Inclinando o Velve

Tipping the Velvet has just three weeks ago been released in the UK and already I watch as countless letters flood to the national papers and TV guides, claiming that it possesses a thin plot, weak performances and an even weaker script.

You find me incensed. This is heresy.

I would really like to dispel all doubt by first congratulating Andrew Davies on enabling Geoffrey Sax to create this wonderful dramatization of Sarah Waters' novel by cushioning him with such a fantastic script. Kudos. But I fear I must now change tack.

I saw one of the premiere TV guides here in the UK (which shall remain nameless) relentlessly describing Tipping the Velvet as a "lesbian love story". If they are, and I assume they are, trying to promote interest in the film, then this is completely the wrong way to go about it (aside from the phrase being a disappointingly inaccurate description). By saying such a thing, they are either a) turning away those who would instinctively be repelled by "that" subject matter or b) attracting a class of people who will only watch to see some "serious girl-on-girl action". Buy a video! Through this display of serious inconsideration, this and other magazines are cheapening what is a brilliant adaptation of one of recent literature's greatest works. Tipping the Velvet is a story of love, of passion, of moving on, of loss, and of heartbreak. It's not a lesbian love story. No siree.

The end result is a stylish affair, with excellent performances all round (particularly from Stirling, Hawes, Chancellor and May). Direction-wise, it's intoxicating and immersive - sometimes, fast-paced, sometimes not - but it never ceases to be anything less than compelling. As a whole, it's polished and well delivered, the sex is undertaken with tenderness and delicacy - and although many will not class it as a real "film", it will remain among my favourites for some time to come.

I'm glad I read the Sarah Waters novel first, since I had my own pictures of the characters in my head at the time. The ones cast for this production, however, were not at all disappointing - in fact, after I got used to Rachael Stirling as Nan, I think Nina Gold did a damn fine job in the casting department. (Can Keeley Hawes be more delicious?!)

The BBC has done it again: this is a wonderful production of a very good book, and they have done it up in style. If you can get your hands on this (VHS, DVD) be sure to get the 181-minute version (the uncensored one.) It is a marvelous journey, albeit a bit rocky at times, that you won't regret taking.

I am getting obsessed by it, playing the DVD over and over. And it is not because of the lesbian love story, nor because of the physical relationship neither. It's about the tenderness and care with which the whole thing is done. You obviously can notice that in the script itself, even in the rawer moments there's certain hope. But also in the music (the melodies are so sweet), the photography (all this wine like and golden tones for indoor scenes), the so fine decoration and set design (theatres and back stages), those little sounds added (hoses running, opera voices ..), those visual metaphors (burning fondue for Kitty's jealousy, empty oyster shells swirling in the waves as Nan meets life ..) …etc..

To me the most beautiful concept is the protagonist personal and sentimental growth, how she becomes an adult by finding love and life. About this, an outstanding detail is Nan's expression and tone of voice. There's one scene in first episode: Kitty and Nan are in Nan's room at Nan's parents, Nan takes the rose Kitty gave to her in the theatre from a drawer and says: 'Remember when you gave me this?' .. The tone in which the sentence is said is so wonderful, it express so much thrill, admiration, delight and most of all innocence. This is what the first episode is about, Nan and her innocence and childhood lost… something left in the sea waves of her home town shore where she was an oyster. But in the second and third episodes she looses this purity in her voice, as she's becoming an adult in all senses. She sounds stronger and more secure... the oyster opens.

This leads me to talk about Rachael's awesome work, all these details are not only shown in her voice but in her acting. And what is more, she not only acts great all the way long but also she sings lovely! The rest of the actresses are wonderful too .. Anna Chancellor's Diana still scares me ;) What to say about magnetic Kitty (whoah Keeley!) and also Jhodi May builds a so very nice good home-loving girl. The actors are quite good too, including baby Cyril ;-)

Another good feature to point out is the rhythm of the episodes development. We can see Kitty and Nan's debut on stage at the same time that all their previous rehearsals, and also Nan's cooking and cleaning at Flo's at the same time that she recovers emotionally from wandering the streets. All this action together prevents the episodes from slow down and from loosing the attention.

But of course this story is a tale, in which the protagonist suffers but at the end wins, there is no point in looking for resemblances with real life as life is much more complicated than a tale. She even triumphs at speaking in the socialist rally saving Flo's brother from stage fright. And I think choosing one girl instead of the other pretended to be a happy end … personally I would definitively have chosen the other, no doubt at all ;-D

I've found a soundtrack at amazon.co.uk but it doesn't include the songs the girls sing at stage .. anyone know where to find them?

Thanks for reading

I loved this movie. Not because of the romantic story lines between women, but for the visualization of human strength, despair, and liberation. This film is a must see. Entertaining! Emotional! Captivating! All the characters are very well written and portrayed by some very talented actors. This story is a story of self discovery and sexual awakening. A journey of the mind, body and soul. You find yourself identifying with the characters and at some points, even the storyline.

I do have to say that I recommend watching the movie first, then read the book. If you read the book first, you will be slightly disappointed. The screenplay adaption cut out a lot and some things were changed. Some for the better and some for the worst.

It is surprising that a production like this gets made these days, especially for television. Considering the strong sexual themes and explicit lovemaking scenes, not to mention lesbianism, this has been given superb treatment and direction.

The sets and costumes are flawless, the direction is stylish and the characters are likeable. There is a fair amount of humor but it has surprisingly dark interludes. The protagonist is really a tragic figure, but not devoid of happiness. Also, this production avoids the mistake most films/shows make when dealing with homosexuality/lesbianism. The characters are very human. It seems that to allow people to be comfortable with watching gays and lesbians on TV and movies most shows fill it full of cliches and make the characters obsessed with being gay. Not so with this. In Tipping the Velvet, the protagonist is hardly aware of what being lesbian means!

The BBC have made some wonderful productions in the past, and this adventurous period piece only confirms their standard of excellence on all fronts.