Click to Skip Ad
Closing in...
Ridley Scott Says 'Exodus' Would Never Get Financed Starring "Mohammad So-and-So From Such-And-Such” Ridley Scott Says 'Exodus' Would Never Get Financed Starring "Mohammad So-and-So From Such-And-Such” James Cameron Says 'Avatar' Sequels Will Make You "Sh*t Yourself With Your Mouth Wide Open” James Cameron Says 'Avatar' Sequels Will Make You "Sh*t Yourself With Your Mouth Wide Open” Welcome Back To The Park: The First Trailer For 'Jurassic World' Is Here Welcome Back To The Park: The First Trailer For 'Jurassic World' Is Here Watch: 2-Hour 'Deleted Magic' Explores Deleted Scenes & Alternate Footage From The Original 'Star Wars' Trilogy Watch: 2-Hour 'Deleted Magic' Explores Deleted Scenes & Alternate Footage From The Original 'Star Wars' Trilogy New Character And Plot Details Emerge For 'True Detective' Season 2 As More Cast Members Confirmed New Character And Plot Details Emerge For 'True Detective' Season 2 As More Cast Members Confirmed James Gunn Says Shared Universe Model Is "Flawed," Plus Listen To "Awesome Mixtape Volume Zero" For 'Guardians' James Gunn Says Shared Universe Model Is "Flawed," Plus Listen To "Awesome Mixtape Volume Zero" For 'Guardians' 'Star Wars: Episode VII — The Force Awakens' Trailer Hits Theaters This Friday 'Star Wars: Episode VII — The Force Awakens' Trailer Hits Theaters This Friday Christian Bale Admits He Was Initially "Jealous" When Ben Affleck Was Cast As Batman Christian Bale Admits He Was Initially "Jealous" When Ben Affleck Was Cast As Batman Watch: First Trailer For Thomas Vinterberg's 'Far From The Madding Crowd' Starring Carey Mulligan Watch: First Trailer For Thomas Vinterberg's 'Far From The Madding Crowd' Starring Carey Mulligan Watch: Zac Efron Talks About His Masturbation Techniques In 'The Interview' Segment With James Franco Watch: Zac Efron Talks About His Masturbation Techniques In 'The Interview' Segment With James Franco Watch: Footage From "Sick," Unreleased Marilyn Manson Video, Directed By Eli Roth & Featuring Lana Del Rey Watch: Footage From "Sick," Unreleased Marilyn Manson Video, Directed By Eli Roth & Featuring Lana Del Rey Review: Christopher Nolan's 'Interstellar' Starring Matthew McConaughey, Jessica Chastain, Anne Hathaway & More Review: Christopher Nolan's 'Interstellar' Starring Matthew McConaughey, Jessica Chastain, Anne Hathaway & More Watch: 3 Graphic, Very NSFW Clips From Lars von Trier's 'Nymphomaniac Vol II — Director's Cut' Watch: 3 Graphic, Very NSFW Clips From Lars von Trier's 'Nymphomaniac Vol II — Director's Cut' The Best Documentaries Of 2014 So Far The Best Documentaries Of 2014 So Far The 20 Best TV Shows Of The 2013/2014 Season The 20 Best TV Shows Of The 2013/2014 Season The Best Films Of 2014 So Far... The Best Films Of 2014 So Far... SXSW Review: Spierig Brothers 'Predestination'  Starring Ethan Hawke SXSW Review: Spierig Brothers 'Predestination' Starring Ethan Hawke From Worst To Best: Ranking The Films Of Hayao Miyazaki From Worst To Best: Ranking The Films Of Hayao Miyazaki The 10 Best & Worst Movie Sex Scenes The 10 Best & Worst Movie Sex Scenes All The Songs In 'Pitch Perfect' Including La Roux, David Guetta, Azealia Banks, Nicki Minaj & More All The Songs In 'Pitch Perfect' Including La Roux, David Guetta, Azealia Banks, Nicki Minaj & More

Recap: Benedict Cumberbatch & Rebecca Hall Shine In First 2 Parts Of Period Miniseries 'Parade's End'

The Playlist By The Playlist Staff | The Playlist February 27, 2013 at 10:00AM

The specter of "Downton Abbey" has been present in the run up to the broadcast of BBC and HBO's new period drama "Parade's End." Both are lavish period tales set before, during and after World War I. But in fact, the comparisons are a little overblown. 'Downton' and "Parade's End" (an adaptation of Ford Madox Ford's cycle of novels, often labelled as among the finest literary achievements of the 20th century, written for the screen by the great Sir Tom Stoppard, and directed by Susanna White, who was also behind "Bleak House" and "Generation Kill") might share a loose genre, but on the strength of the first episode, they couldn't be more different. 'Downton' is a soap, for better or worse, while "Parade's End" is a fearsomely intelligent, deceptively funny epic that, if it can keep up this level of quality, will likely be one of the best things on television all year.
0

Parade's End Benedict Cumberbatch Rebecca Hall
This is an edited reprint of our coverage from the UK airing last year. Major spoilers ahead, for those who haven't yet watched the HBO broadcast.

