philaypee
Joined Dec 2008
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philaypee's rating
Hi.
Keno27 obviously did see The Beiderbecke Connection - but, equally obviously, didn't understand it (having seen some of his other reviews I'm sure that this is the explanation). All three of Alan Plater's Beiderbecke series are very British, actually very English - and maybe very Yorkshire (or at least North-East English).
Most US humour is very different from UK humour. Brits often think there is a lack of subtlety in US humour and Americans often think the same of UK humour. But the truth is that they're just different.
Most of Plater's work is definitely not transatlantic, it is accurately aimed at British society and uses (and often spoofs) British humour and ideals. By the same token a lot of US humor and ideology is equally non-transatlantic. I personally remember most of my peers being totally confused by the likes of George Jessel - and as for a Brit reading Jon Dos Passos......!
The Beiderbecke Connection continues the adventures of Jill and Trevor through parenthood, housing a refugee, police surveillance, equipment shortages at school, a leaky roof and several other oddities.
Jill calls First-born Karl after Karl Marx - who wasn't a Soviet-style communist but an intellectual. Trevor calls him Edward after Duke Ellington - who wasn't a US-style capitalist but a musician. Big Al. calls people Brother - but in the UK trade-unionists call each other Brother (and on the railway it was Bruvver, as in Joe Brown and the Bruvvers {a skiffle band}).
None of this is preaching communism, it is poking fun at people who take these things seriously. Neither communism nor capitalism are as important as life, that is the message. Freedom (and children) are vastly more important than politics.
As all this is in a very British style it will probably be misunderstood by those of another culture - as Keno misunderstood it.
Take care, Phil.
"Time wounds all heels."
Keno27 obviously did see The Beiderbecke Connection - but, equally obviously, didn't understand it (having seen some of his other reviews I'm sure that this is the explanation). All three of Alan Plater's Beiderbecke series are very British, actually very English - and maybe very Yorkshire (or at least North-East English).
Most US humour is very different from UK humour. Brits often think there is a lack of subtlety in US humour and Americans often think the same of UK humour. But the truth is that they're just different.
Most of Plater's work is definitely not transatlantic, it is accurately aimed at British society and uses (and often spoofs) British humour and ideals. By the same token a lot of US humor and ideology is equally non-transatlantic. I personally remember most of my peers being totally confused by the likes of George Jessel - and as for a Brit reading Jon Dos Passos......!
The Beiderbecke Connection continues the adventures of Jill and Trevor through parenthood, housing a refugee, police surveillance, equipment shortages at school, a leaky roof and several other oddities.
Jill calls First-born Karl after Karl Marx - who wasn't a Soviet-style communist but an intellectual. Trevor calls him Edward after Duke Ellington - who wasn't a US-style capitalist but a musician. Big Al. calls people Brother - but in the UK trade-unionists call each other Brother (and on the railway it was Bruvver, as in Joe Brown and the Bruvvers {a skiffle band}).
None of this is preaching communism, it is poking fun at people who take these things seriously. Neither communism nor capitalism are as important as life, that is the message. Freedom (and children) are vastly more important than politics.
As all this is in a very British style it will probably be misunderstood by those of another culture - as Keno misunderstood it.
Take care, Phil.
"Time wounds all heels."
Hi,
This was Alan Plater's first screenplay about the Leeds schoolteachers who quickly became Jill Swinburne (Barbara Flynn) and Trevor Chaplin (James Bolam) in the Beiderbecke trilogy (The Beiderbecke Affair, The Beiderbecke Tapes and The Beiderbecke Connection). You can easily tell from references in the Beiderbecke trilogy to things that happened in Get Lost!.
Though it is entirely reasonable to mark this lower than the Beiderbecke trilogy (singly or as a trilogy) it is still very good. Quirky and dry, it is both a love story and a mystery - as are many of Alan Plater's own plays (and screenplays).
One thing that comes through clearly in this, the Beiderbecke trilogy, Misterioso, Last of the Blonde Bombshells and several other Plater works (including some for radio) is his love of jazz. He also loves history - but that isn't evident here.
The thing that most of these have in common is a lack of violence (not quite total here, though there is no visual violence - there is gunfire in Oliver's Travels but nobody gets hit). He has written for many other series (Z-Cars, Dalziel & Pascoe, etc.) but his own works are often lighter and much less violent.
But here his love of music, particularly jazz, is clear, his principal characters real, his situations eccentric - and ciné verité could have been invented for him. His principals are played by Bridget Turner and Alun Armstrong here - and very well too.
His radioplays are excellent too. As with the TV shows he uses the medium beautifully - in fact some of his radioplays could only be adapted to video with radical rewriting.
Take care, Phil.
"Time wounds all heels."
This was Alan Plater's first screenplay about the Leeds schoolteachers who quickly became Jill Swinburne (Barbara Flynn) and Trevor Chaplin (James Bolam) in the Beiderbecke trilogy (The Beiderbecke Affair, The Beiderbecke Tapes and The Beiderbecke Connection). You can easily tell from references in the Beiderbecke trilogy to things that happened in Get Lost!.
Though it is entirely reasonable to mark this lower than the Beiderbecke trilogy (singly or as a trilogy) it is still very good. Quirky and dry, it is both a love story and a mystery - as are many of Alan Plater's own plays (and screenplays).
One thing that comes through clearly in this, the Beiderbecke trilogy, Misterioso, Last of the Blonde Bombshells and several other Plater works (including some for radio) is his love of jazz. He also loves history - but that isn't evident here.
The thing that most of these have in common is a lack of violence (not quite total here, though there is no visual violence - there is gunfire in Oliver's Travels but nobody gets hit). He has written for many other series (Z-Cars, Dalziel & Pascoe, etc.) but his own works are often lighter and much less violent.
But here his love of music, particularly jazz, is clear, his principal characters real, his situations eccentric - and ciné verité could have been invented for him. His principals are played by Bridget Turner and Alun Armstrong here - and very well too.
His radioplays are excellent too. As with the TV shows he uses the medium beautifully - in fact some of his radioplays could only be adapted to video with radical rewriting.
Take care, Phil.
"Time wounds all heels."