Helena Vesey loves her son with a passion verging on the demonic. When he announces his engagement to Angela, it’s clear that she’s not losing a son, only her sanity. She’s soon dusting off her books on lethal poisons and begins a ruthless killing spree, elegantly disposing of anyone she sees as opposition.

Mother Love received strong reviews in the UK where Diana Rigg won a Bafta for her lead performance. However, most missed the fact that this is a black comedy, and although Rigg is superb as the woman scorned, her performance brings to mind the wicked stepmother in Snow White and the Seven Dwarfs. There’s a macabre sense of fun about her adventures which echoes dark classics such as Kind Hearts and Coronets, and the relish with which she strikes down her enemies makes her a compelling, larger than life character.

Andrew Davies’s screenplay is based on a novel by Domini Taylor, but he injects more wit into the proceedings and streamlines the action.

Mother Love zips along with pace and panache, strengthened by an effective cast, several neat twists and some memorable one-liners are darkly enjoyable.

Mother Love.S01E01.mkv

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Subtitles:English

The post Simon Langton – Mother Love [Two-part version] (1989) first appeared on Cinema of the World.

This trilogy was broadcast in three weekly instalments as Agamemnon, Grave Gifts (the production’s title for Choephoroi, the play also known as Libation Bearers) and Furies (the production’s title for Eumenides). The three plays went out at 9.25pm on BBC2 on Wednesday nights (95, 85, and 75 mins respectively). The trilogy was followed by a half-hour ‘sophisticated modern comedy’ in the style of the ancient satyr play which traditionally followed tragic trilogies: Raphael and McLeish’s Of Mycenae and Men—which follows the reunion of Helen (Diana Dors) and Menelaus (Freddie Jones) after the fall of Troy—was directed by Hugh David.

The director of The Serpent Son was Bill Hays, who worked in both television and theatre. Richard Broke produced. Humphrey Searle composed the music, Tim Harvey designed the set and the costumes were by Barbara Kidd, who had in the years previous worked on Dr Who (to which she returned in 2010).

The Serpent Son features an impressive cast—the lead roles were played by Diana Rigg (Klytemnestra), Denis Quilley (Agamemnon), Helen Mirren (Kassandra), Anton Lesser (Orestes), Maureen O’Brien (Elektra), Claire Bloom (Athene), John Nolan (Apollo) and Flora Robson (Kilissa), with Billie Whitelaw leading the chorus of women in Grave Gifts and Siân Phillips leading the chorus in Furies.

On playing Klytemnestra, Rigg commented: ‘The modern fashion in acting is understatement, or suggestion, but you can’t do Greek drama like that. You have to delve back into our theatrical traditions, and find the grandeur that existed one—a largeness of expression and spirit which modern texts don’t demand. I loved it: every minute of it. The chances to play that sort of part are few and far between’ (quoted in Henry Fenwick, ‘House of Horror’, Radio Times, 3 March 1979, p.72).

The production design was bold; or, as The Observer put it, ‘it is a startling looking production’ (Jonathan Meades, ‘The Week in View’, The Observer, 4 March 1979, 20). It took some influence from ancient Minoan art, which was popular in the 1970s, but in other ways it was not unlike the design of contemporary Dr Who. The continuity makes sense given that the costume designer Barbara Kidd had, as noted above, previously worked on that series. The keywords for the design sought after by director Hays were ‘primitive, barbaric, […] exotic and ritualistic’ (quoted in Henry Fenwick, ‘House of Horror’, Radio Times, 3 March 1979).

The costumes were more striking than the set (apart from, perhaps, the enormous phallus-shrine of Apollo) and it is worth hearing at length how they utterly absorbed Clive James, then television reviewer for The Observer, to the extent that, in this review at least, he had very little to say about any other aspect of the production:

