5.20.2009

'George Clooney throws you a wink and you leave your brains at the door.'

O-M-G. I just caught Sir Richard Armitage in the Wednesday slice of BBC's Moving On series, 'Drowning Not Waving'. There are 5 in all, I think, just short 45 minute sets shown each afternoon this week. It was the first one I'd watched though I'd heard that the others were fantastic. The general line is great writing matched by great acting. How comforting that solid storytelling is still appreciated. I hope the Beeb takes notice and commissions more work that exercises our intellectual and emotional capacities rather than stuff that exercises the CGI department.


Today's edition featured Mr. Armitage as John Mulligan - the kid voted 'most likely to end up in jail' by his high school class but who seems, 20 years later, more like the kid 'most likely to be a millionaire'. Big John Mulligan has landed himself a profitable gig in real estate, and some devilishly good looks. When he comes knocking on old classmate Ellie's door, she's a bit taken, as we all would be if Richard Armitage came calling. Turns out he wants to help her out of a property jam; the girl is stuck in a big pile of debt poo and needs to unload her devalued house. Mr. Mulligan shows an interest in house and lodger, and a swank dinner, some fish and chips, and a few Budweisers later, things look grand. Ellie, played by Christine Tremarco, indulges her best friend, also an old classmate, in the new relationship. Oh, but things soon go to shits. Her friend Maria gives John a proper verbal beatdown, much to the anger and confusion of Ellie. Maria soon reveals that John is not a posh real estate tycoon but in fact a dirty drug dealer. Damn. Ellie confronts John about his hobby/business, and accusations go into overdrive. Eventually, she has to decide whether to side with her best friend or her bed friend, and his money.

I'll ruin the ending and say that John planted drugs on Ellie who in turn gets the bastard locked up. The final scene is in-tense! Not because anyone's shouting or squirting tears. Quite the opposite. The two sit there, under the eye of a guard, and quietly try to sort out this sludge of betrayal and guilt they've landed themselves in. It's almost as if they are trying to outdo each other, trying to come out on top in spite of it all. For John, he's satisfied with an honest accounting for his actions, whatever side of the moral divide they fall on. Meanwhile, Ellie wraps herself in a guise of virtue and incorruptibility, somewhat unwilling to acknowledge her own complicity. They finally part, each a little vindicated, a little satisfied, if uncomfortably so. But if they emerge redeemed, they also can't escape coming off as losers. There's a sense that neither really gets it; John may absolve himself of a guilty conscience and pride himself on his self-sufficiency, but at the end of the day, he's still a drug dealer. And Ellie can stick it to John now that she's helped put him away, but he indicts her too, reminding her that she's been rescued by the same drug money.

Credit goes to the writer for a very tight script, and to the producers for holding the line. An extra hour could have been squeezed out of this story, but the shorter time slot pushed things forward. The last scene was especially choice, for some of the reasons I listed above. Of course, credit also to the prime acting. Richard Armitage stuns again. The ladies on his fan forum positively flipped and I think a good number are still passed out in a puddle of their own drool. The way he reflects the ambiguities of this character reminded me in some ways of his creepy role in Between the Sheets. In both instances, the characters are juggling two very different personas, one which they actively craft for public consumption as it were and the other which they are keen to suppress. I rather like him taking on the John Mulligan type of baddie. He's much more devastating here than as Sir Guy of Gisbourne in Robin Hood, though maybe that's because I don't often come across insecure leather-clad jackoffs with greasy hair and a huge sword. But he also had a capable foil in Christine Tremarco. Though I'd never seen her work, I really enjoyed watching her here. She has a way of hinting at her character that catches you from all sides. During their first dinner, Ellie is cautious, skeptical but intrigued and a bit flirtatious for the same reasons. The last moment when she looks at John and finally walks away is equally textured, and you're not quite sure what to finally make of this relationship. They start off two fractured characters and end two fractured characters. What a way to start off the next chapter of one's life.

Thank you once again, British taxpayers!

(George Clooney does nothing for me, but if Richard Armitage gave me a wink, I'd puddle.)