Ridley Road

I don't suppose many members of the older generation in the UK remember much about the National Front party fronted by Colin Jordan, but this neat little four part series from the BBC is a timely reminder of how Nazism existed in the early 60's. Jordan seemed to attract mostly disaffected young men, and the Jewish community in the Ridley Road area decided to put up some opposition to their movement. The story follows a young Jewish girl, Viven Epstein who infiltrates the organization and steals incriminating information about National Front activities. Agnes 0'Casey seemed miscast at first, a tentative youngster missing Manchester and all that was familiar to her, but she grew into the role quite well I thought, and by the end of the series I was hooked.

To be honest, it was a trifle slow at times, but the 1960's setting of Swinging London was lovingly crafted, and production values were very high. Rory Kinnear was suitably commanding as Jordan, Eddie Marsan equally convincing as a Jewish activist. There are spells in the story where the action lags, but from the moment Vivien goes to stay at the National Front HQ the action takes off, and the bit where her cover is blown is really fascinating. The overall story was good in parts, and the ending seemed a bit of a let down; for all his activities Jordan only got nine months in jail which seems little for someone who was betraying his country. Nevertheless Red productions have produced an interesting and timely little story, and I was fascinated to learn that Dior's niece was his wife; watch out for her in the series, the actress who plays her has a blast in the role.

Ridley Road is inspired by a real life clash between UK fascists and Jewish Resisters in London's East End in the early 60's. The contemporary parallels are unmissable with antisemitism and racist hate crimes at record levels.

So I was expecting something a lot more dynamic and engaging than the first episode which took forever to get going and kept going off on romantic tangents.

Direction and script were most at fault, lots of really tight frame cropping for some reason and the script was heavy with platitudes and clunky exposition and short on action. The score was odd, lots of curious mood music that didn't reflect the period or add much.

Cast were uneven but generally good, the lead character was too passive, it didn't seem to be her story. All in all a bit disappointing.

I write to endorse the views of another reviewer of this series as to its basic unhistoricality. The BBC and major US media providers are showing an increasing tendency to disregard the actual historical events and cultural realities, in the interest of importing entirely unrealistic racial, ethnic, and cultural themes artificially into those times. Lest anyone suspect my sympathies, I also lived through the 60's and my wife is Jewish, her entire family lost to the Holocaust and other anti-Semitic atrocities of World War II.

Plainly put, there was no widespread Fascist movement in either the US or Great Britain in 1962. Does anyone seriously think that the British constabulary, less than two decades after World War II, in which many fought and had comrades died, would have any sympathy at all for a British Nazi Party? The prosaic fact is that they had none at all.

In the US, George Lincoln Rockwell, the American Nazi, had a following in the dozens. To be sure, in the American South, society clung to an increasingly outdated racial bigotry. But it was increasingly under attack by larger forces. 'To Kill a Mockingbird' won the Pulitzer Prize that year, and the Civil and Voting Rights Acts were passed just two years later.

A drama about Fascist movements that emphasized their aberrance and potential criminality might be acceptable. However, the notion that they had any widespread social appeal is not only incorrect, but slanderous, and somewhat dangerous in itself. You don't redo history simply because it's convenient,.

A young Jewish girl leaves her family home for love in London, when shs gets there however her life takes a very different course.

I thought this was a terrific four part series from The BBC, a fascinating, harrowing and incredible story from Britain's history. Not a story many seem to remember.

It is beautifully made, it looks big budget, with a big cast, great sets, and some terrific fashions. I love how they mix in original footage with the new shots, it looks so good.

Pacing is one of the main strengths, it will keep you gripped, and have you on tenterhooks in equal measure.

The acting is terrific all round, Agnes O'Casey, Sam Spiro, Eddie Marsan, and of course Rory Kinnear, who shows his chilling side, don't think I've seen him play a part such as this.

I loved it, served as a warning from history, 9/10.

Very loosely based on true events, not historically accurate, and melodramatic, I nevertheless loved the PBS four-part miniseries Ridley Road to the point of getting up and cheering or yelling, "get out of there," during some of the action sequences.

Vivian Epstein, (alias Jane Carpenter), a twenty-three-year-old Jewish woman from Manchester, England sneaks off to London to follow her boyfriend James, (alias Peter Fox), when he mysteriously leaves town. She wants out of a marriage arranged by her parents and to be with the man she loves.

Vivian, who works as a hairdresser in Soho, learns that James is working undercover in the National Socialist Movement in order to inform resisters of the groups planned actions. The NSM violently targets and kills Jews. Vivian dyes her brunette hair blonde and becomes a spy in the Jewish resistance movement the 62 group, (headquartered on Ridley Road), first to find James, and then because anti-fascists DO rather than just sitting on the sidelines and talking. Vivian, who becomes fearless in her mission to save lives, gains the trust of NSM leader Colin Jordan. This gives her access to private conversations and offices in the NSM headquarters.

The series is a blend of romance, action, and political thriller. Part of the fun and impact of the series is it's unapologetic good versus bad trope, highlighting the bravery of the resistance fighters in general, and Vivian and James in particular.

Agnes O'Casey as Vivian enjoys a rollicking star turn in her first production. I will watch for her in other projects.