TV Review – DRACULA (2020)

Image result for dracula bbc 2020DRACULA (UK, 2020) **
      Distributor: British Broadcasting Corporation (BBC); Production Company: Hartswood Films / British Broadcasting Corporation (BBC) / Netflix; Release Date: 1-3 January 2020; Running Time: 3 x 90m; Colour: Colour; Sound Mix: Dolby Atmos; Film Format: HD; Aspect Ratio: 1.78:1; BBFC Cert: 15.
      Director: Jonny Campbell, Paul McGuigan, Damon Thomas; Writer: Mark Gatiss, Steven Moffat (based on the novel by Bram Stoker); Producer: Ben Irving, Larry Tanz, Sue Vertue; Executive Producer: Mark Gatiss, Steven Moffat, Ben Irving, Sue Vertue; Director of Photography: Tony Slater Ling; Music Composer: David Arnold, Michael Price; Film Editor: Colin Fair, Tom Hemmings, Paulo Pandolpho; Production Designer: Arwel Jones; Art Director: Harry Trow; Casting: Kate Rhodes James; Costumes: Harriet Ferris; Make-up: Dave Elsey, Lou Elsey; Sound: Doug Sinclair; Special Effects Supervisor: Paul Dunn; Visual Effects Producer: George Tully.
      Cast: Claes Bang (Count Dracula), Dolly Wells (Sister Agatha Van Helsing/Dr. Zoe Van Helsing), John Heffernan (Jonathan Harker), Morfydd Clark (Mina Harker), Joanna Scanlan (Mother Superior), Lujza Richter (Elena), Jonathan Aris (Captain Sokolov), Sacha Dhawan (Dr. Sharma), Nathan Stewart-Jarrett (Adisa), Catherine Schell (Duchess Valeria), Youssef Kerkour (Olgaren), Clive Russell (Valentin), Natasha Radski (Mother), Lydia West (Lucy Westenra), Matthew Beard (Jack Seward), Mark Gatiss (Frank Renfield), Lyndsey Marshal (Bloxham), Chanel Cresswell (Kathleen), Sarah Niles (Meg), Phil Dunster (Quincey Morris).
      Synopsis: In 1897 Transylvania, the blood-drinking Count draws his plans against Victorian London.
      Comment: Adaptations can go one of two ways. Either a faithful representation of the source material or a completely different take. So, what to make of Mark Gatiss and Steven Moffat’s take on Dracula? It seems to me that it tries to be all things to all people and will therefore likely end up disappointing most. Why? Moffat, in particular, for some-time now has been trying to be too smart in his writing, going for showstopping revelation after show-stopping revelation. He brings that thinking to Dracula as the adaptation veers increasingly further away from its source material as it painfully slowly progresses the narrative. The story is divided into three distinct sections across the three episodes. the first deals with Jonathan Harker’s visit to Castle Dracula and the horrific discoveries he makes there. the second with Dracula’s voyage to England and the third with the ultimate showdown in London. Gatiss is an ardent fan of the horror genre and of Hammer films in particular. His influence is seen at its greatest in the atmospheric first episode, which for the most part establishes a truly gothic and horrific setting. The problem is that after this promising opener, the second episode stalls during the interminable and repetitive voyage, with Dracula picking off the crew one by one, before it finally veers off the rails completely in the third episode by moving the action to a modern-day setting. The result is jarring and neither does justice to Stoker nor succeeds as a post-modern interpretation. Gatiss and Moffat’s vision comes across as two writers trying to be overly smart without the needed controlling hand to challenge their increasingly wild ideas.  It’s a shame because there is a lot to commend the production from a technical standpoint and in the charismatic performances of Bang and Wells – if you can accept both in their wise-cracking characterisations. Viewers not familiar with the Dracula legacy both in print and on-screen may find much to enjoy, but those more acquainted with Stoker or Lugosi or Lee will likely see the smugness of the characters as an unnecessary enhancement. For me, I finished the viewing experience having enjoyed aspects, mostly those which steered a closer course to my ideal, but was frustrated by the liberties taken with the material and the looseness and laziness of some of the writing –  the close of episode two with Dracula emerging from the sea after over one hundred years only to find a police task force and helicopter waiting is written for effect without a care for logic. Stronger editing could have condensed this self-indulgent and bloated misfire into something leaner and more efficient. A shorter piece would have made the viewing experience much more rewarding and avoided a lot of the repetitiveness. Four and a half hours of Gatiss and Moffat’s trying to demonstrate how clever they are as writers to me detracted from the core story and whilst their vision for Dracula can be seen as a brave attempt to do something different it strays too far from the novel and legacy to be satisfying.

