G.B.H.

During CoVid-19 lockdown I have re-watched GBH for first time since it was shown in 1991. I had forgotten just how good it is but also realised how relevant it still is today. So many references to things happening now, or one step away! On a personal note my mother appears as an extra in the series, so a double pleasure.

GBH is a remarkable miniseries: superbly written, directed and acted. The characterisations are especially outstanding, with some of the most genuinely nasty bad guys I've ever seen; though many of the main characters are multi-faceted, and evolve before your eyes as the series unfolds.

In part it's a story about how The Left can be manipulated by the Far Right; in other ways it is a character study, particularly of Palin's character - even if occasionally the comedy sits just a little uneasily with the drama. Given the series' intensity though, it's faintly amazing that they were able to get with some scenes at all.

I do have a few criticisms of GBH. At times it can be painfully slow, with some scenes which are stretched out for minutes, to no real purpose. Also, the eccentric, obnoxious hotel owner is obviously inspired by Basil Fawlty, and his antics get just a little distracting.

I would give GBH about 8.5, but to quote a record review I remember reading (actually it was of an Elvis Costello album, and Costello provides background music to the series), "by the standards of mortal craftsmanship, this is a wondrous thing indeed."

Just an addendum to my review: someone commented on the important scene which takes place during a Dr Who convention. 28 years previously, G.B.H. executive producer Verity Lambert had been the legendary original producer of Dr Who, who recruited William Hartnell as the first Doctor. There's no way that scene was a coincidence :)

This is British drama at it's ultimate. There has been little to touch it since it's release. Bleasedale's script is full of twists and turns taking you from outright hatred and revulsion of the main characters through pity, sympathy and finally on to adoration.

The story is truly mesmerising, on the face of it a plain story of extreme left-wing politics in local government. So very typical of the late 70's and early 80's Britain and led to the phrase "Loony Left".

As the story progresses we learn that not all is quite what it seems. Michael Murray (Robert Linsay) is shown to be just as much of a pawn of the system, as the wretched Jim Nelson (Michael Palin) who he tries to take down in the first few episodes.

The acting is powerful, and way beyond what is expected of a TV drama. Look out for many of Bleasedale's favourite actors throughout the story.

Sadly this was one of the last real dramas produced and funded by UK Channel 4 before they were forced by the UK government to produce more 'popular' programming. A move that eventually forced C4 from becoming the major source of funding for British film, into nothing more than a proud sponsor.

Putting aside Robert Lindsay's much deserved BAFTA for his portrayal of sleazy politician Michael Murray, this show is worth watching because Alan Bleasdale's script is simply phenomenal. Even when the plot actually on occasion does move where you think it will -- you'll still be surprised, amazed, amused, angered. In short, this must be something like the Elizabethan audiences felt when they first watched Hamlet. The script is densely layered, mounting complexities upon issues upon personalities. And for all that, one doesn't have to be a genius to understand it and be moved through a number of emotions and reactions before finally being hung out to dry. It's brilliant.