TOP GEAR: The Last Hurrah & The Legacy

Well that's it...Top Gear as we know it has had its last bow. Top Gear as we know it is done...gone. Top Gear as we know it is dead. Except for, you know...the continuous repeats on Dave.

Almost everyone in the UK (and probably beyond) has at some point been exposed to the furor and the fracas and the aftermath that saw the Top Gear format more than a decade old finally end last night. It is not for me to comment on that really; everyone should have and indeed has their own opinion on the ins and outs, importance and trivialities and ups and downs of the build up to Jeremy Clarkson's exit from the show, followed thus by his two friends and co-hosts James May and Richard Hammond.
Instead, I want to reflect on Top Gear's final episode, and the reminders of what audiences have been treated to over the past years of Top Gear's frankly quite impressive run. You see, despite all the silliness and potential scandal, I (like legions of others around the world I imagine) am still a fan of Top Gear, and I am still sorry to see it finally go.

Now there's a blast from the past! In its early days, Top Gear was at its heart - a motoring show, with the added bonus of three blokes having the occasional spot of cocking about. I remember (and again thanks to Dave occasionally watch) those old classic segments like the Toyota Hilux sequence, the £1500 Porsche challenges, amphibious cars and those cross-continental car vs. public transport epic races. Again, at its core in each segment and piece - we had cars. These three men were merely the presenters of the show, who offered us these pieces. Yes they were quite indulgent, highly stylized and probably slightly more fun than informative, but they were good pieces of television, and it is small wonder many tuned in every Sunday to watch. To my mind, that basic formula of three men cocking about presenting a car show did not really change.

As with all good, popular telly shows, the fan base grew, the viewing figures grew, the scale of production and indeed what was produced grew and who knows maybe the egos of the producers and presenters grew.

Soon we were getting images of cows strapped to Chevrolets in America, provocatively decorated cars being chased by angry hicks in America, and Stig going from being thrown off a British aircraft carrier to being revealed as "potentially" German. Fast forward another few years and, out of "ambitious but rubbish" projects and films or not, we were getting scandals about truck drivers, scandals about racist slurs and scandals about Argentina and the Falklands. I honestly cannot tell you why, as time went on all these fractious issues, niggling problems and controversial personas started to emerge more and more out of Top Gear. Yes it gets people talking and of course watching but I feel the show did not need that - it had gotten by for years without needing any "edge" or "scandal" in that sense. Obviously there are two sides to each story, and for every possible contentious comment or opinion that came out of Top Gear, there were soon legions of paparazzi and Showbiz columnists there to jump on and tear into them like starving hyenas. I really cannot conceive of what went on in those Top Gear production meetings. I don't want to believe that they all thought they were untouchable and that these creative minds (presenters and producers alike) suddenly decided they could get away with pretty much anything as long as they portrayed it right. I really do not want to believe that, but in the face of what now has come about...

Regardless, I would much rather feel sorry for and remember fondly the years of Top Gear we had, than ponder too much as to why we shall soon be without it. And of course that ended with last night's episode; for the final time Jezza Hammond and May graced our screens on BBC2 of a Sunday evening at 8. My feelings were mixed when watching this mashed up and hastily cobbled together finale. On the one hand I loved it as it was still all kinds of Top Gear fun, but on the other there was a hugely sad, melancholy feeling; the last episode of Top Gear really did have the sense of being utterly lost, and ready for the end.

Included in the light hearted entertainment were some throwbacks and reminders of the simple but very enjoyable Top Gear formula - we had cheap car challenges, we had ridiculous stunts, we had the smashing up of caravans, we had exquisite drives through Britain in exquisite cars, we had ludicrous stunts and 'tests' and we had great camaraderie between the three men we have become so used to seeing pop up on our screens. I do not think all these tribute to heady Top Gear days were accidental (nor were things like the Clarkson voice over of "I hate working on Top Gear!") but I do not mind. 

However, interspersed within the trio's last films were links to the Top Gear studio, but not as we'd ever seen it before. Gone were the hundreds of studio audience members (whose impact was only just realized in their absence) gone was any sense of camaraderie and chemistry, and gone was one of the trio. We simply had May and Hammond, valiantly carrying on for the final push, but looking horribly uncomfortable, unavoidably sad and simply lost without their third wheel. There was and is absolutely no getting around it - everyone knew this was the end.

Any fan of Top Gear, past or present, will have their own highlights of the show over the years, and it is easy to say it is just a TV show, because it is. Yet to have been going so long, and to still be, despite everything, so popular for so long is quite a feat it has to be said. So, it is simply left for me to say my own thank you to Top Gear for years of simple entertaining television, no matter what else came along with it. 

