TV Review: BANISHED and POMPIDOU

This article was originally published in The Dundee Courier on 14th March 2015.

http://www.thecourier.co.uk/lifestyle

Banished: Thursday, BBC Two

Pompidou: Sunday, BBC Two

Paul Whitelaw

You'd have to be mad, foolish or both to challenge Jimmy McGovern's reputation as one of Britain's leading TV dramatists. Fuelled by anger, humour and compassion, his greatest hits include Cracker, The Lakes, Hillsborough and The Street. That's one helluva strike rate.

However, even writers of McGovern's stature can be scuppered by compromising circumstances. Banished is proof of that. Set in a late 18^th century penal colony in New South Wales, it follows the arduous lives of British convicts and Royal Navy marines as they struggle to survive in this 'Godforsaken' land.

It's a typical McGovern piece in that it revolves around terrible moral dilemmas, miscarriages of justice and the powerful notion of doing the right thing under desperate circumstances. Indeed, the script is fairly solid and engaging. If you're a fan of the expletives 'whore' and 'scum' it's an absolute treat. But the problem lies in the way it's been transferred to screen.

Despite being set in a supposed hell-hole, it has the glossy look of an afternoon TV movie. The intrusive score sounds curiously synthetic and cheap. The actors are too groomed. The relatively grime-free camp looks like what it is, an outdoor set. It just doesn't feel lived in. Good direction and production design can disguise such fakery – just look at the authentically filthy Deadwood, for example – but it's difficult to fully invest in the reality of Banished.

Another glaring flaw is the prominent presence of Russell Tovey as upright convict James. Within his limits, Tovey is a perfectly competent, rather charming actor. But his inability to convincingly convey anger and intensity is a major stumbling block, especially in a brooding drama such as this. With his mannered contemporary inflections and sudden shifts into slurred, stilted rage, he sounds like Michael Caine channelling the wayward spirit of William Shatner.

It's frustrating, as the rest of the cast are fine. I was particularly impressed by Julian Rhind-Tutt playing against upper-class type as Tommy, a supposedly wronged, working class convict. Ewen Bremner is also rather interesting as a permanently aghast vicar wrestling with his morality. Imagine Edvard Munch's The Scream as played by Derek Nimmo. That, I assure you, is a compliment.

The intensely compelling scene in which, against his will, Reverend Spud was forced to hang Tommy for sleeping with fellow convict Elizabeth was classic McGovern. Pleasingly melodramatic, it climaxed with Tommy's life being spared at the last second when the Reverend's saintly wife screamed, “This is crucifixion!” Irresistible stuff.

While the prison hard-man – a Scot, naturally – and cruel Navy captain flirt dangerously close to pantomime villainy, McGovern is careful to ensure that characters such as the quietly humane sergeant and nominally lenient governor are sketched along more nuanced lines.

It's far from perfect, but Banished does have much to commend it. If McGovern can sustain the drama, then its faults may be less troublesome in the long run.

A daft visual comedy starring Matt Lucas as a penniless aristocrat, Pompidou is a mixed bag. Though aimed at a family audience, some of the more grotesque gags – e.g. Pompidou pulling organs from his butler's stomach – feel oddly out of place in this otherwise bright and colourful cartoon world.

While Laurel and Hardy, to whom the show is indebted, often employed similarly offbeat nightmare gags, the consistency of tone in Pompidou is far less assured.

Still, Lucas is a gifted clown and his latest venture is certainly quite funny and likeable. It just needs to settle on what it wants to be.

TV PREVIEW: Vicious, The Job Lot

This article was originally published in The Scotsman on 27th April 2013.

http://www.scotsman.com/lifestyle/tv-and-radio/tv-preview-vicious-the-job-lot-1-2911304

VICIOUS

Monday, STV, 9pm

THE JOB LOT

Monday, STV, 9:30pm

Paul Whitelaw

No-one would've believed, in the early years of the 21^st century, that human credulity would be stretched to breaking point by the arrival of a sitcom power-hour on primetime ITV. But it's true, it's here. It's happening. In a turn of events so shocking and bizarre it's actually quite frightening, the notoriously laughter-shy broadcaster – whose pantheon of classic sitcoms amounts to piddling single digits – has decided to take comedy seriously again.

