RIP Ronnie Corbett

1930-2016

From New Year's to Now: A TV Round Up

Since the festive season, there have been a lot of new pieces of telly to be seen, with more and more arriving daily it seems, be it a new series of a firm favourite or something completely new, or a revamped classic. It occurred to me recently that there are quite a few that I have followed but not featured here yet. 

So here's a rundown of a few of my telly highlights of this year so far.

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The Night Manager

Suave, stylish, sexy, gripping, thrilling and oh so good - The Night Manager concluded at the weekend, and has been widely celebrated as a corking piece of BBC prime drama.

Yes, The Night Manager delivers no-holds barred when it comes to the chilling pieces of drama, spy-intrigue and high-class espionage (it is based on a Le Carré novel after all!) and plenty of action too (though tinged with elements of the slow-burner at times) but it is the oodles of added extras that make the Night Manager so indulgently pleasing to watch, as well as being a first class thriller.

Before you even get to the characters and performances - the production values for this are through the roof! Most attempts these days to generate an atmosphere of slick, stylish, effortlessly cool luxurious lifestyle in any piece of screen fiction let alone a thriller, are often branded as ridiculously old-fashioned or just too vulgar. Not so here. The Night Manager pitches it perfectly. Throughout each episode, luxurious setting or not, there is a unique blend beauty, luxury, English charm, European chic and stunning quality that results in almost every scene being supported by fantastic imagery, locations, music and just the right tone to set up for the stunningly good plot.

Now the cast; not bad at all. Yes we must of course start with Tom Hiddleston, the A-List star who not only brings a touch of Hollywood quality to proceedings but also a fine performance to boot. Sharp, charismatic and not lacking at all when it comes to all the hard-hitting thrilling stuff that his character Pine is put through throughout the six-part series. Yes the charm is also tempered with quite obvious sex appeal (a good friend of mine apparently had a genuine fork-drop moment at the infamous moment when Mr. Hiddleston's rear end was shown...and no, fork-drop is not some kind of euphemism) and I found his portrayal a tad too self-deprecating at times, but nevertheless the list of great qualities the great actor brings to Pine is long and there would be few actors better suited to the lead role in my opinion.

Also bringing a great deal of class, quality and fantastic performance level is the effortlessly superb Hugh Laurie as the villainous Roper. All great action/spy thrillers have a villain who is as equally charismatic and watchable as the hero; and that is just the case here. Again this is an instance of perfect pitch as Laurie's Richard Roper is pretty much brilliant throughout.

However that is not the end of the superb cast list - the likes of Tom Hollander, Olivia Coleman, Elizabeth Debicki, David Harewood, Neil Morrissey and Katherine Kelly all shine superbly and fit seamlessly into a plot that both teases and tantalizes, and races and thrusts you through a myriad of thrilling glamour. Even John le Carré himself makes a cameo.

Its true that the Beeb are always trying to pass off their latest TV show as the next big thing, but The Night Manager comes damn close. Pretty close to un-miss-able every episode, I do feel that it certainly does justice to to the original novel, and may even be on its way to being a future classic piece of TV viewing. What's more, though no follow-up novel exists I feel the series ended with the distinct  potential for a sequel - I doubt there will be many complaints.

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STELLA ~ Series 5

Ah yes, Stella has been a firm favourite of mine since its conception - that heady blend of laughs, tears, hilarity, valleys charm and character is quite a one to behold. Though this time, the return of the series took me unawares (I just didn't see any promo for it + it had moved to another slot) and whilst I enjoyed a return to Pontyberry for the fifth time, it was tempered by a shade of dissapointment.

The same core elements were there to always put a smile on my face - the sheer diversity and power of the characters Ruth Jones has created still remain - the brilliant lady herself as the divine Stella leading the charge. We got welcome returns from a few familiar faces we hadn't seen in a while too, such as Elizabeth Berrington's brief but welcome guest appearance as Paula, plus Mark Lewis Jones as Rob Morgan.

However there were some key notable absences that I feel crippled the show before it even began - most notably for me the amazing Steve Speirs as Big Alan, along with his on-screen wife Celia played by Emma Rydal. Spiers especially so for me, not only because he has been at the heart and soul of Stella since the beginning, but he is also a regular reliable source of not only narrative, but hilarity as well, which series 5 sorely missed.