And on that bombshell...

TAKEN 3

It seems like eons ago that the great Liam Neeson first donned that leather jacket, first spoke those now oddly immortal lines of that killer speech, and first redefined how to kick ass. In 2008, what started out as a relatively low-budget, low key gritty action film kick-started a powerhouse phenomenon, and the Taken series was born. It showcased to us as audiences that (perhaps surprisingly in the first instance) Liam Neeson, who was already established as one of the greatest actors of our time, could also cut it quite powerfully as an action hero. Looking back now, its hard to see how anyone ever doubted him, as lets face it Liam Neeson is at times the be all and end all of the Taken films. He as Bryan Mills is a big reason why fans have flocked in their legions to see not one, not two but now three films of the Taken franchise. 

As we know the first Taken was a very pleasant, simple surprise - it was brilliant in almost every way conceivable when one thinks of an action film. 2012's Taken 2 satisfied a still present afterglow of demand for more, and by and large it delivered. Now, at the defying age of 62 (come on - you know he's still got it!) Liam Neeson returned for the third and apparently final time to give fans some form of closure, but also crucially one last hurrah in seeing Bryan Mills do what he does best.

So...Taken 3. Apparently Neeson stipulated that if he were to do a third film, crucially and perhaps paradoxically, no one was to be taken. He surmised that audiences would not tolerate a simple third rehashed draft of an old formula, whereby someone dear to him is taken, and he goes through hell and comes out the other side to get them back. This could have been dangerous, as it was messing with a tried and tested formula, but in the end I credit the great actor for this. He was right, it would not have worked. Then came the issue of keeping things fresh and different, whilst also staying true to what fans knew and loved about Neeson's character and the Taken films. So, did it work?

Well in my view, partly yes and partly no. Let's look at the big changes they introduced to try and make this third film stand out. This time it was the turn of Neeson as Mills to go on the run, as he is framed for the murder of his ex-wife Lenore, played by Famke Janssen. This is a big move, and a much needed catalyst for the film and in theory it works well, but in trying to put too much emphasis on a potential love triangle was a mistake I think. Yes the drama of murder of a loved one is there, and yes it is exciting to see Neeson's character on the run, but end it there. Trying to build up a major sense of new love found in an old flame in this sort of an action movie on minimal build up was a bit of an overreach to me. Talking of love triangles, the third element is a new cast addition - namely Dougray Scott who they brought in over Xander Berkley to play Stuart St. John. Brave move, as the actors don't look very alike, and the way it is done is a bit blunt and sweeping, as if they are deliberately trying to insult the audience's intelligence. However, there is no denying Dougray Scott is a more bankable choice to work on film, and he is probably a good choice for the more malevolent, villainous side of the character that comes into play in this film. But again - out of nothing? It just happens. Oh, Dougray Scott is Stuart, oh he's actually a secret villain of the piece now. Not only does this go against everything previously done in the first two films, but it sort of puts Sam Spruell as Oleg Malankov (the more visceral, physical gangster type villain also featured in this film) at a huge disadvantage in terms of the spotlight for an adversary for Mills; he does shrink into the background as an afterthought very quickly. It feels like, in trying to shake things up and move things along differently, they lost their way in providing a worthy adversary or two (or lack thereof) for Taken 3.

Another new cast addition is that of Forrest Whitaker as Inspector Dotzler, the man responsible for hunting Bryan Mills. When I first heard of this addition I was excited. Whitaker is another massive acting talent, and I looked forward to seeing the interplay and chemistry between him and Neeson. But sadly, it didn't arrive. Barring a few charged phone calls and a few pieces of epilogue, there was not much. Again, going off on a new tangent, we got a good deal of old fashioned 'cop chasing criminal' vibe as Whitaker was seen going through the motions as a high ranking police officer, whilst Neeson was busy doing his thing kicking ass. Forrest Whitaker is a good name to have and a good face to see pop up on screen, but once again a bit of a mixed message that, whilst it may have come from a good intention, did fall flat in practice.

