Thoughts on McMafia

The BBC’s production is not ground breaking, it is not the greatest thing you have ever seen – in fact we have seen something like it before The Night Manager starring Tom Hiddleston for one. Yet there is a magnetism and charisma about the entire production, not so much about being proud of itself but you know you are watching a programme that is top quality from acting to writing to care of location scouting to costume design.

Undoubtedly, the show rests on the still relatively young shoulders of James Norton, who gets the leading role as Alex Godman – the hedge fund manager who is a legitimate businessman, yet the son of a Russian family that had to leave the motherland following a turf war involving a rival gang.

The necessity of giving Alex an ambiguous surname is one that works into the hands of the viewer – is Alex a good man or merely a God amongst men – he must follow an unfamiliar path for BBC protagonists and one more familiar to American crime shows; like Walter White, he is a good or nice man to begin with, but our hero must endure some pain and suffering changing his natural persona of one from wholesomeness to one of malevolence.

Alex goes through traumas of becoming distant from his fiancée, forcing her to leave the house they share; he talks more Russian as the season progresses (Ep. 6) as he slowly morphs into the head of the household as his father becomes more frail and reliant on alcohol.  

While the production is in love with the cities it visits from the sub-continental warmth of India to the glamour of Israel; you also admire the coldness of Eastern Europe of Prague and Moscow; to the sheen of West London.  The show makes great pains to say this series is as much about the attachment to family as our attachment to money and power; money can come and go, yet family will remain and the ties that bind will be stronger than bonds in banks. 

Vadim (Merab Ninidze - brilliant) struggles with the daughter wanting to leave Russia for education, they are filmed joined at the hip on long walks mirroring Alex and Rebecca’s union – Benes (the Czech fixer) tells Alex they will attack the one you love most for Alex this is Rebecca and for Vadim it is his daughter; the loss of one will break the other.  Harm, though, still hits Rebecca despite Alex’s attempts to remove her from the frame.

The ending of the series, left this viewer, in a state of part confusion, part frustration as the series morphed from hopefully a standalone series of unique stature to one that is merely the beginning of another series with hallmarks of The Godfather coming to the fore; with Alex becoming a Michael Corleone surrogate and Rebecca very much the Kay Adams/Diane Keaton role; one that may or may not keep Alex grounded in reality as he becomes the head of a new Mafia organisation.

The series makes this succinct point; money makes the world go round - there will be human cost and tragedy throughout; but the old traditional way of doing 'mafia' business has changed in this new technological age, computers and business acumen hold the key to breaking new ground in new territories and regions.  Someone will die and someone will profit from such deaths.

McMafia is available on the BBC iPlayer now and on DVD for Home Entertainment to keep

Television in 2018

A new year brings the promise of new resolutions, promises and the belief that this year will be the better than the last. This belief extends to the arts from cinema to music, painting to sculpture. But never more so than in television, is the leap made clearer than in television where channels propel new stellar productions to the forefront of the schedules in the hope for recognition and ratings.

From the return of stalwart shows Silent Witness to the BBC One and Vera to ITV, to the return of actors in new shows like Kiri on Channel Four starring Sarah Lancashire in a post-Happy Valley world to the high concept Hard Sun on BBC One.

There are changes a plenty not just in terms of the shows structure but how we watch them.  Last year the water-cooler show was Doctor Foster, the five-part second series was must-see television for one night a week showing the demand for such shows to get people talking about it the next day or immediately on Twitter and social media.

Hard Sun is an interesting case; a thriller with dystopian tendencies predicting the sun to explode in five years causing the end of our planet and how dealing with this world-ending event puts things into perspective. Yet the show premiered on a Saturday night at 9.30pm, with all six episodes of the series available on BBC iPlayer at once in a box set to allow viewers to watch the next episode immediately if they so wished.  The BBC attempted this at the tail end of last year with Gunpowder with relative success. The Corporation looks to be changing its ways with that of the audience needs and wants in the current climate.

McMafia is the stand-out show on offer though from British television. Reminiscent of The Night Manager, featuring a breakthrough role for a young British star to translate to the worldwide audience in a story with global reach wearing its expense on its sleeve. 

McMafia is an eight-part series which had a two-part show over New Year's Day holiday to entice the audience; it now sits at 9pm on Sunday for the water cooler effect.

Whilst it does not have the sheer wow factor of Tom Hiddleston's stab at a James Bond audition coupled with the telling adaptation of John Le Carre's source material, James Norton does embody the role of Alex Godman (has there ever been a more egotistical name) with relative ease sashaying from one suit to a tuxedo and jet to yacht as travel of choice; the supporting cast help with the reality of the world falling around him. The Night Manager had a glamorous cast of characters, whereas the Godman family and their rivals look more experienced at life and feel the pain and ache of having to leave their beloved Russia in exile.

