Desmond Davis - Smashing Time (1967)

Quote:

SMASHING TIME is a 1967 comedy film starring Rita Tushingham and Lynn Redgrave. It is a satire on the 1960s media-influenced phenomenon of Swinging London.
It was written by George Melly and directed by Desmond Davis. The supporting cast included Ian Carmichael, Michael York, Jeremy Lloyd, Anna Quayle, Irene Handl and Arthur Mullard.

Brenda (Tushingham) and Yvonne (Redgrave), two girls from the North of England, arrive in London to seek fame and fortune. However, their image of the city is quickly tarnished when they are robbed of their savings. Determined not to let her chance slip, Yvonne visits Carnaby Street in the hope of catching the eye of a trendy photographer, whilst Brenda gets a job in a 'greasy spoon' cafe.

Yvonne does get spotted by a trendy photographer, Tom Wabe (Michael York), but for all the wrong reasons; she is singled out for being poorly dressed.

After several unsuccessful job attempts, Yvonne accidentally wins the star prize in a television game show and decides to invest the prize money on being a pop star. Her single, I'm So Young, though patently awful, becomes a big hit and she and Brenda drift apart. However at a glamorous party (at the top of the Post Office Tower) the girls realise the shallowness of the media business and decide to return home.

The film was nominated for a Golden Globe (Best English-Language Foreign Film) in 1968.

The film reunited Redgrave, Tushingham and director Davis from the 1964 film Girl with Green Eyes.

Murray Melvin and Paul Danquah, Tushingham's co-stars in A Taste of Honey, appear in cameo roles.

Private Eye magazine referred to the Queen and Princess Margaret as Brenda and Yvonne (respectively).

Michael York was to go on to appear in the Austin Powers films, which also parodied 'Swinging London'.

The then-popular BBC series Juke Box Jury is parodied as Hi-Fi Court.

The theme-tune was sung by Tushingham and Redgrave. In the 1993 BBC series Hollywood UK, about the British film industry in the 1960s, the actresses appeared in the back of a London taxi singing the theme again.









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no pass

Desmond Davis - Girl with Green Eyes (1964)

Description: An impressive debut from director Davis, with Tushingham excellent as the gauche country girl who is seduced by city ways when she moves to Dublin and shares a room with a more worldly Redgrave. When the aging writer and Iothario Finch appears on the scene, he makes a beeline for the inexperienced Tushingham and she, in turn, falls for him.

Wisely steering clear of any overt moral pronouncements, Davis (and O'Brien who scripted) let the characters' complexity and emotional frailty speak for themselves in this poignant and elegant adaptation of O'Brien's best-selling novel.








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Desmond Davis - Measure For Measure (1979)

The Duke of Vienna charges his deputy Angelo with maintaining order in his absence. Angelo decides to enforce the city's strict moral code, which has possibly fatal consequences for Claudio - unless his sister Isabella can persuade Angelo to reprieve him.



The fifth broadcast in the 37-play BBC Television Shakespeare project, Measure for Measure was also its first unqualified critical hit and remains one of the best-regarded productions of the entire cycle. It was also one of the first to offer a truly convincing demonstration of how effective Shakespeare could be on the small screen, with cameraman-turned-director Desmond Davis striking a perfect balance between intimacy and grandeur.



Though the production values aren't noticeably higher than for the other plays in the first series, the staging is generally more imaginative, with a particularly vivid evocation of the brothel and the jail (Davis said that he wanted to create the feel of, respectively, a Western saloon bar and a garish horror film). This invention is maintained up to the final scene, when the play's multiple denouements are presented on a raised wooden stage, very similar to the way the play would have been presented at its 1604 premiere, and wittily drawing attention to the theatricality of the play's whole conception.

Rightly, the production is more intimate in the two pivotal scenes between Angelo and Isabella, but even then Davis' use of screen space is a crucial part of his staging, with Angelo initially framed so that he dwarfs Isabella, but she gradually ends up on equal terms, to underscore her increasing hold on him. He is helped by finely nuanced performances from Tim Pigott-Smith and Kate Nelligan. Clad in virginal white throughout, Nelligan exudes so much deeply-felt conviction (producer Cedric Messina said that the qualities that secured her the role were "strength, coolness and beauty") that her very presence shames Angelo, as well it should.



Aside from these scenes, the production is dominated by Kenneth Colley's twinkling Duke, the Machiavellian manipulator of the play's complex plot - so much so that it's somewhat jarring that Isabella agrees to marry him so readily at the end (this is left ambiguous in the text), since he has very publicly confessed not only to deceiving her but also manipulating her emotions. Of the lesser roles, Christopher Strauli and Jacqueline Pearce are affecting as Claudio and Mariana, each separately wronged by Angelo, while comic relief is shared between John McEnery's flamboyantly foppish Lucio and Frank Middlemass' buffoonish Pompey.

As for textual fidelity, the brief Act IV Scene V was dropped altogether, but elsewhere there were only very minor trims: this is one of the more complete BBC Shakespeares.

Michael Brooke

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no pass

Desmond Davis - Ordeal by Innocence (1984)

Based on the novel by Agatha Christie and set in the late 1950s, this unevenly told film starts when Dr. Arthur Calgary (Donald Sutherland) comes back to England after two years on an Antarctic expedition and discovers that the man he is searching for has been executed for murder. At the beginning of his expedition he had given a ride one night to a hitchhiker and accidentally ended up with his address book. To his horror, the hitchhiker's mother was killed on that night, and he had been the alibi that would have saved him from execution. Spurred on by his sense of shock and guilt, Calgary makes contact with the family and is put off by their disinterest in finding the real killer. It seems that the mother had many enemies among her close family members: her husband was having an affair, there was a blackmail scheme in the works, and many felt that she had already excluded them from any inheritance. Although the acting is uneven and the plot may seem predictable or contrived to non-Christie readers, the story retains interest, and Dave Brubeck's jazz score adds a special dimension to the proceedings.








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