiting, David Morrissey's Carl was your typical commuter: an unremarkable middle-aged businessman sleepwalking through his drably unchanging routine. Grey of suit and beard – even his facial hair looked tired – he had the unassuming demeanour of a melancholy bear, a gentle soul both lost and harmless. 

Which was just as well, as his behaviour in romantic drama The 7.39 could easily have come across as sad and creepy: a stalker in sheep's clothing.

Instead he emerged as a likeable, if foolish, character whose whirlwind affair with Sally, a younger woman and fellow unsatisfied commuter played by Sheridan Smith, tore at the heart of this affecting little two-part saga.

Despite raking over very familiar territory – the concept of thwarted drifters gaining a new lease of life from a fleeting romance has informed everything from Brief Encounter to Lost in Translation – it was saved by mature, sensitive writing from David Nicholls and sweetly underplayed performances from Morrissey, Smith and, in her stock role of unfairly maltreated spouse, Olivia Colman.

Nicholls toyed with our allegiances by sketching each of his principal characters in a sympathetic light. Even Sally's fiancée, an overbearing fitness buffoon played by a suitably dense-looking Sean Maguire, was essentially well-meaning. This triggered an interesting subversion of the usual demands of romantic fiction, where we root for the starry-eyed lovebirds and hope they stay together at the end. Instead I found myself hoping their flirting would lead nowhere, and that Carl would see sense and return to the bosom of his lovely wife and kids.

It's testament to the quiet depth and pull of Nicholls' writing that I was actually angling for two hours of drama during which nothing remotely dramatic or untoward happened. It was like a Bizarro EastEnders: I didn't want anything bad to happen to these nice, ordinary people. She may be renowned for her extreme sobbing skills, but I doubt even the most sadistic viewer actually yearned to witness the inevitable tear-sodden scene of Colman discovering her husband's infidelity.

While it never added up to anything more meaningful than “the grass isn't always greener”, The 7.39 engaged with its themes in an entirely believable and unpretentious way. Buoyed by Nicholls' ear for natural-sounding dialogue and the informal strength of his cast, it was a touching study of human frailty and the runaway madness of the heart.

Despite being produced by the geniuses responsible for such dire point-and-gawp travesties such as the Big Fat Gypsy franchise and The Man With the 10-Stone Testicles, Secrets of the Living Dolls was a surprisingly inoffensive documentary about yet another subculture that most of us have never heard of.

The subjects in this case were a selection of men who enjoy transforming themselves into women via skin-tight rubber masks and flesh suits. Why? The only vague reasons given ranged from mere escapism to the need to feel young, attractive and special. Whether they gained any sexual satisfaction from their largely secret pursuit remained curiously unclear. 

Despite fleeting references to the anatomical accuracy of the suits, it was if the director, stricken by an unforeseen rash of prudishness, had little interest in exploring this phenomenon beyond its most superficial layer.

Instead we were simply presented with a group of harmless hobbyists whose only demand was for society to judge them kindly. And that was that. It was as bland and impassive as the sex-doll masks worn by the men, and while one could arguably applaud the programme's essentially neutral, non-judgemental approach – I never got the impression that anyone was being mocked – it isn't merely enough to present an unusual subset of society without any kind of deeper insight.

Cuh, what do you think of that then?” is hardly the most profound authorial comment. 

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