As an audition for Bond, we have not yet seen Norton do necessarily atypical Bond things apart from fend off a choke-hold and wear a suit really well; whereas Daniel Craig has a ice-cold steeliness when he plays Bond, Norton has a somewhat laid back feel when he is smiling that would not translate to the iconic role of 007; but that does do a disservice to what he has done in three episodes of Alex - slowly he is getting warn down by the world he is step by step entering, becoming less and less of an investment banker and more an international money launderer to save his family's name and reputation, the hope being they can return to Russia.

Next of Kin began on ITV on Monday 8th January, a six-part global drama featuring a mixed-race marriage and the abduction of a British-Indian doctor in Pakistan against the backdrop of a terrorist attack in London.  Featuring a cast of talented actors, the series paints a multi-diverse London correctly but looks at well to do people in terms of class structure; both siblings are doctors, the female doctor's husband works with the government.

And that perhaps may be the one criticism of all these shows is that it focuses on middle-class individuals and not the problems that beset the working class population around the country. With all the series mentioned set predominantly in our capital city, London, there is a myopic window of the world being served to a licence-paying audience.

Kiri (Channel 4) is set around Bristol and deals with the sensitive issues of a mixed-race adoption and social services, written by Jack Thorne, it may well harken back to a gritty social realism more in common with Ken Loach and Alan Clarke than anything served up by the BBC in recent years; even Gunpowder is about upset middle class rebels wanting to blow up upper class people because they are against their policies.

It is indicative that the most socially political aware programme is based around characters outside of London; a city that is afraid to acknowledge people near the poverty line, whereas other cities do not have a problem with this awareness.

The Missing: Series 2 review

The Missing was a successful television series written by the Williams brothers, Harry and Jack, which first appeared in 2014 starring James Nesbitt as a desperate father looking for his missing son after he disappears in France on a family holiday.  The series showed two parallel timelines between the incident when the boy disappears to the investigation some time later, led by the inquisitive detective Julien Baptiste (Tcheky Karyo).

The series ended in a somewhat downbeat finale with Nesbitt's character traversing rural Europe still looking for his boy, with many characters broken beyond repair.  Many reviewers thought the series was a stand alone one, with little comeback expected.  Yet the Williams' have returned with a second series, this time however, Baptiste is the focal point of the drama.

Baptiste, is still on the trial of the missing girl Sophie Giroux, and his interest is pricked when a young British girl, Alice Webster, goes missing near to her home at the military camp of Eckhausen, Germany.  When Baptiste begins his investigations in 2014, he is of sound mind and his investigations begins to upset people as more skeletons are let out of the closet.

Again we have a dual narrative as we follow the fall-out of Alice's disappearance in 2014, along with the present day when 'Alice' supposedly returns to her home after escaping captivity.  However, as with most mystery-thrillers nothing is what it seems and the labyrinthe storyline takes the viewer on many twists and turns as Baptiste - who is fighting a brain tumour - becomes a pivotal figure travelling to the Middle East to uncover the truth when a military cover-up may be happening.

In this day and age, the sensitive subject matter of false imprisonment (Josef Fritzel among others) and the unsavoury detail of child sex abuse, the Williams' have taken these topics and used them to great effect to create a story of fear and mystery.

While the thread has been stretched over the eight episodes, we could have perhaps done without the sojourn to the Middle East, nevertheless the acting has been top notch. Karyo brings a rare humility to Baptiste, whose desire to find justice is all conquering even to the detriment of his short-term health.  Keeley Hawes, as Alice's mother, Gemma, continues her purple patch of recent roles bringing a steel to a grieving mother and while David Morrissey's Sam can come across a bit chauvinistic and ignorant, he portrays the rigidness expected of a stubborn man.

The entire ensemble helps elevate the series to your run of the mill whodunit show; from Laura Fraser as the cold Eve Stone, who is pregnant when we first meet her, sleeps with Sam and has to protect her weak with dementia father, Adrian (Roger Allam).  Yet the casting is superb across the board, from Julien's wife, Celia (Anastasia Hille) who share those brilliant intimate moments with Karyo pleading for him to return home to Derek Riddell as Press Liasion officer, Adam Gettrick; the performances are impressive throughout, not to mention the sterling work of the young cast especially Abigail Hardingham in various guises of Alice and Sophie.

In a year of great drama on the BBC and the current clamour for true fiction such as 'Making A Murderer' it is great to see an original drama have you gripped from episode one to its conclusion; and even rarer to see a drama's second series be better than the original. The Missing Series 2 is the The Godfather Part 2 of television drams in that sense. That is the highest praise you can give this terrific series.

The Missing (Series 2) will be released on Blu-ray and DVD on 26th December from Aim Publicity.