Notable too were the few instances of shakey plot lines, in a normally unblemished series of scripts. It was great to see Mark Lewis Jones' return as Rob Morgan, but along with his return we also got a re-hashed love-triangle again, which did have its moments (admittedly ending in a heart-wrenching, if predictable finale) but it did get a tad tiresome for me. Also we got an early apparent change in direction for regular face Bobby Gittins, played brilliantly by Aled Pugh, but no sooner had this occurred in episode one, then Bobby was back to his usual camp ways, which is not necessarily a bad thing, but the whirlwind in character development was confusing and disappointing. 

Whilst different slightly, the all-too predictable love-triangle arc of the Nadine Bevan character opposite new face Ivan Schloss (who was actually a series highlight for me) was too drawn out, as was the younger love-triangle between Ben Morris and Little Al over their prospective love interest. The same can be said of the pregnancy whole-series-theme which formed the base of series 4's cliff-hanger. All a tad shallow, drawn out and predictable, and not followed through enough to me. What is more, finally the Stella institution that is Auntie Brenda (played by Di Botcher) has inevitably run her course for me. I've said in reviews of previous seasons of Stella (see the BLOG ARCHIVE) that this continually loud-mouthed, brash and in essence storm in a Pontyberry tea cup was wearing thin, and in series five a lot of fan favourite Auntie Brenda's moments verged on cringe-worthy I found.

It sounds like I'm writing Stella off in its latest iteration; I'm not. As I say the show's core values are still there, and they still bring a massive smile to your face. And there were individual highlights of the series as always for me too - Ivan Schloss, the funeral of Daddy Simpson (another Stella institution played by the sorely missed Howell Evans) and seeing Stella brush the edges of a swinger lifestyle rank among them. Yet it just seems that too many casting gaps and plot stretches occurred this time, and they were poorly covered up by throwing too many poorly conceived love triangles and sporadic old faces that didn't contribute too much to the story.

Do not get me wrong, I still love Stella as a TV show, and whilst I am glad Ruth Jones is taking a break (which for once I do feel is needed) I shall be welcoming the return of Stella with open arms.

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Dickensian

Ah now this one started way back on Christmas Eve - and took until the 21st February to finish. Again the BBC seemed to be very confident that this new winter flagship series could sustain an audience with enough power, drama and intrigue for that long.

Well, for me the result was quite a mixed bag.

On the one hand - all the Dickensian elements are there so if that is all you are looking for then look no further. On the other hand if you are the type of Dickens purist who does not like the idea of the great man's works, characters, titles and tales being hurled together in a wild, chaotic mish-mash...then perhaps not. I didn't mind this so much, and in truth I enjoyed some of the character combos it delivered that you wouldn't get otherwise; seeing the likes of the Havishams vs. Ebeneezer Scrooge or Inspector Bucket facing off against Fagin did make me smile.

However, whilst the series started well with a fine concept, and ended well, if by then all too predictably...the middle ground went on for far too long. The act of dividing a confusing, if well-conceived idea into twenty 30 minute episodes depends on a hell of a lot of writing and performance quality which I'm afraid was just lacking. Sadly for the most part, we were just treated to a Dickensian version of Eastenders, with all the monotony, lunacy and drudgery that sadly implies.

The only saving graces for me were the intriguing and potentially exciting concept of all Dickens' characters thrown into one series, plus a choice few sterling performances throughout, from the likes of the superb talents that are Stephen Rea as Bucket, Richard Ridings and Caroline Quentin as Mr and Mrs Bumble, Pauline Collins as Mrs Gamp, Omid Djalili as Mr Venus, Alexandra Moen as Frances Barbary and Anton Lesser as Fagin.

As you can see that is quite an extensive list of quality (and remarkably enjoyable quality it was to watch too), with quite a mix of Dickensian characters, but if you consider these are seven names in an ensemble cast comprising of over 40, then the less than positive perspective becomes clear.

Yet it may be the strength of performances like these from sublimely talented actors among the crop, plus as I say an interesting concept, that might have just saved Dickensian and allow it to scrape through for another series. If this is the case, then changes must be made in my view to generate more success and haul back on the drudgery of seemingly never-ending plots that could be succinctly and enjoyably wrapped up in half the time. As I say the writing is creative and innovative, but it is extremely possible, even on prime time BBC shows, to have too much of a good thing.

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Churchill's Secret

This one was a delightfully charming one-off drama that ITV produced recently, dramatizing the events that shortly followed the great man's second election in 1953, the series of strokes that followed, and his miraculous recovery.

