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BBC TV REVIEW – NORMAL PEOPLE (2020)

BBC TV REVIEW – NORMAL PEOPLE (2020)

Directed by: Lenny Abrahamson, Hettie Macdonald

Written by: Sally Rooney, Alice Birch, Mark O’Rowe

Based on: Normal People by Sally Rooney

Executive producer(s): Ed Guiney, Andrew Lowe, Emma Norton, Anna Ferguson, Sally Rooney, Lenny Abrahamson

Producer: Catherine Magee

Cast: Daisy Edgar-Jones, Paul Mescal, Sarah Greene, Aislin McGuckin, India Mullen, Fionn O’Shea, Eanna Hardwicke, Leah McNamara, Frank Blake, Niamh Lynch, Kwaku Fortune, Desmond Eastwood, etc.

Cinematography: Suzie Lavelle, Kate McCullough

Original Network: BBC Studios, Hulu

***MAY CONTAIN SPOILERS***



“The course of true love never did run smooth. . .” –
William Shakespeare

Love is a multi-faceted concept open to a myriad of philosophical, medical, emotional and intellectual interpretations. Conversely, an eternal question in our society still remains: what is love? Is it the joining together of two people forever committed to a relationship built on respect and trust?  Or is it the emotion you feel for a family member or person you have bonded with over time?  Is it nature’s way of tricking us into the act of pro-creation?  Perhaps it’s an abstract and emotional concept created by a higher power to ensure we act positively? For some it could be a dark force which enlivens obsession and stalking and violence or maybe it’s a marketing delusion forced upon us by greedy advertisers, florists and chocolate vendors?  Is it all of the above?

Studies by Helen Fisher of Rutgers University propose that we fall in love in three stages involving a different set of chemicals. They are: lust, attraction and attachment. Indeed, the events occurring in our mind when we fall in love are akin to mental illness. Chemicals such as: testosterone, oestrogen, dopamine, serotonin all conflict and combine to change our emotions when we’re attracted to someone. Further studies show that when choosing a partner we are at the mercy of our subconscious and inner sexual desires as proffered in psychoanalytical studies.

Love, lust and sexual desire are a big part of everybody’s lives whether they are positive or negative; indeed, the continuance of the species is very much reliant on them. Moreover, love or the lack of love has provided the springboard for millions of stories, films, plays, songs, poems, slogans, TV shows, comedies and adverts! The latest excellent love story I watched was the BBC/Hulu production called Normal People (2020). Over twelve episodes we were introduced and lured into the sweet and dark hearts of two Irish teenagers called Connell (Paul Mescal) and Marianne (Daisy Edgar-Jones). They meet, fall in lust, have loads of sex, fall in love, generally fall out with each, fight further, go to University, go abroad, grow up, fall down and then fall back in love with each with other, and so on.



Based on Sally Rooney’s extremely successful novel of the same name, the story events begin at a Sligo Secondary school. Connell is quietly spoken and from a single parent upbringing. But he is very popular with his peers, close to the top of his class and exhibits much sporting prowess. Marianne’s family is wealthier than Connell’s. In fact, the latter’s mum, Lorraine (Sarah Greene) cleans house for Marianne’s mother. The Sheridan household is not a happy one though due to a tragedy which occurred to the father. This causes Marianne to be very angry, self-loathing and outspoken. Because of this she is somewhat of an outsider at home and school. For some unknown reason Marianne’s brother and mother are very cold toward her. Yet, despite the turmoil and class difference, Connell and Marianne share a mutual attraction, which soon becomes a sexual relationship.

As aforementioned, the path of love is not smooth as the first obstacle to the relationship comes from Connell’s paralysing fear of what his school friends think. He is a complex soul and does not have the bravery to share his true feelings to the world. Marianne becomes a secret, and this angers her, causing a major rift between the two young lovers. I won’t give any further plot details away, but it is safe to say that this is not your average romantic comedy or drama. The story beats of the romance genre are present, yet delivered in a sombre, delicate and under-the-surface style. This is not surprising given the first six episodes are subtly directed by Lenny Abrahamson, a filmmaker who has a number of wonderful character-driven films to his credit.

With confident direction, acting and a serene soundtrack, Normal People (2020) is a consistently absorbing and emotional rollercoaster. What I would say it though it often feels as if you’re watching events unfold in extreme slow motion. This isn’t a criticism though, because in the stillness of the performances, the dwelling of the camera on the character’s faces and length of shots, we’re allowed the time to breathe in the joy and pain of this complicated romance. The two lead actors Phil Mescal and Daisy Edgar-Jones are both incredibly well cast. They have exquisite chemistry together in both their passionate sex scenes and when they just simply exist and talk and look and love and hurt together. One may gripe that the drama could have been achieved with a tad more pace and just a few less episodes. However, if you are looking for a truthful representation of young love, with all its angst, kinks, self-loathing, insecurities and exasperating undulations, then Normal People (2020) is definitely a worthwhile experience.

