Showing posts with label Rob Brydon. Show all posts
Showing posts with label Rob Brydon. Show all posts

Sunday, 27 April 2014

TV Review: THE GUESS LIST and AMAZING GREYS

The Guess List: Saturday, BBC One

Amazing Greys: Saturday, STV

Paul Whitelaw

It's testament to the versatility of Rob Brydon that he can concurrently star in BBC Two's The Trip to Italy with Steve Coogan, which behind all the crowd-pleasing impersonations is a relatively introspective project, and appear as the host of a shiny-floored Saturday night game show on BBC One. Almost unique among his peers, he straddles both worlds with ease.

Co-produced by the man himself, The Guess List is basically just an excuse for him to muck about with an unusually high calibre of celebrity guest. When was the last time you saw Simon Callow, let alone Jennifer Saunders, on a quiz show? It's presumably due to Brydon's standing in the industry that he can command such stellar talent.

The actual quiz format – basically a straightforward fusion of Family Fortunes and Blankety Blank – takes a back seat to Brydon's genial joshing with the panellists and contestants. And that's why, despite its populist front, The Guess List finds itself in a post-watershed slot.

While I'm sure he's more than capable of fronting a family-friendly light entertainment show, the default nature of his wit – that winning barrage of barbed insults softened with a butter-wouldn't-melt veneer – is slightly too dark for the Doctor Who and Strictly audience. 

While hardly shocking, his quips about autopsies and caesareans wouldn't sit comfortably at 7pm. This is a man, lest we forget, who was responsible for Marion and Geoff and Human Remains, two of the bleakest TV comedies of the last fifteen years. That contrast between the affable mainstream entertainer and the cult character comedian with a penchant for darkness creates an interesting tension.

Ultimately, however, The Guess List is good, silly, harmless fun. As a quiz show host, Brydon has learned from the best. His aghast looks to camera are pure Brucie – he even threw in a brief impersonation, which were otherwise sparingly used – and his occasional gags at the expense of “Mrs Brydon” would've delighted Les Dawson. As host of Would I Lie to You? he often intrudes to the detriment of the game, whereas here the whole point is his cheeky dominance of the format.

It helps that his guests happily throw themselves into the spirit of the show. Callow was an endearing tumult of good-natured mirth as he endured countless barbs about his age. And even James Corden – who's obviously learned a few valuable lessons in humility – was content to let his old Gavin & Stacey colleague hog the spotlight. 

If your tolerance for Brydon is limited, then The Guess List will quickly outstay its welcome. But if, like me, you're a fan of his work, then it's just another welcome excuse to spend time in his company.

ITV's new Saturday night rival, Amazing Greys, is by comparison a turgid bore. Together at last, Paddy McGuinness and Angela Rippon pit various young pretenders against a team of older experts. The point is presumably to show that - hey! - old people can achieve things too. How enlightening.

Interminably padded – just five tedious rounds were played over the space of an hour – it's an inherently patronising misfire that encourages a kind of cloying faux-rivalry between the generations. It also begs the unanswerable question: why is Paddy McGuinness? You could drive yourself mad pondering that one.

Friday, 18 April 2014

TV Review: THE CRIMSON FIELD and THE TRIP TO ITALY

The Crimson Field: Sunday, BBC One

The Trip to Italy: Friday, BBC Two

Paul Whitelaw

If the Sunday evening gulf left by Call the Midwife is proving difficult, then The Crimson Field should help to ease the pain. Similarly mired in suffering, it's a death-infested medical drama set in an army field hospital during World War One. While I wouldn't go so far as calling these shows subversive, it's somewhat pleasing that BBC One's traditionally cosy period drama slot is now the reserve of determinedly miserable bedpan horror stories.

Our plucky heroines are a trio of mismatched voluntary nurses. They're a carefully selected study in contrasts: one plays by the rules, the other is a brusquely perceptive rebel, and the third is a golly gosh posh girl who's frightfully eager to please.

As played by Oona Chaplin, the taciturn maverick is the only truly interesting character. Immediately at odds with the stereotypically stern matron, she's a novel protagonist – certainly for dramas of this nature – in that's she's not immediately sympathetic. 

“I didn't come here to make friends,” she snapped, like a prototypical reality TV star. Indeed, she didn't bond with anyone other than the possibly psychotic dying soldier who physically attacked her and demanded that she save his life. When she refused to beg for mercy, he crumbled in confusion. How convenient. There was an intriguing suggestion that she doesn't really care if she lives or dies, which given her circumstances is probably an ideal state of mind.

As with most Great War dramas, The Crimson Field makes a blunt point about the mercenary madness of governing officers. We were treated to a visit from a straight-faced General Melchett type who was practically frothing at the mouth at the prospect of getting wounded men back in the firing line.

“If they can walk and shoot then back up they go,” he barked, his medals for cruelty glistening by gaslight. Not content with sending a clearly traumatised young man to war, he then accused the patients of faking venereal disease. Thank heavens, then, for the kindly hospital chief played by Kevin Doyle, otherwise known as that nice Mr Molesley from Downton Abbey. He's like a beacon of decency in a quagmire of carnage.

The late arrival of Suranne Jones as a strikingly modern Sister – she has a bob and rides a motorbike – suggested an impending storm of friction, and there's obviously something afoot with the quietly bitter Sister whose position she's usurped.

Written by former EastEnders scribe Sarah Phelps, it's a slick and assured drama. While it was hardly free of cliché, episode one was more or less a textbook example of how to establish an ongoing drama. And hats off to Phelps for including a plot strand about graphically depicted dismembered toes and the incineration of amputated limbs. It was admirable in that it would be insulting to shy away from the visceral realities of World War One. I'm sure we've got a lot more discomfort to come.

One of the most purely pleasurable shows I've seen in quite some time, The Trip to Italy reunites Steve Coogan and Rob Brydon as barely fictionalised versions of themselves on a culinary road trip through gorgeous scenery. Mostly free from the animosity that characterised series one, their enjoyment of each other's company is contagious. Spending half an hour with them each week is a grin-inducing treat.