Needless to say Sir Michael Gambon is perfect as Winston Churchill. Perfectly nuanced in every word and movement, humbly weary when he needs to be, powerfully dramatic and inspiring, hilarious when playing the domesticated man, and everything else in between; the legendary actor does superbly.

Frankly Gambon's performance is more than enough to carry this one on its own. The cast does have a smattering of quality thespian gems to support him too however. The likes of Lindsay Duncan and Matthew Macfayden make welcome appearences, but to me they did feel slightly flat.

Normally in these instances I blame either lack of oomph in performance or lack of writing direction. This time its both. Whilst I think the producers liked the idea of having the likes of Lindsay Duncan as Churchill's wife, they didn't give her nearly enough screen time or impact, and the writers did not provide her with enough material to get her teeth into. Yes she is still a jewel in this one, but she is easily eclipsed, and such is the case with many of her fellow cast.

The notable exception is relative new-comer Romola Garai as Millie Appleyard, the nurse who cared for Churchill during his recovery. Hers is a performance of sensitive and endearing beauty, quite a bit of charisma and no-nonsense spirit that measures up to being opposite Gambon's Churchill.

However, as a one-off this is a brilliant piece of telly in my opinion. Whether you're a Churchill buff or not, simply for an interesting, moving and superbly-performed little look at the great man; Churchill's Secret is worth a watch. 

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STILL OPEN ALL HOURS ~ Series 2

Ah...Granville. Yes we also recently saw the return of the legend (and I cannot over-emphasize that term enough) Sir David Jason as the equally legendary Granville.

Yes the dearly departed legend that is Ronnie Barker is sadly gone, but the influence, legacy and hilarious lunacy that he left behind as Arkwright is still going strong inside the infamous shop that bares his name.

As I hinted at in my review of the first series (see the BLOG ARCHIVE) I did wonder whether or not the level of comedy and charm could both transcend from the original Open All Hours and sustain into a long-running state of affairs in this new incarnation.

Frankly I am happy to report: it still works. By keeping things simple, by not patronizing audiences too much, and by still relying on that old magic, the writers, producers and actors of Still Open All Hours still managed to deliver another six episodes of light-hearted Yorkshire lunacy.

Yes if I'm being picky the Gastric/Mavis theme ran a little thin this time (but Arkwright's brushes and fumblings with Nurse Gladys Emmanuel lasted for four series!) and as a Sunday night show it is not that challenging a watch, but who cares? It certainly makes you smile, it makes you feel warm greeting these characters again like old friends, and it definitely makes you laugh. And as the great man Ronnie B once said - "to get a job where the only thing you have to do is make people laugh - well, it's the best job in the world."

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Death In Paradise ~ Series 5

Also returning to our screens earlier this year, and also for its fifth series was that fine piece of Caribbean detective-ing: Death In Paradise.

As I have said previously, I was not a fan of this from the start, but gradually from about series 3 onwards I did start to sit down of an evening and watch.

I attribute that in part to the appearance of series lead Kris Marshall as the endearing Humphrey Goodman whose simple charm and wit still entertainingly lead the team week on week. He is of course backed by a group of core characters that fans have also come to love, including the still irrepressible Dwayne Myers and new face Florence, played by the increasingly capable, sexy and charismatic Joséphine Jobert.   

I don't really have that much to add to this new look at Death In Paradise that I haven't stated previously in actuality. But that is not necessarily a bad thing. Again by keeping it simple, and playing to its simple strengths, this fifth series still treated viewers to eight episodes of funny, pleasant, moderately edgy (if there is such a thing) and actually just familiar fun Caribbean escapism (just the ticket in the depths of winter! As my grandmother says).

Yes it isn't mind-blowing stuff in the slightest, but it is still good television, and I actively welcome the confirmed sixth series next year.

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War & Peace

Finally we have quite a big one, or at least once again that's how the Beeb was portraying it around the festive season. And actually, this time they were pretty much right.

Stylish, stunningly shot, hauntingly beautiful music, amped-up drama, passion and sex appeal, and a series of great performances from a stunning ensemble cast brought Leo Tolstoy's epic to life like never before.

Unlike Dickensian (which was on around the same time, though stretched out nearly a month either side!) this was a period drama based on a fictional classic that bridged the gap of the relatively moderate six episodes very well indeed - by jamming each one full of varying and intriguing relationships, action where needed and quite free-flowing plot.

