Watched this over Labor Day weekend and, as an American, found myself intrigued by the surreal, yet quite real, world depicted. From 1964 and 1995, the series follows the turbulent lives of Nicky, Geordie, Mary, and Tosker, four friends from Newcastle. By observing their lives, we are offered a dramatization of the major cultural and political shifts that occurred in Newcastle and London over the span of 31 years presented. What anchors this dramatization is the way these characters become involved in the changes of their time. Each of the series' nine episodes focuses on a significant year in the lives of these characters, presenting snapshots of these people's lives.
One of the series' greatest strengths is its cast. Each of the four leads is worthy of praise. Gina McKee's BAFTA-winning turn as Mary is a remarkable example of the way sensitivity can imbue a character with strength. As Geordie, Daniel Craig demonstrates tremendous range as a performer, displaying remarkable restraint in some of the show's most heartrending scenes. Christopher Eccleston gives an excellent performance as Nicky, capturing his character's creeping disenchantment with politics and life in Newcastle. As Tosker, Mark Strong does a remarkable job tempering his character's worst tendencies with a credible sense of vulnerability. Supporting players are quite strong as well, with special regard for Peter Vaughan's portrayal of Felix, Nicky's father.
These performances anchor a solid, if not perfect, set of scripts for the series. One of the show's central narrative elements is the way it generates snapshots of its characters. Snapshots seems an apt descriptor because the writers choose to present characters at specific moments in their lives. Though the series' narrative progresses chronologically, the series' narrative causality is interrupted with the start of each new episode. The series' writing is strong when it connects the lives of its characters to the tides of political and cultural change in the time periods depicted. This strength balances out what I believe to be the more melodramatic and sentimental elements of the script. Nicky's desperation to make a meaningful change births an anti-establishment sentimentality that is laid on thick as the series progresses. Also, that same character's infidelity toward Mary later in the series seems to have little grounding in Nicky's character as developed to that point. (Yes, Mary endures an unhappy marriage with both Tosker and Nicky.)
As far as criticisms go, some elements of the series' make up have not aged well. The old age makeup employed in the episode is not convincing. Mary looks no different in that final episode than she does at any point in the series, and she is supposed to be at least in her 40s.
While I do enjoy the series, the series does contain many tropes common to working class dramas, as well as melodramas that involve the passing of large amounts of time. It should be stated that the series plainly sympathizes with left wing politics against anything else.
Outside of that, the series was a fascinating foray into British drama for me.
Best Episode: "1984"
One of the series' greatest strengths is its cast. Each of the four leads is worthy of praise. Gina McKee's BAFTA-winning turn as Mary is a remarkable example of the way sensitivity can imbue a character with strength. As Geordie, Daniel Craig demonstrates tremendous range as a performer, displaying remarkable restraint in some of the show's most heartrending scenes. Christopher Eccleston gives an excellent performance as Nicky, capturing his character's creeping disenchantment with politics and life in Newcastle. As Tosker, Mark Strong does a remarkable job tempering his character's worst tendencies with a credible sense of vulnerability. Supporting players are quite strong as well, with special regard for Peter Vaughan's portrayal of Felix, Nicky's father.
These performances anchor a solid, if not perfect, set of scripts for the series. One of the show's central narrative elements is the way it generates snapshots of its characters. Snapshots seems an apt descriptor because the writers choose to present characters at specific moments in their lives. Though the series' narrative progresses chronologically, the series' narrative causality is interrupted with the start of each new episode. The series' writing is strong when it connects the lives of its characters to the tides of political and cultural change in the time periods depicted. This strength balances out what I believe to be the more melodramatic and sentimental elements of the script. Nicky's desperation to make a meaningful change births an anti-establishment sentimentality that is laid on thick as the series progresses. Also, that same character's infidelity toward Mary later in the series seems to have little grounding in Nicky's character as developed to that point. (Yes, Mary endures an unhappy marriage with both Tosker and Nicky.)
As far as criticisms go, some elements of the series' make up have not aged well. The old age makeup employed in the episode is not convincing. Mary looks no different in that final episode than she does at any point in the series, and she is supposed to be at least in her 40s.
While I do enjoy the series, the series does contain many tropes common to working class dramas, as well as melodramas that involve the passing of large amounts of time. It should be stated that the series plainly sympathizes with left wing politics against anything else.
Outside of that, the series was a fascinating foray into British drama for me.
Best Episode: "1984"