La Vie aux aguets

This gripping film was brilliantly directed by Edward Hall, who has previously directed six episodes of the TV series SPOOKS but is otherwise little known. I cannot imagine that now he will be little known for much longer. The film is from a screenplay by William Boyd, an adaptation of whose novel (by himself), ANY HUMAN HEART (2010, see my review) was truly spectacular. I would say that William Boyd is now one of the hottest things British television has got to offer to the world. Hayley Atwell does a truly brilliant job of playing the lead in this new film, just as she excelled in Boyd's earlier series. This film is a new variation of the British traitor theme, and concerns a devilishly cunning double agent. Atwell plays the young Eva Delectorskaya, a Russian émigré fluent in English and other languages, who is recruited as a British spy in 1939. The film begins in the current day, when Eva is played with steely conviction by the indomitable Charlotte Rampling, who was for so long every thinking man's choice of the ideal tea partner, if crumpet was to be served. Really, I do think Charlotte Rampling could convince anyone of anything. If she had not been an actress she could have made a fortune as a salesman. Even now that the film is over, I still believe she is out there with her sawn-off shotgun ready to protect herself from the people who want her dead because she knows too much. The screenplay, as is to be expected, coming as it does from Boyd, is sensationally well crafted. All the cast are excellent. Rufus Sewell has matured into a most interesting actor who has gone beyond youth into becoming a real man at last. For too long he was the thrusting young man. Now he can get all those good solid grown-up parts which suit him so much better. He does a wonderful job here as the spy master Lucas Romer, who in the present day scenes is played with his usual powerful presence by Michael Gambon. Young Michelle Dockery plays the daughter of Rampling. We can see her character visibly maturing on the screen, as the action brings out that rare thing in a movie, true character development. At the beginning of the film, when Rampling announces to her daughter that her name is Eva Delectorskaya, Dockery thinks she must be getting Aldzheimers or something, and says: 'Nonsense, you're my mother. Your name is Sally Gilmartin', as if she were a nurse calming a patient. But gradually the truth begins to dawn, and it is not long before they enter into a double game as a team to flush out the threat to Rampling's life. There are many heart-stopping moments. But the central glowing presence on the screen which makes everything work so convincingly is Hayley Atwell. She was named by her parents after Hayley Mills, as so many thousands of British girls were. (Hayley was only a surname until Hayley Mills was given it as a first name, her mother being Mary Hayley-Bell. William Hayley, 1745-1820, their ancestor, was a distinguished minor English poet of the 19th century and a close friend of William Blake.) So maybe talent is hereditary, passing down through anyone named Hayley. Just a thought! The seamless interweaving between past and present in this film (well, I say film, it was shown in two episodes on the BBC and is thus technically a mini-series, I suppose, though with a running time altogether of only 3 hours) is done with considerable finesse. Everything seems to have come together to make RECKLESS a total success, and that splendid achievement was anything but reckless. More, please!

Having been introduced to Atwell in the Captain America movies, I have become quite a fan. I loved her in Agent Carter and hope for the series to continue regularly; so was very interested to find that she was in a movie - a TV movie but still a movie nonetheless. I have also become a fan of Dockery's, whom I first saw in Downton Abbey, and I think these two are my favourite British actresses, in historical dramas anyway. So the acting is great, though Atwell can not really pass as Russian, plus her 'Russian' accent changed too fast to be believable.

Also, I like the atmosphere of the past better than the present. It feels more authentic, and there was more action there I guess. I was not as interested in the present than I was of the past and the events that happened. But the juxtaposition of the two times was done really well. Action scenes were executed impressively as well with some very thrilling sequences.

I'm not really sure what the significance of Ruth's son was, and her relationship with Karl-Heinz (Alexander Fehling) because maybe it added some depth to her character but the characters seem kind of pointless. Also, it added some confusion to the story as I was wondering what he was involved in when it didn't really affect the main story anyway.

I did not much like the ending as well. The music makes me think something bad happens but it just ends. So yea, I was hoping for a better ending. I like how the story concluded, but the ending scenes just felt like something was missing.

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It's the 70's England. Ruth Gilmartin (Michelle Dockery) visits her mother Sally (Charlotte Rampling) with her son. She is shocked when her mother reveals her secret past. In 1939, she is Russian exile Eva Delectorskaya (Hayley Atwell) in Paris. Her brother is murdered and then she's recruited into British Intelligence. She starts working for Lucas Romer (Rufus Sewell) in AAS Ltd disseminating false information. She's almost killed during an attempted defection by a Nazi in Belgium. As the war advances, her group works in America but the spy world gets murkier.

There are two different sides to this two-part miniseries. In the 70's story, Dockery is functionally shocked by Rampling who at times seem to be a mad woman. It has a paranoid feel but they don't have the same thrills. In the WWII story, the spy story has a good build-up and then plenty of solid spy thrills. All of it combines to be a compelling story weaving in old war rumors. The three female leads are terrific and this is a nice espionage movie.

RESTLESS is a two-part BBC drama, based on a story by ANY HUMAN HEART author William Boyd. It's set in two different time periods, the 1940s and the 1970s, and follows the fate of characters working as spies during WW2.

For starters, this is no ANY HUMAN HEART. The calibre of the script just isn't up there with that production's, and the whole cross-cutting between two time periods doesn't work that well. The wartime espionage stuff is fine, but the '70s era plotting is dull and features luvvies Charlotte Rampling and Michael Gambon giving typically lethargic performances.

Thankfully, we have at least half of a good show, because the spy stuff is where RESTLESS hits its stride. Hayley Atwell (PILLARS OF THE EARTH) once again proves her worth as a tough, sexy, heroine, trained to be a spy by the British and engaging in all manner of dangerous plots thereafter. Rufus Sewell more than matches her as the suave spymaster she falls for.

Clocking in at three hours, the production is a little slow and the ending more than a little obvious; the identity of a key villain is also way too obvious. Still, the espionage scenes are handled well and it's a pleasure to watch drama that doesn't pander to its audience.

However, the actors chosen to depict the characters as they had aged was a real stretch. It was very difficult trying to image the Rufus Sewell turned into Michael Gambone over a 30 years span. Charlotte Rampling wasn't quite as difficult, but it would have been easier to watch and understand had they simply used aging make up. We're only trying to go from actors in the 30's into their 60's. The plot was great and intriguing and fun to follow, but those different faces that didn't really fit interfered.