Finally in terms of new directions, we have Maggie Grace. Like Neeson, she is an old hand at the Taken game now as Mills' daughter Kim. She was pivotal in the first Taken, slightly less so in Taken 2 and in Taken 3...oh dear. This isn't necessarily new for this film; since the first Taken the writers have clearly tried to evolve Maggie Grace's character from that of kidnap victim to coming of age daughter, to family woman. At least I think that is what we were supposed to have ended up with. Once again we end up with a mixed message - Kim is being distanced from her father's world, then she is thrown in, then out then vice versa, then not so much, then maybe...in the end we have a bit of a muddle followed by a not so satisfying conclusion in the final scene of this film. This I feel is sad because at her core I feel Maggie Grace had much more substance and much more to give than the pretty daughter who is sometimes in peril. The father/daughter relationship however thankfully does remain intact which, in the case of these characters is probably the most important thing.

All these chops and changes, new directions and eventual thematic cul-de-sacs are probably in fact symptomatic of one simple truth that seems to be coming from looking at Taken 3 - the plot isn't that strong we must admit. In truth, none of the Taken films had very strong, hard hitting plots, but in the case of the first two, the formula they had in lieu of that was simple, effective and in the end quite satisfying, with minimal tweaking. In trying to be too different, and too forward thinking, a lot of the surrounding and previously solid plot points, themes and characters have certainly lost their way and not had the desired effect when watching the film. On reflection, I think Taken 3 did handicap itself from the outset; they had the potential to continue a good run, but I think they over thought things too much and the end result did suffer for it.

Happily however, there were a few resounding points that did shine through the murky grey areas, and pulled Taken 3 back from the brink. As I said at the start, Liam Neeson as Bryan Mills makes the Taken films, and so too is the case here. Not only does he save the day, but he saves the film. No matter how much you tweak his surroundings, you cannot keep a good character down. No matter how simple the makeup and formula of Bryan Mills may seem at times, Liam Neeson is complicated, professional and superbly talented enough to bring him home yet again. He still kicks ass with the best of them, he still squeezes every ounce of heart and gravitas out of his character and others around him, and he is still the incredibly watchable face of the Taken franchise.

Other plus points? Well it was good to see Bryan get some back up in the field from his old crew (after seeing them just barbecue meat and play golf in the first two films). The cinematography was still quite breathtaking, whilst still being quite tonal and earthy at the same time. And of course, the action sequences were still many, varied and epically brutal enough to satisfy any discerning action movie junkie. 

Really though, Liam Neeson still is the ultimate star of the Taken show. From its inception in 2008, to three films later, he is the reason we keep coming back for more. Taken 3 is to me a shaky and stuttering sequel that does have faults and pitfalls, and if it is the final chapter, that is a shame. However the series just about manages to keep its head above water and its dignity intact, and that is mostly down to Liam Neeson holding everything together. The Taken films were never apologetic for how simple their appeal was, yet appeal is certainly the word. Taken 3 sees the trilogy home...just. But Liam Neeson as Bryan Mills lives to fight another day.

RIP James Horner

1953-2015

The Courtyard, Settle

A quick word on a little independent and unique gem I found today. Perched discreetly in the countryside of the Yorkshire Dales, between the charming town of Settle and the equally charming village of Long Preston, lies The Courtyard.
To look at from the outside, it is a relatively unassuming place, looking more like a converted farm, and the signs outside simply read "Brasserie and Shops". Inside this modest looking complex however, lies a small oasis of quality purveyors of unique and quite astounding goods. All locally sourced, all expertly and lovingly made and crafted, and mostly all out of the average price range of any passing visitor. But even if you are not intent on buying (and believe me in some cases you may be hard pressed to) to simply go and see the way in which these establishments are set up is certainly quite a thing in itself.

Firstly you come to the Courtyard Dairy, not that much of a unique concept but such a cheese monger I have never seen before (if you are a fan of exotic and luxurious cheeses going in there for the smell alone is worth it). Then you come to Abraham Moon & Sons, whose incredibly and wonderfully unique selection of quality tailored clothes beggars belief (and the wallet!) and is something to behold. Then we come to the Lime Gallery, which in of itself is nothing special but look closer and you will see a clean and crisp approach to showcasing local Yorkshire art. Then we have Buon Vino, The Courtyard's wine specialist, blending that classic feel with new and innovative ideas. Dalesbred deals in incredibly bespoke and beautiful furniture, and finally we have The Brasserie, which essentially presents restaurant quality food (we had a jolly nice luncheon) in the guise of a shopping centre café. An odd concept, but one that means quality and service can be churned out all day long.

If food, local products, and unique shopping are anywhere near up your street, then I urge you to find out more about The Courtyard, or better still pop in for a visit. My only worry is that it is not doing enough to promote itself in order to survive. But then I suppose if it did, it would lose some of its truly wonderful, back-and-beyond charm.

RIP Sir Christopher Lee

1922-2015