glynyfaron

Rising from the ashes of the Practise, always a somewhat leaden and humourless show, the characters that Spader and Shatner created were clearly meant for better things. Boston Legal initially struggled to be about anything but the two of them as the rest of the firm struggled to hold our interest by comparison. Gradually the increasingly redundant eye candy was dispatched, Rene Auberjoniois given increasing prominence to function as an effective foil to Alan and Denny while the arrival of Candice Bergman gave the show it's first strong female lead. The battle between the cavalier antics of our heroes and the more conventional ways of the rest of the firm has provided strong drama. In Alan Shore, James Spader has created one of the most complex and engaging characters of the small screen, his impudence, intelligence and twisted sense of mortality make him unpredictable and engaging. Denny Crane meanwhile shows not only Shatner's willingness to send himself up but also his superb comic timing. For the first time you can see him on screen and not think about you know who. All in all, an excellent series that will hopefully run a good few seasons. Of course, if Spader walks, it's all over.

...but the film really doesn't work. It might be argued that trying to marry one of Shakespeare's weakest plays (a nonsense plot full of puns that no longer and apparent absence of an ending) with Golden Age musicals necessitates actor who can not only sing and dance but also recite Shakespeare. Branagh himself fairs best here but some of the performances are dreadful. Alicia Silverstone squeals every line as if experiencing a sugar rush and seems to have no understanding of the meaning of the words while Matthew Lillard flounders around hopping weak physical comedy will cover his lack of acting talent. The dancing and choreography is perfunctory at best, the seemingly effortless quality of the musicals of that era came from years of training and can not be replicated by sheer enthusiasm alone. It is always a delight to hear Branagh bring the Bard's word to life but this really didn't work. Commendation also to Richard Clifford's Boyet, he caught the warmth and subtlety of the character tempered by a sadness that he himself seems to be alone. He shone while everyone else senseless mugged into the lens.

Having sat through Mr. Gibson's facile shlock, I was inspired to watch this mini-series again. I can remember watching it in my early teens and being especially moved by Robert Powell's portrayl, despite not having strong religous leanings. In watching it fresh, I was again devastated by the sincerity and depth of the performance, he seems to radiate a quiet determination and purity of heart that makes it so easy to accept him as the character. The film examines Jesus' message through the acts of his life and is strengthened by the intelligence of the script and adherence to source material. Compare the debate in the Jewish high council, the dignity of the various elders compared to the hysterical cackling stereotypes played out in the Passion and it is easy to see the contrast between an intelligent measured approach to a complex story and witless fundamentalism. Jesus' message was one of understanding, compassion and tolerance and never I have see that better expressed than in this film. At six hours long, it's well worth your patience.