It is very hard for me to find fault in the story and indeed overall feel of War and Peace - each episode was beautifully stunning to look at and watch, and captivated me as an audience member like the best thrillers. 

If there is fault, and there are only a few contenders, it and they are to be found amongst the cast. There were a few that just fell short in my view. Breakthrough female lead Lily James started very well and swiftly beguiled and captivated audiences as she did those she was starring opposite. But mid-way through she simply seemed to lose all sense of commitment in her character Natasha. As her character's journey became all the more harrowing, the actresses' conviction seemed to fall away. The same can be said sadly of Tuppence Middleton (who BBC audiences were getting in stereo if they were watching her as Amelia Havisham too) who instantly and sinfully captured everyone around her in the opening episodes to brilliant effect, but again fell short of conviction and impact as her character's situation worsened.

However these seemed trivial flies in the ointment, as the mostly superb cast featured stellar performances from the likes of Paul Dano, who was perfect from start to finish, James Norton, Aisling Loftus, Stephen Rea, Gillian Anderson and the superb Brian Cox and Jim Broadbent.

I imagine this adaptation of War and Peace will become cult classic TV, just as the original Tolstoy novel has become a classic of literature. It truly and endearingly is a masterful and at times breath-taking piece of television.

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The Martian

Of course I'm not one to try and sway the Academy (last Oscars reference, I swear) but to me the award for Best Actor was given to the wrong guy this year. Yes all the nominees and all the films are surely superb, and I am in no way discrediting Leonardo DiCaprio as an acting talent, but Matt Damon's near-solo powerhouse in Ridley Scott's The Martian I found phenomenal.

In fact, the whole film for me is phenomenal. Based on Andy Weir's novel, The Martian imagines a world not too distant from ours, where space travel is ground-breaking and breathtakingly powerful, but not nearly as much as the struggle and story of the one man that is left behind on Mars.
As astronaut Mark Watney, brought spectacularly to life my Damon, struggles to survive and achieve rescue, the result for the audience is not only a gripping, dramatic, and action-packed sci-fi thriller; but an incredibly raw and stripped bare look at humanity in almost impossible circumstances, the likes of which I have never seen before on film.

Yes, we do get some action and interplay away from Matt Damon on Mars, also comprised of a superb cast - including the likes of Jeff Daniels, Sean Bean, Chiwetel Ejiofor and Kristen Wiig on the ground back on Earth who struggle to contact and rescue Watney as he struggles on Mars.
Another fascinating element we see is the dynamic of Mark Watney's fellow crew of astronauts, who are often caught between moralities, as well as between Mars and Earth. These include very solid performances from the likes of  Kate Mara and Jessica Chastain.
No matter how commendably perceived and executed every other element and performance of The Martian is however, there is no doubt at all from start to finish who the main man is in this one.
Looking back having watched the film now, I can think of few other actors alive, in Hollywood or otherwise, who could encapsulate not only the character of Mark Watney, but also the incredibly unique journey and experience his character undergoes.
Matt Damon is instantly believable, and throughout each and every second of each and every scene he delivers on the desperation, sorrow, light-heartedness, triumph, depression, science, humour and eventual resolution that comprises the Mark Watney story. In fact the only drawback with Damon's performance and indeed The Martian as a whole, is that his performance is so perfect that it does tend to tarnish slightly all the other very positive elements of the picture.

The Martian to me is a certain future classic of film. All the right amounts of sci-fi, great writing, beautiful cinematography and music, with great performances all round, led by the superb Matt Damon. I sincerely recommend this one; as The Martian's action, joy, sorrow, performance level and sheer power cannot fail to impress.

RIP Sir Peter Maxwell Davies

1934-2016

Oscars Aftermath: A Look Back At Some Previous Greats

OK, so we've just finished awards season, with the Academy Awards providing fitting finale. It got me thinking...how have some of these films and performances affected me, if at all? Have I seen a fair selection of all the pictures given the nod by the Academy over the years, and what did I think of them? It turns out I have seen a fair few, and if I was to wax lyrical about them all (not to mention if I watched then commented on all the ones I haven't seen yet) then we'd certainly be here at least until the next Oscars. So, with a bit of narrowing down (and recognition that this still gives me chance to go on a bit about a few films at once)  here is my brief take on a handful (some I have featured here before, but some I haven't) of a few of the films that have been indoctrinated into the Academy annals in years gone by, as some of the greatest pieces of film...