National Treasure

No, this is not a telling re-examination of the Nicolas Cage/Jerry Bruckheimer film from the early 2000s but a review of the DVD release of the Channel 4 drama National Treasure originally screened in early September starring Robbie Coltrane, Julie Walters and Andrea Riseborough.

The drama tells the fictious story of Paul Kingsley (Coltrane) an ageing television comedy legend who has to contend with an accusation of rape from over 20 years previously. Whilst happily married to his wife Mari (Walters), Kingsley has a sexual appetite as depicted by his affairs with prostitutes yet this has never succumbed to under age girls as he is accused of.  Kingsley fears he is being portrayed as Jimmy Saville, the spectre and recent history of Operation Yewtree hovers over this production as a very dark cloud.

This cloud is embellished by the visual hue of the cinematography which is very dark greys and blues with the camera lurking behind corners and doorways not showing us everything fully until a character calls another directly bringing them into eyelines.

The drama is played with amazing panache by its three leads and is generously helped by key supporting player, Tim McInnery (Blackadder) as Finchley's comedy partner. Andrea Riseborough  as the broken and troubled daughter, Dee who we first meet in a halfway house being threatened with losing custody of her children and having driven her car through the accuser's house, Dee's descent into periods of madness will stay with you.

Yet it is the steady sterling presence of Julie Walters who is the star of the show, a performance of such reach and depth she puts everyone else firmly in her shadow. Her presence as a rock to Paul is very much absent by the series end.

The drama is very of the moment and in years to come may rescind into memory but it is great to see a brave production painting its narrative stars as very much that, a star who uses his talent and influence.

The script by Jack Thorne of Made in England fame had an opportunity to make a statement on star power and celebrity influence instead it singles out the women who accuse celebrities as hungry for fame themselves and to quote Mari, end up destroyed in the witness box and hard to believe.

National Treasure is released on Home Entertainment on Monday 31st October.

Stag

Coming somewhat unannounced and without much fanfare from the Corporation, Jim Field Smith who brought us The Wrong Mans at the end of 2014, returns with another original drama written by himself and Geroge Kay with Smith directing, entitled Stag.

Stag tells the story of a stag party going horribly wrong in the Scottish Highlands, a bunch of upper class London bankers set out on a weekend to remember, however the first person we encounter is Ian (Jim Howick - Horrible Histories), the groom's future brother in law who arrives late and in the pouring rain in a dinner suit.

Smith has always had a good eye, creating visual humour from the get go of a man standing at a crossroads inappropriately dressed and looking very much like a fish out of water.  The three-part drama is essentially about the gulf between the North and the South.  Here you have southerners transplanted from London and the comfort of domesticity, into the chaos and unknown of nature and wilderness.

The stag trip from hell

This seems to be an unusual trope of late with well-paid bankers wanting to get back in touch with nature and their neanderthal side, it is a cultural touchstone to want to hike and forge across hills and find yourself while getting lost.  Unfortunately for this stag party, anarchy is mostly on the agenda. They get split up from their gamekeeper, and then one by one a member of the party is killed off in a grizzly manner.  From harpoons to being split in two, to booby traps in the glades; these southern softies have no clue at what to do when to fend for themselves.

By the end of Episode 2 we are left with four men standing; the stag Angus (Stephen Campbell Moore), Ian, Legend (JJ Field, a Tom Hiddleston look-a-like; perhaps a swipe at the show they are up against in the ratings The Night Manager) and Mex (Amit Shah), a gay Indian.  While it could read as stereotypical and one-note caricatures, the actors all bring a special twist to their roles; a little bit of innocence here, a little bit of discomfort there yet they are all out of their element. Although all are keen to survive in the best possible Lord of the Flies way. Special credit to Rufus Jones as Cosmo (Rufus Jones), the television executive in search of a signal for a big commissioning call.

Smith and Kay have written an obliquely political statement here, the upper class group all earn upwards of £25,000 a month in their jobs, whilst Ian is merely a Geography teacher who earns £27,000 a year in comparison

 - I don't trust anyone who earns £27,000 a month.
 - A year!
 - Fuck.

This statement of intent in targeting the one per cent as victims of a maniac in the forest is both gratifying to those who may well view it, and also something we would like to see happen to the highest earners as payback for the troubles their mistakes caused in the creation of the recession - that many feel have gone unpunished.

Etonians out of their depth

Their mistakes have caused a deflection or loss in funds for the arts, meaning original works have not been able to be produced, so Smith and Kay have taken it upon themselves to serve vengeance towards the toffs and the Etonians (Mr. Cameron) who have put the country in this unfortunate predicament.

