The Hour

Comparisons with "Madmen" are inevitable but they also run the risk of distracting the viewer from properly appreciating "The Hour" in its own right. For all the obvious similarities between the two shows with their period-piece settings and respective portrayals of entrenched misogyny, this BBC/Kudos production marches resolutely to the beat of its own drum. "The Hour" is gritty and gray. It's temperature is cold. One of its main themes is the examination of conflict in a variety of forms; the deep internal conflict between ardent idealism and soul-numbing compromise or between personal integrity and ruthless ambition; and the dogged pursuit of truth in the face of suppression and censorship. Other classic struggles between opposing dynamics are also explored. These include individualism and conservatism, inspiration and convention, impoverishment and privilege, courage and fear, rational caution and paranoia, democracy and tyranny etc - all of which are set amid the historic backdrop of two salient international military conflicts. The landscape is panoramic and the brush-strokes reach far and wide but the painting remains clearly defined. All the elements are tautly packed into a 360 minute thought-provoking thriller. If comparisons must be drawn, then "Goodnight and Good Luck" might prove to be a helpful suggestion. With its subtle script, insightful direction, solid casting and a stunning performance from Ben Whishaw, "The Hour" is one of the BBC's finest. Congratulations to all involved with this production. Thoroughly recommended.

The Hour is an intriguing new drama, created and written by Abi Morgan, that spans several genres and weaves them together cleverly and effectively. There is espionage, murder and suspense on the one hand; romance on another hand; comedy on yet another hand; and political drama on the final hand. The central emphasis is on the characters, however, of Bel Rowley (producer of The Hour), Hector Madden (its presenter), and one of the best characters of recent years, the funny and confident Freddie Lyon, one of the show's journalists.

The acting is uniformly excellent; Romola Garai ('Atonement'; 'The Crimson Petal and the White') and Ben Whishaw ('Perfume'; 'Criminal Justice I') especially shine as Bel and Freddie. There are other superb performances from the seedy Julian Rhind-Tutt ('Green Wing') and the suave Dominic West ('The Wire'), along with my personal favourite Anna Chancellor ('Four Weddings and a Funeral') as Lix, an acid-tongued feminist in the newsroom.

The story does start off a little slowly, but prepare for a roller-coaster ride later on, particularly in the extremely tense final episode, where the drama is perfectly pitched. The loose ends are nicely tied up, and the conclusion is suitably ambiguous, ready for the second series which has been commissioned.

The only quibble is the sometimes anachronistic dialogue; but one tends not to notice this as everything else is so good.

So, overall this is an intriguing, intelligent drama with plenty of strands, twists and turns, and fantastic acting all round. I await series two eagerly.

Three times great may stand for the main cast of characters in this wonderful mini series by the BBC about the BBC, well done and professional as it is the house style. It brings you back to the old days of television in the mid-fifties by inviting us the watch the birth of a fictional weekly news magazine and the ups and downs of three journalists. One is a dynamic producer, trying hard to prove to herself and all others that she is worth the job, another a brilliant but difficult to work with intellectual lower class journalist, and finally a charming but eager to please and womanizing moderator. These three are not only connected through their work but simultaneously by friendship, love and hate. Together they get themselves into deep trouble and are bound to rely on each other when things get worse. The story draws us into a forgotten world of secrets, espionage and crisis, all through the eyes of the fifties! Both seasons are excellently done, rich of details and exciting facts.

Now available on disk from Netflix and streaming on Amazon Prime, this smart, stylish BBC series, set in the mid-50s, really hits its stride by the end of its first season. Sumptuous Bel and geeky Freddie (Romola Garai and Ben Wishaw), escapees from the BBC newsreel floor, are the offscreen talent behind the eponymous news program; Hector (Dominic West) is the hearty, "highly corruptible" frontman. The plot lines are a little over the top at times—Mr. Kish, the palefaced spook who self-destructs when he fails to hit the target, is straight out of the old "Avengers" series (not necessarily a bad thing)—but the interplay among the main characters is beautifully portrayed. Anna Chancellor and Peter Capaldi are great together as a pair of prickly ex-lovers, and Oona Chaplin, at first mainly decorative as Hector's neglected wife, has an amazing scene in which she kicks her latest rival to the curb in the kindest, gentlest way.

The first season is built around the Suez Crisis and the Burgess-Maclean spy scandal, but the political backdrop is pretty much self-explanatory; the second season reverts to more familiar hardboiled themes—bent cops, shady nightclubs, showgirls in jeopardy and a porno racket (innocuous b&w photos in this case)—before getting back to the big stuff, high-level corruption and the nuclear threat. A "behind the scenes" clip on the second DVD focuses on the obsessively detailed production design, which, as with "Mad Men," is a big part of the show's appeal.

The Hour is a great series made from an interesting angle: media in post-War Britain. Since I have a media background, the story line of a BBC news show that is made under influence of the government appeals to me very much.

What I especially like about The Hour are the characters. None of them are either good or bad and their behavior and views seem very realistic. There's no crude division between good or bad which gives the overall story line a layered kind of dynamics: the overall story line as well as the personal drama interested me from the beginning to the end. How I 'grew into' the characters while watching the series reminded me of The Wire. Acting is well done by the way, which pushes the series to a very high level.

This is the first series I saw after seeing the American-made Homeland and it is such a relief to me that the British do not seem to fall for the blunt simplifications of good and bad as portrayed in American drama.

Bravo!