Mark: 9 out of 11


WESTWORLD (2016) SEASON 1 – HBO TV REVIEW

WESTWORLD (2016) SEASON 1 – TV REVIEW

**CONTAINS SPOILERS**

HBO’s Westworld was presented, previewed and marketed, like the fantastical flagbearer Game of Thrones before it, as the premium, high-end, star-studded television event of the year. Indeed, in my honest opinion it lived up to the hype and certainly turned out to be one of the shows of the year!

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Everything about Westworld screamed cinematic quality! Of course it’s origins spring from Michael Crichton’s classic sci-fi film Westworld (1973) where the robot hosts started killing the rich guests on holiday at an ‘A:I’ driven amusement park. The formula would then be amped up in Jurassic Park (1993) and its sequels, where instead of sentient androids, we had dinosaur clones attacking the staff and guests. This televisual delight developed – by Jonathan Nolan and Lisa Joy – twists and turns that simple, yet ingenious premise, into a whole new machine; utilising the influences of Crichton, Kubrick, Arthur C. Clarke, Rod Serling, Harlan Ellison etc. as well as incorporating a number of their own concepts too.

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HBO have pumped $100 million dollars into ten sumptuous looking episodes and the filmmakers took the brilliant decision to shoot on 35mm film. This creative choice gives us exquisite cinematographic vistas of the West while at the same time enhancing the inner sheen of the hi-spec-steam-punk engineering on show underneath the actual “amusement” park itself. Allied to this we get a whole host of A-grade movie and character actors who bring a depth and gravitas to the proceedings.

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Leading the stellar cast is Anthony Hopkins as the established overlord Dr Robert Ford. His presence is felt throughout the park and initially staff and hosts seem to answer to him. Hopkins is terrifically understated in his performance but underneath the iceberg surface is an incredibly complex character who, while a technical genius, responds to human beings coldly. He sees them as obstacles to his grand narrative which seems to be written and re-written from episode to episode. While oddly unsympathetic his enigma drives the show, with his character attempting to control the hosts, staff and his environment while writing and rewriting the past and present.

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Working for Ford are an army of techs and security personnel responsible for guests and hosts alike. The most honest, it would appear, and one we root for is Bernard portrayed with subtle distinction by Geoffrey Wright. His velvety voice alone is enough to project emotion and meaning within every syllable uttered. Representing the corporate personnel are a fine supporting cast, notably, Sidse Babett Knudsen and Luke Hemsworth.

Similarly, the simulacrum hosts are expertly cast with: Evan Rachel Wood, Thandie Newton, James Marsden, Rodrigo Santoro and Clifton Collins Jnr etc. bringing a glamour, edge and depth of performance to the paranoid androids. Obviously there are visitors to the park and these roles are dominated by the magisterial Ed Harris and younger bucks Jimmi Simpson and Ben Barnes.

Overall, I found the show an incredible science fiction experience. The opening theme is a haunting gift to the ears, while the incredible imagery of the opening credits are a feast for the eyes.  Visually and aurally the series was crammed with wondrous sounds and vistas and the soundtrack was fabulous too including dark naked tunes by the likes of: The Cure, Radiohead and Soundgarden.  Violence, action, nudity and sexuality are freely on show but this is just skin for the rich narrative and themes which power the twisting story. Indeed, the themes ask us to question everything, like: who is human and who is a host? Should we, the audience, care about a character when they’re a robot?  And most importantly: when are the robots going to start killing the guests?

Halfway through though I must admit I was close to discontinuing and shutting down as I was struggling to connect emotionally with the characters. However, I realised this was a cerebral challenge; a puzzle or maze, which – much like Jonathan Nolan and his brother Christopher’s other work including: The Prestige (2006), Memento (2000) and Inception (2010) – I’ll try and solve. I’ll be honest not all of it hung together satisfactorily on first watch, however, on further views each episode’s timelines, narratives, flashbacks, flash-forwards, memories and dreams combined brilliantly, and I soon realised all the pieces were there to successfully put the puzzle together.

With its state-of-the-art effects, incredible design, brilliant actors, brutal violence, complex plots and classic Western genre setting, this postmodern masterpiece transcends genre and the storytelling process itself. Because at its core processing Westworld is about: the nature of narrative and controlling your story: past, present and future. Oh, that and lots of killer robots. So, overall, Westworld is a place I will certainly be coming back to time and time and time again.  Some might say the whole Westworld experience was a-MAZE-ing!