Twenty Thousand Streets Under the Sky

There isn't enough space here to write enough about how great this 'series' was (is). I've rated it as a 10 because it is simply faultless. The only time I've seen any TV quite this good is in some of Poliakoff's films...and, like them, don't be fooled by the slow pace of 20,000...for within these 3 episodes you will have time to get to know the characters and see how complex the stories that weave them all together are. Above all...way above all, is Sally Hawkins whose acting is off the scale. Her character's stories of love are absolutely wonderful and many of us who have been in similar situations will see how brilliant her acting, the script, the whole production are. Watch out for one scene in particular when she has a letter read out to her...watch her facial microexpressions closely and you will see acting at its very best...not even a word is spoken. If you don't like slow paced productions then you may not like this, but if you like fine acting and stories of characters and how they relate to one another, then you will find this one of the finest productions ever made.

I have just finished watching this on BBC four having never read the book by Patrick Hamilton (for which i am suitably ashamed) and knowing little before i slumped down in the comfy armchair.

I have to say i am not a big fan of wartime stories but i found this extremely compelling. The first story was a perfect way to enter into this world, one comprised of shades of brown and unbreakable routines. The initial glamour of Jenny's world drew you to her as it did Bob, her colours lighting up the bland tones of the Midnight Bell. You could understand his growing obsession with her, with anything that spoke of something outside the mundane. She seemed to represent a more accessible version of his books, a different world to admire from afar, even though she existed right in front of him. He could immerse himself in her but never really possess her. Heartbreaking stuff.

The second story was even better, Jenny's fall from grace more of a gentle drooping than a descent. Her eyes showed it all, growing blanker and harder as those around her took advantage. And that's not to say it was all men, her friend was just as guilty of using her beauty for her own ends. Her story was incredibly bleak and i'm sure all too common in the streets of London at this time. But kudos to Zoe Tapper for giving an understated performance, making it all the more heart rending.

Finally we come to my favourite part. It was always going to be, as I am a huge fan of Sally Hawkins work. And i knew from the very beginning that Ella's was going to be the most surprising tale. I was not mistaken. Buffeted by forces she could not (or didn't have the confidence to) control she came off as a more modern and more lovable Fanny Price. Her obvious fear of intimacy and dedication to her morals made her seem almost removed from the harsh realities of the time. But throughout the hour she experienced a number of revelations that broke through the unrealities she had created around her. A fine example being that she could no longer listen to Bob through the wall, she was forced to confront him. And with each one, we saw the pain flicker in her eyes. Sally Hawkins was incredible as always and i found myself wanting to comfort Ella many times throughout the episode.

In conclusion, an excellent drama with fine central performances and suitably downtrodden cinematography. Recommended.

Recently I've been wondering if the BBC was losing its knack for well-acted, insightful drama. Watching this show has re-affirmed my trust that my license fee is being spelt well.

The mini-series follows three people in the Midnight Bell pub in the 1930s (not the 1940s as another person said. The Book was published in 1935) Bob, a waiter, Ella, a barmaid, and Jenny, a customer.

The first episode follows Bob, Jenny is followed in the second, and Ella is followed in the final piece, following Patrick Hamilton's trilogy of semi-autobiographical novels of which this is based upon.

In this modern age of fast paced, snappy action this mini-series may seem slow and bogged down by dialogue, but it takes not too long to realise the immense gravitas being drawn from all three of the actors involved.

30s London is recreated fantastically. It is a land of mundane routine and dull working class blandness, where people go about their lives wishing they could be more but never achieving it.

I found it very fascinating that Patrick Hamilton himself was infatuated with a prostitute at one stage, and therefore Bob is a mirror of him, and Jenny of her, because of this the series takes on a gritty, realistic edge. The dialogue is blunt, yet with the manner of the 1930s. There is an excellent scene in the first episode where Jenny and her friend Violet talk about proper manners, hardly what you'd expect from a pair of prostitutes.

Jenny is extremely flawed, and during the first episode you even get the feeling that she's simply not a nice person. Of course in real life, and in the book things simply aren't that simple, and the second episode exemplifies this, demonstrating exceptionally well why Jenny is the way she is.

