murray-morison

This film is way better than some reviews here suggest. It was nominated as Poland's entry for the Oscars. The director and the lead actors are well known in Poland and the film has the touch of a major auteur.

There are many symbols throughout the film and references to other films, that gradually solve the enigmatic nature of the way the story is told. So it's a film for film buffs.

There are shades of Pasolini's Theorem; there is a direct reference to Les Choristes, and a nod to Paris, Texas. There are probably more filmic references (Chernobyl, TV series?)

Watch the way the story opens and where the Masseur lives compared to the (real?) suburb of Warsaw. Watch how trees and forests are used a motifs. Watch for barriers, entries and exits. And then, the finale on the stage - a brilliant metaphor. Who is the Masseur? What happened in Chernobyl? Perhaps one trope in the film represents the way Poland uses 'guest workers' from the Ukraine. I watched this with Polish speakers and they noted the symbolic value of the shift in language from Polish to Russian. And, at the beginning our Masseur says he speaks all languages! Enjoy.

Retelling one of the greatest stories of (oral) literature, that has enthralled generations for over two thousand years, is no small undertaking. Director, David Farr (the Night Manager) has chosen - rightly - to use colloquial English, rather than faux 'Thou's and Thee's. And he has remained close to the original tale, rather than ramping up the action sequences. To choose a cast of faces that are relatively unknown is also adroit, as we have few associations with the actors. The setting (filmed in South Africa) is sufficiently exotic to be convincing, and the city of Troy - when we get to it - is impressive. Paris, the lost prince, gets the story moving by giving the golden apple to Aphrodite, thus earning the wrath of both Hera (Power) and Athena ( Wisdom) but getting a chance of romance with the most beautiful woman in the world (Helen of course). The way the goddesses are represented - immortal but very human in their jealousies with supercharged wrath in their emotions - is true to Homer's original. Helen (ably portrayed by Bella Dayne) is smuggled on board his ship as he leaves the realm of Menelaus to return to King Prium in Troy. Thus the war between the Greeks and the Trojans is set into play. What on earth are those who have given the first episode of this production 1's and 2's, are looking for is beyond comprehension. The acting has been fine throughout so far and Farr is taking his time over unfolding the story, so the tough but dim (Hector) and smooth but wily (Odysseus) are only just beginning to reveal their true natures. We have already seen that Paris is headstrong with an over-inflated view of his own abilities. But Fate chose him to judge between the three Goddesses, so his lack of savvy is necessary to the overall tale. Brilliant and well worth watching.

Although any drama involves a suspension of disbelief, this one has too many holes to go to sea safely.

Of course Jodie Whittaker is good as the nursing sister in a failing NHS hospital whose whistle blowing costs her her job. Indeed the acting is competent all round and the settings (Edinburgh) refreshing. But ... the plot is simply unbelievable.

We are expected to think Jodie takes the identity of a doctor who has emigrated. She picks up a post at an Edinburgh A & E department. Somehow she does this with no bank account details or references. It is simply beyond credibility and the writers should be admonished for not even giving a nod to how she pulls this off. If you accept that, and her willingness to have sex in the bathroom of her consultant (a private house)on day two or three, then maybe the story line is captivating enough to see where it goes.

Luckily Jodie achieved the Dr. Who post before this medical posting unravels.