The latest instalment of the ITV drama department’s attempts at trial by television is another anatomy of a scandal, but with little of the emotive power of Mr Bates vs The Post Office.
Many know that the actor Richard Burton began life as a miner’s son called Richard Jenkins. Not so many are aware of the reason he changed his name. This film directed by Marc Evans explains how it came about.
There isn’t a troupe officially called the Worshipful Company of British Character Actors, but there probably should be, given the sterling service it does for the nation, acting in prestige TV dramas based on real events. Toby Jones and Monica Dolan regularly top the bill in this genre, as they do in ITV’s Mr Bates vs The Post Office.
Bognor Regis was once renowned for its restorative climate and was much favoured by George V (he awarded the town the “Regis” tag), but times have changed if Toby Jones’s new series is anything to go by. The Bognor we see in BBC Two's Don't Forget the Driver is a crumbling ghost town, all run-down bungalows, pensioners and, it seems, an underclass of exploited immigrants.
There have been several film and TV versions of RC Sherriff’s World War One play since it debuted on the London stage in 1928, but Saul Dibb’s new incarnation, shown at London Film Festival, is testament to the lingering potency of the piece.
Let’s explain the peculiar title first: Operation Anthropoid was the code name given by the Czech Resistance for the planned assassination of Reinhard Heydrich in Prague during World War Two. The events have been portrayed on film before, a notable early example being Fritz Lang’s Hangmen Also Die (screenplay and score provided by "Bert" Brecht and Hanns Eisler). Lang took many liberties with the facts, whereas Sean Ellis’s 2016 film attempts to be scrupulously accurate. Heidrich was a repugnant, cold-blooded brute, sent to govern an occupied Czechoslovakia in 1941, his predecessor having been perceived as too lenient. Described by Hitler as “the man with the iron heart”, he was also the principal planner of the Final Solution.
Anthropoid begins, literally, with a bump, as two agents parachuted in by the Czech government-in-exile based in London crash into a wintry forest outside Prague. They’re played by Cillian Murphy and Jamie Dornan, and within minutes they’ve been found by a pair of informers, whose truck they steal and head to Prague. There they gingerly negotiate a locked down city before making contact with Toby Jones’ resistance leader and reveal their plans. It’s the stuff of nightmares: the pair have to stay inconspicuous while convincing others of the need to kill Heydrich, always aware that the consequences of doing so might be even more horrific. Which turns out to be the case: the assassination attempt, thrillingly staged, doesn’t quite go to plan, and the fugitives find themselves holed up in a cathedral crypt thanks to a sympathetic priest.
They’re soon aware that innocent civilians are already being shot in reprisals, and that an entire village has been razed based on misinformation. Naturally there’s a wretched Judas figure (a slippery Jiří Šimek) on hand to betray his associates. But faced with the chance to gain a hefty cash reward and save his family, his actions are wholly credible. The interrogation scenes are mercifully brief before the virtuosic final shoot out, in which the rebels ultimately drowned when the crypt is flooded with fire hoses. So far, so bad, and knowing that such events really happened is deeply affecting, as is the fact that a brave band of Czechs and Slovaks put their lives on the line for a country which no longer exists.
To say that this film is technically impressive isn’t to damn it with faint praise; Ellis’s sure-footed direction and spare screenplay take us through this series of unfortunate events at a breakneck pace. Convincing sets and location footage really do conjure up a grey, wartime Prague, and how refreshing to encounter such a spare, economical soundtrack. That the actors all speak accented English is a distraction at first, but the performances are strong enough to overcome any doubts. Especially good support comes from a luminous Anna Geislerová (pictured above right) as Murphy’s love interest. Ellis is notably absent from the disc's bonus features – there’s no director’s commentary, but a "Making Of" short suggests that cast and crew enjoyed working with him.
Overleaf: watch the trailer for Anthropoid
A year ago to the day the BBC laid on a festive slaughter of Agatha Christie characters. And Then There Were None had the look of a well-dressed abattoir as her victims toppled like ninepins at the hands of an invisible slayer. The scriptwriter Sarah Phelps has returned to the queen of crime for this year’s two-part Christmas murder mystery. The source for The Witness for the Prosecution is a mere 23-page story in which there’s really only house room for one corpse.
Based on an abortive real-life attempt to blow up the Royal Observatory in Greenwich in 1894, Joseph Conrad's novel The Secret Agent has sometimes been held up as a harbinger of the kind of terrorist attacks the world has been subjected to by the likes of Baader-Meinhof, Al Qaeda and Isis. Doubtless this was part of the BBC's motivation for making this new three-part dramatisation.
The earliest known versions of Rapunzel and Cinderella appeared in an Italian compendium of fairytales known as the Pentamerone. They were collated by Neapolitan courtier Giambattista Basile and published in the 1630s after his death. The 50-strong anthology also includes versions of Puss in Boots, Sleeping Beauty and Hansel and Gretel. None of these familiar stories has made it into Tale of Tales, Matteo Garrone’s cinematic sampler of Basile’s collection.