DEAD POET'S SOCIETY 

We start with a glorious film that was nominated for best picture in 1989, and one that I have featured on this blog before. The film as a whole is an epically emotive tour de force, but the reason it stood out for me, as it did with so many others, was the magnificent performance of the lovable genius at its heart; the late great Robin Williams. He himself was nominated too, and upon his death in 2014 this is what I said of the film and his outstanding gift of  the character of John Keating:-

Dramatic, comedic, lightening, inspirational, heart-warming and heart-breaking. For any who remained unconvinced, Dead Poet's Society convinced the world over what a star Robin Williams was, and what sheer amounts of talent he had to give.

In several senses the film was an ensemble piece, featuring a glittering cast both youthful and more mature. Yet there is no doubt at all that Robin Williams was the effortless and consummate jewel in this highly acclaimed film's crown. As Professor John Keating he inspired a group of repressed school students to aspire to greatness through the use of poetry and literature. A resoundingly simple yet individual concept that made for an astonishingly resonating and unique film. Robin Williams gave us moments of sheer joyous light, as well as dramatic dark, all wonderfully wrapped up in the form of John Keating. To this day, Dead Poet's Society is thought to show off one of his best performances, and I am mightily inclined to agree. Timeless, classic; a wonderful film, and a wonderful performance from Robin Williams.

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FORREST GUMP

"Mama always said: life is like a box of chocolates. You never know what you're gonna get."

I could leave it there really. Even if you've never seen this one, you'd know that those words have now become cinematic legend. And those words, in that scene, delivered by that character played by that great great actor sum up the film. 1994's Forrest Gump won no less than six Oscars, including Best Picture and Best Actor for Tom Hanks. 

The tale of a character who was instantly loved by audiences around the world, and how he ran his way through some of the biggest events of the 20th century, and through the trials and tribulations of love and loss are simply and breathtakingly beautiful.

Tom Hanks deserves every bit of praise he received, and is still receiving for Forrest Gump - funny, light-hearted, but also highly emotive and heart-breaking. There is little wrong at all with the story of Forrest Gump. Sure it is a little simplistic, but its tone, themes and raw performance power cannot fail to overpower you. A true cinematic classic.

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CAST AWAY

As if further proof was needed, Tom Hanks continued, and has continued to give stellar performances (and he has continued to receive various awards nominations and successes) year on year. And a few short years after Forrest Gump, he gave us Cast Away in the year 2000, which saw him nominated once more for Best Actor. I saw this one again quite recently on telly, and it is still as masterful and as perfect as it was the first time I saw it.

The sheer power, charisma, and levels of gravitas and acting ability needed to fully capture, contain and stunningly deliver the concept of one man alone on an island (save for a certain friendly volleyball) truly beggars belief. Yet Tom Hanks did it, and he made it look easy.

I say easy; horrific, harrowing, soul-destroying and heart-wrenching is often how he made it look, but anyone can see the sheer levels of class and ability with which he pulls it off. There are many many candidates for films that truly define Tom Hanks' supremely immeasurable talent. Not that I am suggesting such a thing should be attempted mind you!

But...if there was one...and I had to choose...this would be very close to being the Tom Hanks performance for me.

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CHOCOLAT

The year 2000 also gave us Chocolat, which itself received a not-too-shabby five Academy Award nominations, including Best Picture, Best Actress for the divine and sublime Juliette Binoche, and Best Supporting Actress for the equally so Dame Judi Dench.

This is unlike any other film I have seen, before or since. The tale of a highly charming, beautiful and beguiling French chocolatier (encapsulated brilliantly by Binoche) who turns a sleepy French rural community upside down.

Witty, playful, indulgent, light, though with a little dark tint, charming, joyful and a little bit sexy; Binoche as Vianne and Chocolat itself work wonders for any audience, and it cannot help to lift the darkest of moods.

What's more the other cast are superb too. Talents like Alfred Molina, Peter Stormare, Ron Cook... oh and Judi Dench and Johnny Depp all weigh in and give dazzling ensemble and individual performances. The performance level really is staggering, as is the level of craft, detail and love that runs through this film frame by frame. Again I would say this is definitely a contender for an all time cinematic classic. 