In summary this is a fantastic piece of drama, and I will certainly be watching more of BBC 4 in the future.

"20,000 Streets Under the Sky" is a television adaptation of Patrick Hamilton's London trilogy of the 1930's, providing Americans with exposure to an author, at his centenary, and period, classes and British characters we haven't seen on British exports before.

These are folks hanging on to not quite lower middle class, shopkeeper-level, respectability with their fingernails or elbows, one temptation or bad choice away from sliding into impoverishment or disgrace.

The period costumes, almost black and white production design, slang and non-posh accents to indicate a variety of backgrounds were marvelous. The casting was a terrific selection of talented character actors who were completely believable as mixed-motive people.

Part 1 is the story of Bob, the erstwhile writer and semi-autobiographical stand-in, based on "The Midnight Bell", also the name of the pub where the three naïve young people intersect. As played by Bryan Dick, Bob seems like a younger and handsomer version of the old professor obsessed with Marlene Dietrich in "The Blue Angel (Der Blaue Engel)" in the same period, as he is an unabashed, unrealistic romantic. Bob is unexpectedly, and not well-explained, well-educated, immersing himself in writing about the fall of the Roman Empire, while his fantasies run to popular cinema.

Part 2 is the story of Jenny the prostitute (a sprightly Jean Harlow-like Zoë Tapper), based on "The Siege of Pleasure." This is not quite raw Theodore Dreiser or Stephen Crane territory in presenting how a fallen woman in the big city got there but comes close. We see her what would seem like quite stupidly giving in to temptations if there weren't so many films now on young women from Eastern Europe getting trapped in identical snares today, but which are a bit overplayed here in terms of alcohol and the very frankly single-minded intentions of despicable and not particularly charismatic or sexy men who practically twirl their mustaches. It seemed odd that we didn't discover some hidden illegitimate child to explain her missed assignations, disappearances and manipulative need of cash. The stereotypes finally fell away as we saw her hard-earned cynicism when she faces the man who helped lead her astray, as she is now sadly beyond salvation.

Part 3 is the story of Ella, the bar maid, based on the novel "The Plains of Cement." This was the most effective, as well as the most touchingly bittersweet story, concluding in surprising directions and the characters seemed less types and more real people. Sally Hawkins well conveyed a young woman caught between an array of emotions and expectations at home, work and romance that confuse her.

Not having read the novels (let alone even heard of the author until seeing this adaptation) I presumed it was the source material that had a lot of stereotypes, if this was faithful, but this trilogy may have helped create the clichés in the first place. But I was finally taken by how each character did not go off into soap opera directions.

The time frame of when each character intersected at crucial points in their lives wasn't always 100% clear until the conclusion, as no specific points of reference are provided amidst the flashbacks.

I viewed this on BBC America over three hours with commercials, so I am not sure if there were any cuts from the original production.

Patrick Hamilton was a depressing genius, and the subject of poverty and meagre jobs for those who are educated, and can get nowhere is applicable for today in many countries. His novels depict the dispossessed very accurately, either emotionally, financially or mentally. In this television series it was brave of the BBC to put this long book to the small screen. Since then the BBC has lost interest in adapting classic novels of the last century, or even the books of the 19th C. As for this adaptation of a trilogy of novels I found it painful to watch, and the three main protagonists, two women and a man were acted well. Bryan Dick as the young waiter in a pub I found especially good, and Sally Hawkins as a barmaid in the same pub very moving in her unrequited love for him. He is infatuated with a worthless prostitute who seduces him out of his savings and gives him nothing in return except ' love scam ' promises. All this is in no way an historical situation. Sadly I found the depiction of London in the 1930's not as good as it could have been. The direction formulaic, and the settings too studio bound and the pub unrealistically unpopulated. If anyone who has read the book the final image in the book was missing, and this I feel was a loss as it hammers home the extreme solitude these three character's inhabit. I would rather return to the trilogy of novels than this adaptation, although it was much, much better than the pitiful film adaptation of 1963 under the title of ' Bitter Harvest. '