Review: Blackadder: Back and Forth

A veritable masterpiece. A mediocre attempt at comedy. A steaming pile of horse manure. All of these descriptions come close to describing Blackadder's Millenium Special, Back and Forth. I simply can't decide whether to love this special or hate it, because despite it's rather simple premise it manages to be incredibly devisive in quality...
      The modern-day Blackadder is hosting a Millenium dinner party for his friends (of course played by Richardson, Fry, Laurie and McCinnery). As usual, he intends to scam his guests, instructing Baldrick to create a fake Time Machine from some plans by Leonardo Da Vinci. He bets his guests that he can get several items from history, and, using props, plans to reap in £30,000.
     However, Blackadder's plan doesn't go quite right and it turns out that Baldrick has constructed a working time machine. In their attempts to get home, Blackadder meets dinosaurs, gives Elizabeth I a Polo mint, punches William Shakespeare (Colin Firth, everybody), kills Robin Hood (wooing Maid Marion - played by model Kate Moss), accidentally kills the Duke of Wellington at the Battle of Waterloo, and then visit Hadrian's Wall in the Roman Period. When they finally return home, they find that no-one has heard of Shakespeare or Robin Hood, and that the country is French. Blacky goes back and fixes all of his mistakes, and then changes a few more things to become King Edmund III.
     Everything is done with a good sense of fun to preceedings, with a jolly few references to the original series, but it's not as interconnected as I would have liked. The Duke of Wellington, for example, is a vastly different character to the Wellington satirically portrayed in Blackadder III - it would have been so easy to insert a quick "Baaugh!", as is characteristic of Fry characters, just to have a slim connection to that earlier portrayl.
     The humour also seems to have jumped down a notch. Scatological and rascist humour in the original series was done with some historical context in mind, and things were usually kept as realistic as was possible on the budget. Following the Inverse Law of Budget and Quality, the jokes regarding Baldrick's disgusting habits (his revolting underwear and Tony Robinson's bare arse) and the constant bashing of the French ("They call us pansies, and whoopsies, and big-girl's blouses!" "But we are, Monsieur President. We will be killed the moment we mince up the hill") feel a little tasteless and wrong, if the latter are a little entertaining.
     Nevertheless, it does a decent job of bringing the series to a final and satisfying end, and for that I must give it credit. Blackadder has been one of the greats in British Comedy, beaten only, in my opinion, by the likes of Monty Python and in some places Red Dwarf. I've enjoyed my Blackadder marathon, and I hope you have too. Thanks for reading.

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Opinion: Blackadder Ramble

I just thought I'd have a little ramble about Blackadder. Do excuse me.
    After doing a Marathon, it's resoundingly clear to me that Blackadder III is by far the most refined and thus funniest of the series. Hugh Laurie is a much better third man than Tim McCinnery was previous, as well as this being the most ruthless Blackadder. It's also the only "lucky" Blackadder - in the end, he becomes King.
      The Black Adder is funny but in a far different way, relying more on Atkinson's comedy tropes to pull the laughs. The characterisation wasn't that slick and there wasn't a consistant stream of laughs as their is in later series, but I suppose the higher overall budget means that there's a good aesthetic.
      Blackadder II was a vast improvement, but his pandering to Queenie kept some of his more pathetic and petty nature. This made the character of Queenie far more interesting in the long run. Nevertheless, Ben Elton's fast-paced scripts make it the second-best.
      Blackadder Goes Forth borders at times on Anvillicious propoganda; released, of course, on the 70th Anniversary of the Armistice, its jokes on the First World War feel somewhat bittersweet and distasteful, especially when one considers how close the subject is to a great many people, and the number of deaths involved. Despite this, the areas where it isn't hammering down anti-war sentiments are just as fast-paced and witty as before. One noticable problem is a little bit of self parody; a new over-reliance on the similie gag, as well as slapstick, that begins to tire. The supposed educational value of Goodbyeeee..., and thus its overuse in the classroom, means that I can't watch it any more.
      Moving on to the Specials, and the shining lead is Blackadder's Christmas Carol, which captures the fun spirit of Blackadders II and III in a topical mood. The Cavalier Years is fun, and Steven Fry is especially good, but it isn't overly interesting. Back and Forth, on the other hand, is a bastardisation of the series. The rule that states Higher Budget = Lower Quality certainly applies, with more focus being placed on scatological and generally racist humour than to any sort of vocal wit.