Unfortunately it was hard to stop one’s attentions straying from his [Denis Quilley / Agamemnon’s] physiognomy to his apparel and coiffure. Dressed simultaneously as the Last of the Mohicans and the First of the Martians, he sported a Sam Browne belt, leather pedal-pushers, dreadlocks and a fringe. […] he was well equipped with a suit of armour that strongly suggested American football. […]
Aegisthus also had a bulky carapace, which he seldom took off. It was studded with large nails, or small bollards [pictured here]. […] The top girls looked no less remarkable. As Klytemnestra, Diana Rigg had a wardrobe of Pocahontas numbers for day wear. They came with a complete range of Inca, Aztec and Zulu accessories. But it was en grande tenue that she really knocked you out. The bodice of her evening gown featured a gold motif that circled each breast before climbing ceilingwards behind her shoulders like a huge menorah. It was a bra mitzvah.
Terence Hardiman as Aegisthus[…] While the aristos had obviously been dressed by Jap, Courrèges and Zandra Rhodes, the lower orders were clad in rags. These were not, however, ordinary clothes that through long wear had ended up as rags. These rags had been designed as rags. Male members of the chorus wore shaggy jock-straps and hairy plimsolls under their rags. Women members wore their rags arranged as lap-laps. Refugees from Alternative Miss World or the Eurovision Sarong Contest, they formed little heads-together backing groups while the men pounded out the rhythm with crooked staves. […]
But it was Kassandra who took the biscuit. Helen Mirren played her as an amalgam of Régine, Kate Bush and Carmen Miranda. In a punk hairstyle the colour of raw carrots and frock left open all down one side so as to feature a flying panel of her own skin, she did a preparatory rhumba around the set before laying her prophecies on the populace. ‘Now do you get it?’ she hissed, but she was too late. Klytemnestra had persuaded Agamemnon to peel down to his gamma-fronts and take a bath. Blood mingled with the Pine Essence. Fancy things were done to frame the image. The whole deal looked like a dog’s breakfast. (Clive James, ‘Belfast Dreamer’, The Observer, 11 March 1979, 20)

One of the most striking things about this production is the use of decorative borders around the moving image (probably the work of Joanna Bill who was credited with Graphics). In Agamemnon they seemed to be used at three kinds of moment: first, to frame flashback sequences; secondly, to show action which occurs inside-the-palace when the chorus are outside; and, third, to highlight particularly important lines in the text or images on the screen. (See the adjacent image of the moment when Klytemnestra kisses the sword she has used to murder Agamemnon and Kassandra, within a blue-ish marbled frame.)

The use of these borders gets more daring as the trilogy progresses: they become mobile, framing the action and closing in on particular aspects of it—and not always simply mirroring the rectangular dimensions of the screen. ‘I’m fed up with the shape of the screen’, said the director Bill Hays in a Time Out interview, ‘and everyone’s reliance on endless close-ups. So I’ve tried to alter that, focussing the audience’s attention in different ways’ (quoted in Clive Hodgson and John Wyver, ‘Classics for Pleasure’, Time Out, 2 March 1979).

The BBC commission

It was three years earlier, in 1976, that the BBC commissioned a translation of the Oresteia trilogy from the screenwriter and novelist Frederic Raphael and Kenneth McLeish, a writer, playwright and translator who had translated all the surviving ancient Greek plays, many of which have been produced on the professional stage (including, for example, Sophocles’ Electra by the Royal Shakespeare Company in 1988 and revived in 1991).

The idea to tackle a trilogy had blossomed in conversation with the artist and writer Michael Ayrton (1921-1975) who also did work for television, and ‘the project went through several metamorphoses—weaving a new trilogy of plays around the Minotaur legend, re-completing a trilogy that no longer exists’ (Henry Fenwick, ‘House of Horror’, Radio Times, 3 March 1979). Soon after Raphael and McLeish got to work, Ayrton died, but work continued and the translators decided to revert to the original plan of translating the entire trilogy. It may be that the recurrent use of a drawing of Orestes’ brain (‘brain coral’, as the camera script calls it), blending in to a model of a maze, shot from above and in which Orestes often appears with Apollo, is something of a tribute to Ayrton who wrote and created many works which drew on the myth of the Minotaur and the labyrinth created by Daedalus (his autobiographical novel is titled The Maze Maker, 1967).

The Serpent Son [The Oresteia] Episode 1 - Agamemnon.mkv

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Language(s):English
Subtitles:None

The post Bill Hays – The Serpent Son [The Oresteia] (1979) first appeared on Cinema of the World.

Adapted from the gothic romance by Daphne Du Maurier, Rebecca is a Classic tale of love and hate. Maxim De Winter (Charles Dance) marries a woman half his age (Emilia Fox) only a year after his first wife, the beautiful and accomplished Rebecca, dies.

Maxim’s shy bride finds herself in an aristocratic social world her middle class upbringing did not prepare her for. The housekeeper, Mrs. Danvers (Diana Rigg) worsens the situation as she despises her for taking her darling Rebecca’s place.

These are not the only problems to face, behind the beautiful gates of Manderley there is a darkness of the past that taints the present and threatens the future.

	
Rebecca (1997) Part 1.mkv

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Language(s):English
Subtitles:English

The post Jim O’Brien – Rebecca (1997) first appeared on Cinema of the World.