Reckless

This group of English pros are a pleasure to watch. The supporting cast could form a series of their own. It's a seen before love tiangle between the head of surgery, his wife, and a new pretty boy surgery resident. Only the superior acting skills of Francesca Annis, Michael Kitchen, and the sexy Robson Greene lift this from the trash category to a very enjoyable "romp". The only quibble is that it's hard to accept that the smoldering Francesca Annis would fall in love and actually marry Michael Kitchen, who like me, is hardly an international, or even a British sex symbol. You can readily understand why Robson Green would light her fire, with apologies to the "Doors". The guy who almost steals the show with a great "laid back" performance is Owen's father David Bradley. Watch him in "The Way We Live Now", in a completely different performance, to get an idea of his range. Daniela Nardini as Kitchen's secretary, sometime sex toy, is hard to forget as the spurned mistress who makes Kitchen sorry he ever looked at her great body. Conor Mullen, and Julian Rhind-Tutt, as Green's sidekick surgery buddies as I've said could have their own series. They are that good. The whole thing is a great deal of fun, and I heartily recommend it, and thank you imdbman for letting the paying customers have their say in this fascinating venue.

This gripping tale of intergenerational love, jealousy and revenge was even more enjoyable to see on DVD years after its PBS broadcast, with a sharper picture and crisper sound. My only reservations are that the plot has a few improbable moments and that some of the stronger Manchester accents are difficult at times. Luckily even missing a word here and there won't spoil the fun: the primary actors are ideally cast. Robson Green brings an enigmatic smile, a go-for-broke temperament and an athletic physicality to his role as a young surgeon who falls hopelessly for the wife of his boss at the hospital where he's just begun to work. Francesca Annis is one of the most striking 50-ish women imaginable; her acting rivals her beauty. (The love scenes between these two demonstrate better than words how little the age difference matters to them!) Each of the supporting characters is sharply drawn and excellently portrayed as well. The mix of pithy dialog and passionate excess makes this a delightful miniseries. As Russell Baker notes in his introduction, you may not be morally improved by viewing "Reckless" -- but you'll have plenty of fun. (The sequel, a part of the DVD box set, provides a wild yet satisfying two-hour denouement. You won't want to miss it if you've enjoyed what came before.)

Hunky Geordie Robson Green is Owen Springer, a young doctor who moves home to Manchester to be near his father. Along the way, he falls for Anna, a woman 20 years his senior, and who happens to be the wife of his new boss, Richard Crane. Despite warnings from his new colleagues, Owen proceeds to get Anna for himself, going as far as to sabotage Anna and the cheating Richard's marriage. This is a romantic drama with many humorous undertones and a quick wit. The actors are superb: Green of "The Student Prince" and "Touching Evil" smolders on-screen as the cunning, yet warm-hearted Owen; Annis of "Dune" fame is lively and proves a good match to Green; Kitchen, from "To Play The King" is the right menace as Richard, whose comic missteps and snobbery underline his masterful, building hatred for Owen. This is a perfect love triangle, and despite the foibles and fallacies of our three characters, you come away better for knowing and watching them.

I saw RECKLESS when it first aired on PBS. It has stayed with me for 20yrs, I loved it so much. I could not get it out of my head; I absolutely adored everything about it. It's THE BEST thing Ever put on TV, or, anywhere else!! It was my first introduction to the gorgeous Robson Green. I fell madly in love, naturally! Francesca Annis, I've loved since Lillie Langtry. Some reviews have mentioned that it might not be up to par with Anna Karenina, simply b/c the narrator derides Paul Abbott's writing and warns viewers not to expect the likes of the classic. However, I think it's a harsh and unfair criticism. Reckless has all the drama of A.K., only with a lot more humor, grace, and sensitivity. I think it's an extraordinary tale of the human condition: of love, lust, jealousy, class warfare, age discrepancy, adultery, baby-out-of-wedlock, and divorce. All in all, the vicissitudes of life. And, just like real life, it's got a lot of funny bits as well. For me, it's just as compelling as Tolstoy's tearjerking account of life, only with a modern twist and with some laugh-out-loud moments, truly mimicking reality.....as life is not all serious and maudlin....hopefully, anyway! Don't get me wrong, I Loved Anna Karenina, but I don't like the outright dismissal of Reckless, just b/c it's written in the 20th century. And if the narrator had not planted that silly comparison, I doubt that anybody would even bring it up! The acting here is stunningly superb!!! As in most British shows, the actors inhabit their roles so strikingly that it's hard to imagine them only as actors. As always, these phenomenal Brits put Hollywood to shame. I don't know what it is, the directing, the acting, the writing......all of it.....just comes across so realistically. Reckless is my absolute all-time favorite thing ever shown on screen. This and Oliver's Travels, also a British mini-series, (with Alan Bates) are a must-see!!

Only a complete dolt would not recognize the charm, intensity, relevance and reality of this story. OK... it is not "I, Claudius", but it is a typical example of excellent UK production values, from script to casting. It is superb. Another reminder of just how ignorant and idiotic the vast majority of US programming is and what is possible. Francesa Annis and Robson Green are real, from start to finish. The story, while simple and used many times before, is just as vital today. This treatment is balanced, understated and in proportion. Michael Kitchen, as always, performs at the highest level, even though, as often, is in a secondary role.