TV Review – DOCTOR WHO: TWICE UPON A TIME (2017)

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Doctor Who: Twice Upon a Time (TV) (2017: UK: Colour: 60m) ***  pr. Peter Bennett; d. Rachel Talalay; w. Steven Moffat; ph. Richard Stoddard; m. Murray Gold. Cast: Peter Capaldi, David Bradley, Mark Gatiss, Pearl Mackie, Lily Travers, Jared Garfield, Jodie Whittaker, Jenna Coleman, Matt Lucas. Two Doctors stranded in a forbidding snowscape, refusing to face regeneration. And a British army captain seemingly destined to die in the First World War, but taken from the trenches to play his part in the Doctor’s story. This is the magical last chapter in the Twelfth Doctor’s epic adventure. He must face his past to decide his future. And the Doctor will realise the resilience of humanity, discovering hope in his darkest frozen moment. It’s the end of an era. But the Doctor’s journey is only just beginning. Self-indulgent bow-out for Capaldi’s Doctor with a confusing plot device designed to wring-out every emotion from fans of the series. It will likely have left non-fans cold with its frozen-in-time plot line as both 1st and 12th Doctors hold back their re-generations. There were nice touches in this episode – notably the resolution of the WWI army captain’s story and the meeting up with an old friend/foe. Bradley doesn’t always get the 1st Doctor right, but this is not helped by him being given some weak lines, knowingly poking fun at the changes in cultural environment since the days of those early serials. Capaldi is excellent, as ever, and it is sad to see his Doctor finally go. Whittaker’s brief appearance looked promising and left us on another cliffhanger. The production values were good and the photography excellent, but hopefully new producer Chibnall will move away from Moffat’s penchant for complex concepts and get back to good old-fashioned story-telling to win back a broader audience base. [12]

Doctor Who Retrospective 1.3 – THE UNQUIET DEAD (2005)

THE UNQUIET DEAD
1 episode / 45m / 9 April 2005
Rating: ∗∗∗∗
Writer: Mark Gatiss
Director: Euros Lyn
Cast: Christopher Eccleston (The Doctor), Billie Piper (Rose Tyler), Alan David (Gabriel Sneed), Huw Rhys (Redpath), Jennifer Hill (Mrs Peace), Eve Myles (Gwyneth), Simon Callow (Charles Dickens), Wayne Cater (Stage Manager), Meic Povey (Driver), Zoe Thorne (The Gelth).
Plot: The Doctor takes Rose back through time to 1869. But in Victorian Cardiff, the dead are walking, and creatures made of gas are on the loose. The time-travellers team up with Charles Dickens to investigate Mr Sneed, the local Undertaker. Can they halt the plans of the ethereal Gelth?The Unquiet Dead
Comment: The series kicks into gear with this episode, which delves into history and literature. The atmosphere is perfectly pitched by director Lyn with strong turns from his cast. Callow, a Dickens fan himself, is excellent as the renowned author as are David as the grim welsh undertaker and Myles as his housemaid, who has second sight. Eccleston and Piper have already built a strong rapport and there is plenty of opportunity for Eccleston’s Doctor to be commanding. The scene where the Doctor realises he has been tricked by the Gelth, who have used Myles as their passageway is wonderfully played by both actors. The only downside is some of the comedy early in the episode is again a little forced, but that doesn’t prevent this from being the best episode of the series to date by far.