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Review: Merlin 3.5: The Crystal Cave

Now that's more like it. Finally, an episode of Merlin that actually comes close to the standard that we've expected since the Series Two finale. Yes, it had some flawed scenes, and I was disappointed by the resolution, but its a definite step in the right direction. The Crystal Cave further developed the characters, as well as Merlin's predicament, and gave us some genuinely touching moments unlike anything in the previous episodes this series.
     While running from a group of bandits, Arthur and Merlin escape through the cursed Valley of Fallen Kings. Within, Arthur is shot and falls unconscious, leaving Merlin to try in vain to help him. Luckily, a mage comes across the crying servant and heals Arthur, and then shows Merlin a cave full of magical, prophetic stones. The acting is actually ok here, and for the first time Merlin's anguish is believably done. The crystals show Merlin a series of images which he interprets as Morgana being given a blade with which she then kills Uther. I got excited.
     Merlin worries about Morgana's plot, and, seeing as it is her birthday, tries to stop Arthur from getting her an ornate blade - inextricably causing him to. Morgana makes her move, but she falls down a set of stairs and has a head injury. The castle waits, and Uther is particularly distraught at the thought of losing her, who it turns out is his daughter (He doesn't want her to know, because then she has a right to his thrown and has already shown murderous tendencies. She somehow hears him through her sleep though.) Merlin, seeing Uther, Arthur and Gwen's pain, goes to ask the Dragon for guidance on whether to save his enemy. The Dragon isn't happy, but is forced to oblige; Morgana is healed, and awakes with a vengeance - as she goes to kill Uther in the night, Merlin only just manages to stop her.
     Colin Morgan (Merlin) and Anthony Head (Uther) really shine here. They're believable and adaptable, and now the writing is strong enough for them to show off. The only thing I was annoyed at was the fact that it returned to the status quo when it came literally seconds away from making a positive story move - killing Uther and revealing Merlin's magic. I don't think the BBC realise that a lot of people are actually gunning for Morgana to win at the moment, just to get away from the obnoxious filler. Next week's episode looks like more filler, but it also features the Lake where Excalibur lies, so I mustn't worry.

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Review: Hot Fuzz

There's a reason that I love British comedy; it's often more thoughtful and deep than the American equivalent. The creative team of Simon Pegg, Edgar Wright and Nick Frost in particular have produced two (so far) of the best comedies, in my opinion, ever made – Shaun of the Dead and Hot Fuzz. Both are powerful, well-crafted stories that are not only hilarious but act as a fun, bloody satire on a particular genre.

            The funnies in Hot Fuzz are more subtle than in its predecessor. This film takes on the genres of Murder Mystery and then Action, and succeeds brilliantly at both while injecting some of their characteristic charm. Shaun of the Dead's popularity also means that it is stuffed full of big names, from Jim Broadbent to former Bond Timothy Dalton.

            Most of the humour is derived from the absurdity of the setting and characters, but there's also a lot of sarcasm and irony. Most jokes are also referenced throughout the movie and run parallel to the plot, which in itself is strong.

            Nicholas Angel (Simon Pegg) is the best officer in London; so good, in fact, that his superiors (Martin Freeman, Steve Coogan and Bill Nighy) send him off the country for making the rest of the team look bad. He becomes Sergeant in the small, idealist town of Sandford, which is controlled by the Neighbourhood Watch Alliance. While the subtly controlling Chief Inspector Butterman (Jim Broadbent) and his naïve son Danny (Nick Frost) insist that the village has the lowest crime rate in the country, a series of deaths alerts Nicholas to the possibility that the village isn't all it seems.

            Fuzz manages to make the rare accomplishment of combining gags and plot in one fluid motion – there isn't a single scene that doesn't later pay off somehow, and the twists and turns that the story takes, as well as the literally explosive changes in tone, make it a both funny and thrilling ride.

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Overview: Blackadder Goes Forth

"I, on the other hand, am a fully rounded human being, with a degree from the University of Life, a diploma from the School of Hard Knocks, and three gold stars from the Kindergarten of Getting the Shit Kicked Out of Me."