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MIDNIGHT IN PARIS

Again a bit of a cheat as this is one I've written about previously, but with three Oscar nominations and one win, the Academy must agree with me:-

This is actually by a clear margin my favourite Woody Allen film. He captures a beautiful story, in a beautiful location, using the talents of a beautifully gifted cast perfectly.

Focusing on struggling writer Gil, played rather unexpectedly but brilliantly by Owen Wilson, who walks the streets of Paris at night and crosses through time to 1920s Paris, where he meets a whole host of legendary artists and writers. This group of remarkable individuals then provide Gil with a whole new list of answers and questions - regarding his life and theirs.

Really though, I don't feel the story needs to be gone into that much - it is sublimely simple - and presented in almost a completely and perhaps alarmingly honest fashion from start to finish - but the results are wonderful to behold. Set in stunning scenery, a stunningly simple concept, accompanied by beautiful music - with a marvelous cast; what more do you want?

As I say Owen Wilson, whom I've always liked but had never had down as one for this type of role, absolutely nailed it - completely honest, very lucid and always with that Texan charm. Opposite him is Rachel McAdams - who I've always enjoyed watching - she is always charming and alluring and always delivers when asked to provide any spectrum of comedy or drama. Here I feel slightly dissapointed as it often came across that, in making her character rather obtrusively and obviously shallow, fickle and aggressive - Allen gave her quite a one-dimensional part to get stuck into. Don't get me wrong, she does it well and still sizzles in almost every scene she is in - its just at times I felt myself feeling annoyed at how flat she was falling as opposed to her interest and plot significance, or lack thereof. I'm afraid I got a similar vibe from Marion Cotillard, who also played opposite Wilson as 1920s belle Adriana. Yes she had a little more depth and mystique, due to the part and the great actress she is, but I do feel again Allen short-changed her a bit. Yes together the dynamic and story of Wilson, McAdams and Cotillard is interesting and is more than enough to hold audiences, but two of those elements did not strike me as being as strong as the other.

The only other slight casting bum note for me was sadly Corey Stoll who portrayed Ernest Hemingway. On the face of it - he was brilliant. Charismatic, dramatic, enigmatic and full of gravitas. But as Allen doesn't seem to have given Cotillard and McAdams enough to do - he seems to have done a bizarre yet skewered repeat with the actor behind Hemingway. He is given quite a lot of screen time but not enough plot device, and there is only so far that his performance can get us before he is (quite literally) blundering around looking for something to do.

Happily however, these are a few flies in a massively glorious ointment, as Owen Wilson is also surrounded with an excellent ensemble - among those feature Michael Sheen who was perfectly pitched as Paul, David Lowe as an inspired T.S. Eliot, Tom Hiddleston and Alison Pill who were stunning as Scott and Zelda Fitzgerald respectively, a surprisingly lovely wide-eyed appearance from Carla Bruni, a hilarious and ludicrously lovely Adrien Brody as Salvador Dali and of course the ever brilliant Kathy Bates as Gertrude Stein.

Truly the ensemble cast is pretty dizzying to behold, and that coupled with pretty perfectly crafted elements across the board make this in my view, an utter masterpiece, certainly worthy of Woody Allen's greatness and certainly worth a watch.

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THE THEORY OF EVERYTHING

Now we move onto the film that took last year's awards season by storm - earning Eddie Redmayne a Best Actor Oscar, among other things, plus a further four nominations connected with this glorious piece of cinema.

Redmayne received such acclaim (and rightly so) for his ingenious, stunningly nuanced and pitch perfect portrayal of the great man that is Professor Stephen Hawking. The film focuses on the theoretical physicist's early life as a Cambridge student, his ascendancy to scientific legend, his tragic decline physically as his motor-neurone disease is diagnosed and worsens, and how all this affects his family, particularly his first wife Jane, played by Felicity Jones.

If the subject matter wasn't fascinating enough, what really carries this film into our hearts and minds again is the sheer weight and power of performance from its lead stars. The delicious, tenacious and superb Felicity Jones as Jane Hawking accompanies the masterful Eddie Redmayne as the equally masterful Hawking superbly; their chemistry is wonderfully tangible. Plus a welcome appearance from the likes of David Thewlis, Emily Watson and Maxine Peake were all very welcome surprises.

I do not dispute all the acclaim this film received, nor am I surprised at all by it - it is a pure cinematic gem that will never fail to bring a tear to your eye and warmth to your heart.