Given the BBC's total domination of the field, it's long felt as though ITV were simply unwilling to compete, preferring instead to concentrate on glum thrillers, cloying dramas, and Ant & Dec's pension plan. But the huge mainstream success of BBC sitcoms such as Miranda, Outnumbered and Mrs Brown's Boys has obviously spurred them into belated action.

What's even more remarkable – staggering, even – about this dedicated comedy offensive is that one of their new efforts, VICIOUS, is actually very funny. You may wish to take a moment to process that information.

A studio-bound, single-set, multi-camera sitcom, it's a gratifyingly old-school farce in which thespian deities Ian McKellen and Derek Jacobi have a char-grilled whale of a time as an incessantly bickering homosexual couple. Sealed within their sepulchral Covent Garden abode – they shriek like vampires when the curtains are accidentally opened – pompous actor Freddie (McKellen) and retired bar manager Stuart (Jacobi) tussle waspishly over decades of perceived slights, while never missing an opportunity to mock each other's supposed decrepitude.

Now, these are hardly original comic creations – the vituperative, hammy old queen has long been a staple of popular culture - and there is nothing especially notable about the premise. But that simply doesn't matter when the execution is as strong as this.

Resembling a startled, wounded guinea pig, Jacobi squeals and frets amidst a knowing flurry of camp mannerisms, while McKellen booms fresh insults in that oak-lined voice of his. He also pulls some of the funniest “Why, I've never been so insulted in my life!” expressions this side of imperial phase Frankie Howerd. It's an impeccable dual assault of seasoned comic timing.

Enjoyment is magnified by the addition of Frances de la Tour as their dotty, man-hungry pal. Famously, she starred in Rising Damp, one of ITV's few great sitcoms, and it's tempting to view her presence here as a deliberate nod to the past. Not that her involvement is merely symbolic – she's a peerless comic actress – but you could argue that she's essentially playing lonely Miss Jones thirty years on. Even the dingy brown set recalls her most celebrated role.

Broad and boisterous in the best possible sense (i.e. it's nothing like that aforementioned avalanche of horror, Mrs Brown's Boys), Vicious is jam-packed with gags, hitting the ground running with an impressive opening episode which establishes set-up, character and backstory with consummate ease.

A co-write between acclaimed playwright Mark Ravenhill and Gary Janetti, a former executive producer on Family Guy and Will& Grace, it revels in its camp bluster with such benign relish, I doubt it'll get into too much trouble for reinforcing stereotypes. It's obvious that Freddie and Stuart are blissfully happy in their enmity, and it's that undercurrent of warmth – the spoonful of sugar beneath the barrel-load of bile – that make these characters so engaging.

I'm no soothsayer – I've never said “sooth” in my life - but I predict that Vicious will be huge. A hit sitcom! On ITV! Nurse, the smelling salts...

The madness continues with THE JOB LOT, which, while nowhere near as sharp as Vicious, is a perfectly amiable and amusing sitcom set in a drab job centre (is there such a thing as a bright, welcoming job centre?).

Despite being a single-camera comedy with no laugh-track, it's essentially a traditional sitcom populated by dysfunctional characters and daffy situations. It is, however, blatantly influenced by The Office, not because it's a workplace comedy – Gervais and Merchant didn't invent that genre – but because of the exceedingly Tim-like lead played by Russell Tovey. A bright, likeable everyman trapped in a job he detests – his feelings for an attractive female colleague stop him from leaving - the similarity is compounded by the fact that Tovey appears to have partially based his acting style on Martin Freeman.

While Tim-bot 2000 is mildly distracting, he doesn't detract overall from a show which, given the danger inherent in its recession-fuelled premise, mercifully refrains from sneering at the unemployed. Granted, one of the regular job-seekers is portrayed as a harmless oddball, but it's significant that the villain of the piece is a rude, sadistic and actively obstructive job centre employee played by the excellent Jo Enright.

This character has an obvious antecedent in the monstrous Pauline from The League of Gentleman. She also shares a few genes with Little Britain's “Computer says 'No'” grotesque. And yet despite these visible origins, Enright imbues her with a distinctive, deadpan venom.

What this all adds up to is a derivative yet serviceable sitcom with a smattering of potential. But it undoubtedly succeeds in being an ITV sitcom that's Not Appalling. I still can't quite believe it and Vicious exist at all.