1988 was a sombre year. The 70th Anniversary of the Armistice of WWI, and the nation was focussed on the War. So what better era for the fourth series of Blackadder to cover? Blackadder Goes Forth is very strongly written, with powerful satire and near-constant gags. However, the rather sombre, and recent, nature of the war makes the whole thing a bit bittersweet...
     Captain Blackadder heads a small area on the Western front. He's bitter, slightly twisted and a genius realist. He's fought in wars before, and seems to recognise early on the stupidity and pointlessness of Trench Warfare. This disdain is furthered by his two lower ranks, George (Hugh Laurie, playing a toned-down version of his Prince) and Baldrick (even more stupid, but in a seemingly recognisable way - a bit more genre savvy.) Heading up the ranks, in an office 30 miles from the front, are General Melchett (Steven Fry, again a toned down Wellington) and Captain Darling (Tim McInnery, from TBA and BAII).
     What with the closeness of the subject matter, nearly every gag is a push on the First World War. And it does start to wear down - my favourite episode of this series is General Hospital, which relies less on these types of jokes. It is no doubt well-written, stirring stuff; a piece of art in itself, but for me it doesn't spring towards to fun mix that Blackadder has always had. It's funny. It's very funny. But it's a little bit of an aquired taste.
     The thing most remembered about this later series is the ending, which was broadcast on November 11. It was very sombre, ending on a field of poppies. It's considered one of the most touching endings to a series in British television history, but I don't agree. It seems a little bitter to me; I find the end to be clumsily done and so far away from what this series represents - taking a satirical but poignant look at the First World War, while advancing the characters to their most powerful.
     But fear not, dear gentlemen, for the story of the dynasties of Blackadder is not yet finished. Next week I make one final review, to the Millenium special, Blackadder Back and Forth.

Review: Blackadder's Christmas Carol

"Going to buy some cake for your silver haired mother?"
"Nah, sod that. I'm off to the gin shop."
AND
"What can I do with a girl that I can't do with you, Blackadder?"
"I cannot conceive, sir." 

B'sCC is a subversion of both the traditional Christmas Carol and of Blackadder itself. The series' works well to skew the concept into something funny and thoughtful, as well as adding an outing for some excellent guest stars. It's the total opposite of what Christmas should be, and that's why is is absolutely perfect.
     Ebenezeer Blackadder has reached the lowest point in the dynasty - a small shop owner, and the nicest man in England. He gives droves of money to charity, and at Christmas he gives away everything he has to the people around him, who abuse his generosity. For example, all of the "orphans" are obese, and "Tiny Tim" weighs fifteen stone. Baldrick serves, as always, and seems to have a little more common sense than usual in acting out the real problems with Ebenezeer's giving nature. In the night, Blackadder is visited by a spirit, played by Hagrid from the Harry Potter films.
     After realising that Eb. doesn't need any help to be good, he become curious. Reluctantly, the Spirit shows him Christmasses from BAII and BAIII, giving us welcome cameos from Miranda Richardson, Steven Fry and Hugh Laurie, as well as Atkinson getting to stretch his acting muscles again. Eventually, we get to see the future - if Blackadder remains good, then his family will become slaves to the Baldricks. If he becomes bad, his ancestors will rule the universe.
     It's a lovely look at the nature of Series II - III, and its lovely. It's a Christmas staple now, and good for it. A strange time of year to review it, for sure, but it takes place in a chronological order. Very soon (as in, just after this review) I take a look at the much deeper and darker tale told by Blackadder Goes Forth.

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Review: Doctor Who Classic: Dimensions in Time

1993. The thirtieth anniversary of Doctor Who came, and the show had been off for 4 years. A Children in Need special was the only thing for it, something mad, bringing back all remaining Doctors - 3 to 7. And it was bad. Oh so very bad. But it was also quite fun, if you accept that it's just a dream or something, and you really get a good look at the different Doctors and how seriously they're playing the part.
     What little of a plot there is might make for a decent program - The Rani (much more devillish here) abducts the Doctor's forms, companions and several of his enemies and locks them in a small dingy area of London, ready for her to remove from Time. Oh, and that area of London is Walford. From Eastenders. I'm serious.
     While horrifically badly directed, it's good fun and cringing in places. It dates really quickly due to the Eastenders aspect. Jon Pertwee is having a blast, Tom Baker is rambling on a bit, Peter Davison is deadly serious, and the Sixth and Seventh are laughing it up. It just seems so shoddily thrown together (a lot of fans were amazed to discover that this actually had a script) that there's no point in taking it seriously.
     It was part of the actors' contracts that the episode never be shown on television again, and now no official copy exists. Luckily, people did record the episode and now it's on YouTube. Hurrah?

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Review: Eliza Doolittle

Eliza Doolittle, Eliza Doolittle (2010)

