Holding On

A sprawling multi-stranded series, this programme contains some of the best acting from an ensemble cast in a UK drama, with top class writing and direction to match. Now it's finally had a DVD release it's been wonderful to find that my memory of its brilliance wasn't incorrect - it's still relevant today nearly ten years on, and also very refreshing to see London used in a way other than the usual travelogue images of Routemaster buses and Big Ben. The closest the UK has come to Altman's Short Cuts, something the series itself alludes to in the first episode, I reckon this is easily up there with some of the most classic shows from the past 20 years and I'm so pleased it still holds up well.

'Holding On' clearly demonstrates the devastating toll, that modern day living imposes on it's society. We are blessed with an eight part mini series, that interludes the trials and tribulations of London's inhabitants. Sticking the knife in as deep as he can, Tony Marchant's screenplay, provokes your mind with traumatic scenes of anguish, desperation and utter self absorbtion.

Two seperate murders occur; one that involves a mentally ill white man who, unprovoked, viciously stabs a young woman to her death-while the other is carried out by a stressed out taxi driver, who maliciously kills a young black man, as he slams his car door into his head, repeatedly (which resembled Vinnie Jones' scene in 'Lock Stock and two Smoking Barrels' but comes across with a much heightened, shocking realism). Highlighting the fact that the two victims are of different race was purposeful; this is in fact one of the most harrowing aspects of 'Holding On' as it tackles a very controversial subject INJUSTICE. The bereaved family of the young back man suffer a double injustice, for they have to come to terms with not only losing him, but falling at the hands of the British Judicial system, which imposes a laughably short prison term to the murderer.

There's so much to keep your mind occupied, as the series moves along intertwining the characters together, covering the emotions from every individual. Strong elements of symbolism run deep into the heart of each one of the issues covered; from mental illness, isolation, loneliness, class differentiation (working class/middle class)....I personally had extreme feelings of empathy for all concerned-but then how can you not, when the acting is so vividly portrayed. David Morrissey and Lesley Manville are particularly dazzling throughout, lending much insight into their craft as actors.

With so much anger, inner turmoil, fallen dreams filling our darkened paths, we all need to wake up and realise that fighting through adversity TOGETHER...not against, will help to protect our vulnerable shells and inspire warmth and happiness.

This superb mini-series truly is in a league of it's own. The finest that has graced our screens for many years. Many souls out there will certainly be crying out for VHS/DVD versions to own and cherish forever....I know I certainly am.

**VERY HIGHLY RECOMMENDED**

Watching Holding On again, now it's finally appeared on DVD (albeit with a slightly edited end of part one, annoyingly) it has gone from being the best drama of the 90s to one that in many ways sums up all that was bad about the 90s.

It's a magnificent achievement, filled with incredible performances and poignant story lines, but there are one or two overall elements which for me slightly mar the end result.

Firstly, as with almost everything Marchant writes, the drama feels strangely cold. There is a serious lack of sympathy for any of the main characters: we feel for the more obvious targets such as Sally, Vicky and Tina, incidentally all beautiful young women whose world suddenly fall apart, but in particular the character of Claire is very difficult to warm to, as is Shaun. David Morrissey is clearly extremely talented and his descent into the depths is heartbreaking, but I didn't find it terribly believable that his ultra-scrupulous tax inspector would suddenly behave in such a manner, and Morrissey's performance in the early episodes is a little too Christopher Eccleston-like, rather too full of pomp and bluster.

Phil Daniels provides the weakest link in the saga as the character who holds it together. Not a great actor at the best of times, he is clearly here off the back of his success narrating Blur's Parklife, providing a ludicrous and grating voice-over which usually says absolutely nothing and shows all too clearly the risible influence of Britpop and Tarantino in its "profound words on trivial themes." Despite that, the closing monologue is brilliant and incredibly uplifting: therein lies another oddity about the series. It doesn't seem to make a single attempt to show the magic of London life, only its horror, and then after eight episodes of it suddenly ends telling us how, despite all this, it's a terrific place.

I was puzzled as to why we've not heard more from Fleur Mould who played Sally incidentally.

Despite these few nagging doubts, this is an incredible drama, and easily Marchant's best, especially in comparison with the equally unsympathetic but much less impressive Passer By. The camera work is brilliant throughout, Shergold fond of using single takes in the most technically demanding scenes. It does make me glad the 90s are over though: hearing songs like Design for Life in the background, and seeing a production so lacking in pity and so heavily influenced by Britpop makes me realise that, to me anyway, the 2000s are a better and more co-operative decade, with London in the grip of a more visible threat and yet strangely, feeling a nicer place too.

Why the BBC has not yet put this out on video, let alone DVD (there was some great camera work) is beyond my comprehension. It resurfaced the magnificent David Morrissey in my brain as a superb actor and for that alone I am grateful to those who made the series happen. Dubbed "Our Friends in the South" on first appearance, as it followed hard on the heels of that other great BBC series, it soon commanded its own fanbase. I can still see in my mind's eye the scene in the travel agents with Morrissey when his world truly begins to come undone, all moral certainty abandoned in an instant. I crib this from a Guardian review of the time - and thank you to whoever wrote that, I still keep the cutting at home. But nevertheless even before I had read the review of that episode that scene had been haunting me and I had been driving everyone insane that day whittering on about how stunning it was.

The coming together of characters and stories is something that derives from 19th century literature (think Dickins if nothing else) but in the cinema and television drama is rarely done well. "Magnolia" would be the main other example of this kind of connected narrative that comes off.

If you saw it, I expect you will know exactly what I mean by raving about Morrissey. If you did not see it, hassle the BBC to put it out again on video/DVD if not repeated on the channel (and try to tell them that putting it on the damn cable channels as yet cannot constitute a proper repeat).

A rather amazing series from 1997. Fast-paced with quick editing, well-written and, almost without exception, wonderfully acted. Lovingly directed by Adrian Shergold.

David Morrissey is young and handsome as Shaun, an aggressive Inland Revenue investigator. He deservedly gets much of the air time, but there are many stories here which eventually weave in and out of each other. Phil Daniels is brilliant and funny and repulsive (not a mean feat) as a bulimic ex-football writer, now thoroughly cynical food critic who hates eating and food. It would have been nice to enjoy more of his ingenious character.

The series follows a dozen Londoners of all ages, races, and social backgrounds, none of whom seem able to find much love, which results in much havoc. All of them are interesting -- even compelling. Sandra Voe as Annie, the mother of a dangerously volatile schizophrenic man, turns in the most touching performance of all. Her final scenes with David Morrissey are deeply felt and profoundly heartbreaking.

In general, the emotions run high throughout -- too much, perhaps, at times -- but it is certainly preferable to the inanity on television today, especially in the US. And there are some dicey plot-points, chief among which is Shaun's abrupt change of character mid-series, but the show is so adhesive and engaging these seem slight misdemeanors.