Perhaps too much is being read into this, but look at Cosmo's idea for an ITV2 show, Hanging out with the Homeless, where destitute individuals are given a makeover by Caroline Flack, another veiled comment at the appalling quality of British television which is both nothing more than ill-judged charity served up as crass entertainment.

Smith and Kay have taken the opportunity to pass judgment on the establishment and punish them for failing the arts landscape in the United Kingdom, by taking them out to the middle of nowhere and leaving them to fend for themselves. Like most people have had to since the recession.

While Episode 3 was a well treated exercise in rounding up plots and did not shirk from the gruesomeness of death nor the greed of man when it comes to money; their were genuine moments of tenderness involving Ledge and Ian, with shocks and twists along the way which were neither telegraphed or predictable.

Brilliantly acted by the ensemble and directed by Smith with real panache and flair with such a gloomy colour palette filming moments of genuine peril while not forgetting the tongue-in-cheek humour Britain is renowned for.

Don't lose your head. The three-part series is available on BBC iPlayer still for a few more weeks.

Shetland; Series 3, Episode 3

Following the climatic death of Ciaran Hinds, Michael Maguire, at the end of episode 2, and following a two week absence due to the BBC's FA Cup coverage, Shetland returned to these shores with more intrigue and drama.

In episode 3, Jimmy Perez (Douglas Henshall) and Tosh goes to Glasgow to investigate why Michael Maguire's witness protection identity was kept from him and his team on the island.

Back on the island, Sandy goes door to door looking for answers to the identity of who helped the shooter getaway after driving to Maguire's location.  This leads to Sandy attempting to confront his partner's cousin, Craig, who we know was on the ferry the night Robbie Monroe disappeared.

The trip to Glasgow allows Archie Punjabi as Asha Israni to speak at last as Maguire's handler, and her deliberate motion of avoiding questions in the interview with Perez leads to a rendez-vous in his hotel and eventual romatic clinch which will know doubt lead to something he regrets.

The connection between Robbie and Michael is further established when not only do they have matching tattoos, they are father and son which leads us to further understand that Michael did not kill his son on the ferry.

Perez was shown to have a vengeful streak also when he encounters the person Maguire was going to inform on, O'Malley played chillingly. O'Malley promises "he can get inside your life, get inside your head" during a confrontation in a dive bar. This prompts Perez to beat up one of O'Malley's heavies in the car park. This leads to the romantic clinch with Asha.

The episode ends with an onimous looking figure burning some evidence in a field, we only see his shadow, is it Craig doing more work to cover up his mistakes or doing what he is told?

This episode at times did drag but the injection of the father-son bond between Maguire and Robbie means there is more than meets the eye, and whilst the clinch between Perez and Asha was a bit telegraphed you get the sense it was building up to something greater. So another four star episode for this reviewer.

The Missing

The BBC drama The Missing starring James Nesbitt and Frances O'Connor garners a DVD release on 26th December from RLJ Entertainment.

The show gained a huge following when it aired through October to December 2014 on BBC One, gripping the nation with its tale about the abduction of a young British boy when in France from his parents during an idyllic vacation.

Written by brothers, Harry and Jack Williams and directed by Tom Shankland, the series successfully told the dual narrative as we had two timelines of the initial abduction in 2006 along with the re-opening of the case in the present day. The 2006 storyline shows the beginning of the grip the abduction of Oliver Hughes will have on his father Tom (played superbly by Nesbitt) and the eventual breakdown of the marriage to Emily, with O'Connor playing the desperation and despair to perfection.

While the series is ultimately something to remember for its acting with uniformly brilliant performances across the board, the writing at times does let the show down and the eventual denouement is one of lacklustre and frustration.

This is indicative of series in general, it draws an audience in but then does not know how to credibly render and end the series by giving a narrative a convincing finale without becoming sentimental or hokum.  The sort of story in real life does not usually have a happy ending, but for the characters you wish only a sense of closure and not the sight of Nesbitt marauding through Eastern Europe in constant anguish in attempt to chase away his demons.

This is not to dispel from the overall quality of the production, the differing tones of filming between the light and breezy 2006 and the colder, more sombre present day cinematography as if the past is but a dream for Emily and Tony.

The acting is of a truly superior standard especially from a career-best Nesbitt who never resorts to histrionics in his performance but special praise is reserved for Tcheky Karyo as Julien Baptiste, the French detective of the original case who goes through the biggest metamorphosis physically in the series from a close to retiring detective to a man clearly shaken by all that has happened in the case, now with a limp and greyer in his hair colour the years have not been kind to him.  When Karyo speaks, he speaks wisdom and you hang on every word.

The Missing is one of those rare drama series that had you gripped from the start and but for the less than pleasing ending (when in real life cases there are few happy endings), this is a series that deserves awards come the awards season.

The Missing is out now on DVD from RLJ Entertainment