Eliza Doolittle is an interesting album in many ways. It isn't powerful, or potent. It doesn't have anything particularly deep to say about the world. It doesn't even ramble on about the power of love, or how relationships are unfair. No, the album before you is, I believe, the thoughts of a quirky person. That quirky person is Eliza Caird, a Londoner with hints of Lily Allen about her.
     The similarities with Allen are what initally drew me to this act. Both are nifty urban albums with a floaty sense of fun and a light, London sound. However, Dootlittle is so much lighter and less profound - and in some places is a more enjoyable listen because of it. In other areas, I was sad to find tht a lot of the songs can be a little repetitive, but in an endearing way rather than an annoying one.
     As you would expect, Doolittle's relationship songs go about the matter in completely unconventional fashion. Either she's (politely) telling a boy what's wrong with him and then complimenting him, or thinking of weird ways to love people. The whole thing is cutesy and a little charming, in stark opposition to some other female singers out there. (Yes, Beyonce, I'm looking at you.)
     Picking out a few singles, Pack Up is a nice Caribbean-themed cover, Mr. Medicine embodies what I said in my last paragraph, and Empty Hand is an eerie lullaby that just comes out of nowhere. Eliza Doolittle is an album that you should at some point have a listen to, whether its to pass the time or simply as a look-in. It's got some charming songs and a nice aesthetic, and a sense of weird realism that is absent in modern music.

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Review: Merlin 3.4: Gwaine

Both this episode and Merlin's third series are irritating me. While this episode had a small number of good moments, the rest was unoriginal filler that, while beinjg entertaining, was none-the-less predictable and of very little relation to the overarching plot. It feels overwhelmingly like a Series One episode, not helped by the mix of Series One plots and the instant comparisons to that first series' fourth episode, Lancelot.
     Merlin and Arthur are out-a-riding when they stop off at a local tavern. The landlord is a scar-faced brute, and when he threatens the barmaid, Arthur steps up to protect her. It turns out that Scarface (my nickname) has a whole posse, and so he and Merlin don't have much chance. Luckily, a handsome stranger by the name of Gwaine appears and they fight off the posse. Scarface is put in stocks and Gwaine falls unonscious. As a friend of the prince he is brought into the castle.
     Scarface escapes, however, and with one of his posse he gets two crystals with which he can disguise himself as a Knight to take part in Arthur's melee tournament. They also have... blunt swords that are magically sharp. Don't really see the reasoning here, but hey, what do I know. Meanwhile, Gwaine is being all anti-king and chatting up Gwen. The two kights arrive and treat Merlin like a jerkass, who quickly learns their secret. Instead of telling anyone but Gaius, however, he instead decides to wait. Don't ask me why. When trying to steal the swords, Merlin gets in a brawl with the two knights, and Gwaine comes to his rescue.
     Exiled for this, Gwaine leaves, but not before saving Arthur's life in the guise of a mysterious knight in the finale. Overall, the two plots - A.) Angry people use magic to disguise themselves and kill Arthur/Uther/Merlin and B.) Handsome stranger helps out - aren't very original within the series, having been done time and time again. To make up for this, the characters actions become even more nonsensical, including breaking really common sense boundaries just to hold up the thin excuse for a plot. It was predictable every step of the way, and it annoys me that this even has a place in Series Three. Despite this, the episode was fun and entertaining, just not in any way which would make you want to watch the episode again.

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Overview: Blackadder III

"I don't know what went wrong. I lied, bribed the press and threatend the electorate. I don't know what else a good politician can do." - Pitt, the Even Younger

BAIII is a tad darker than its previous incarnations, although it still keeps the firm sense of comedy about preceedings. The comedy delves further into more intellectual comedy, covering more gritty situations with deeper themes and a more ruthless Blackadder. It also featured several cast changes in the main trio, as well as an advance of setting, to the more advanced Napoleonic Era, covering many historical topics such as: Rotton Buroughs, the War with France, the First Dictionary, the Scarlet Pimpernel and Duelling.
     Hugh Laurie plays a stereotypical Prince George (III), cared for and often outwitted by his butler E. Blackadder Equire. This Edmund is ruthless, witty and sometimes murderous - he has killed at least five people by the series' end. Baldrick is mostly the same as his predecessor, except his "cunning plans" are even more insane. In the supporting cast, Mrs. Miggins is a nice addition and balances the males.
     It's strange in that the more ruthless approach and sophisticated comedy actually makes Blackadder III funnier; the comedy here balances on Blackadder's reactions to the world rather than what cause those reactions, as in Blackadder II. The characters are deeper and the comedy more advanced for it.
     Coming to the guest stars this series, and I was very happy with Episode 3, which featured a cameo from CHRIS BARRIE. Anyone at least familiar with this blog will understand Barrie's skillful voice and delivery, and he steals the episode. Note that this was a year before Red Dwarf - Barrie shining through to BBC Comedy before Dwarf had begun. Elsewhere, there are cameos by TimMcinnery (Percy Percy from TBA and BAII) and Steven Fry as Waterloo.
     This is an oddity, as one of the two-out-of-six Blackadders that actually win. A moral of the series on the whole; the most ruthless Blackadder of them all becomes King of England. Next week I go on a festive outing in Victorian England, with Blackadder's Christmas Carol.

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