Recap: Episode 1

The specter of "Downton Abbey" has been present in the run up to the broadcast of BBC and HBO's new period drama "Parade's End." Both are lavish period tales set before, during and after World War I. But in fact, the comparisons are a little overblown. 'Downton' and "Parade's End" (an adaptation of Ford Madox Ford's cycle of novels, often labelled as among the finest literary achievements of the 20th century, written for the screen by the great Sir Tom Stoppard, and directed by Susanna White, who was also behind "Bleak House" and "Generation Kill") might share a loose genre, but on the strength of the first episode, they couldn't be more different. 'Downton' is a soap, for better or worse, while "Parade's End" is a fearsomely intelligent, deceptively funny epic that, if it can keep up this level of quality, will likely be one of the best things on television all year.

Things begin in Paris in 1908, as the soon-to-be-married Sylvia (a phenomenal Rebecca Hall) romps with a married lover (Jack Huston, of "Boardwalk Empire"), even as her fiance Christopher Tietjens (Cumberbatch), a buttoned-down government statistician, and younger brother of an aristocratic family, leaves London, telling his best friend Macmaster (Stephen Graham) that he "doesn't even know if the baby's mine."

Benedict Cumberbatch Parade's End

Clearly, it's something of a shotgun wedding, and both seem a little reluctant; she refers to her future husband as "that ox," and Tietjen's brother Mark (Rupert Everett) tells him he's been "trapped by that papist bitch." But married they nevertheless are (probably pushed through by Tietjens remembering their first encounter, fucking on a train within moments of meeting), and three years later, they're back in London, with their son Michael having nightmares. Christopher clearly adores the boy, Sylvia barely acknowledges him (we're not sure they interacted once in the episode), instead focusing her attentions on winding up her husband and mother (recent Oscar nominee Janet McTeer), and the latest in a long string of lovers, Potty Perowne (Tom Mison).

Sylvia admits that she's desperate for her husband to notice her dalliances (telling a friend that "I want to shake him"), and soon he does exactly that, as she leaves for France with Potty. Heartbroken, Christopher sends his son to live with his sister, and goes with McMaster (an aspiring writer and critic) to play golf in the countryside with some society high-ups, including General Campion (Roger Allam) and government minister Waterhouse (Tim McMullan).

The course is raided by a pair of suffragettes, including Valentine Wannop (Australian actress Adelaide Clemens, the successful product of an attempt to simultaneously clone Carey Mulligan and Abbie Cornish), who turns out to be the daughter of a friend of Christopher's father. He aids in their getaway, clearly intrigued by her, and later meets her at the house of a demented rector (Rufus Sewell, in a lovely, against-type turn), whose wife (Anne-Marie Duff) Macmaster is enamored of.

Benedict Cumberbatch Parade's End Adelaide Clemens

Rumors are already flying that something is going on between Tietjens and Valentine, although they barely know each other, but even if Christopher didn't pledge that he "stands for monogamy and chastity," his wife, having dumped her lover (who ineffectually threatens her with a revolver, to an entirely nonplussed reaction from Hall), has asked to return. He's acquiesced, but nevertheless, Tietjens and Valentine fall in love over the course of a foggy, all-night carriage ride, although stop just short of kissing.

But their idyll is interrupted when General Campion hits their horse with his car (presumably something of a metaphor for the coming of technology, not least World War I, which already haunts proceedings). Left alone with the horse, faced with the return of a wife who's vowed to "torment" him, and unable to be with the person he'd really like to be with, Tietjens finally lets his repressed mask slip, and breaks down in tears.

Moving like a thundering train, it's an awful lot of plot to get through in 60 minutes, and it's certainly uncompromising in its refusal to hold the audience's hand. But for the most part (there's one moment of clunky expositiong, and a couple of minor storytelling blips -- we had to look at the credits to work out that Hullo Central was the name of Sylvia's maid, which turns out to be fairly important), Stoppard's script is tremendous -- clear, unhurried, yet pacy, and eminently quotable.

And it's unashamedly intellectual stuff, too; one can't imagine long rants about sex in Latin (courtesy of Sewell), discussion of reforms of the House of Lords, or the poetry of Rosetti in 'Downton.' But it's also compelling, gripping stuff, with the central duo of Christopher and Sylvia being fascinating characters we can't wait to see more of.

Rebecca Hall Parade's End

In no small part, that's down to the central performances from Cumberbatch and Hall, which so far look like they might be the actors' finest hours to date. The "Sherlock" star has played this kind of thing -- repressed, buttoned-down, not terribly happy -- many times before, but he gets to find all kinds of texture in this part, giving real humanity (especially in his late-night drunken confession to Macmaster) and soul to a character that could come across as a bit of a prig. Hall has the meatiest part, and tears into it like a wild animal; as a flighty femme fatale who knows she has every man she meets wrapped around her little finger, she's enormous fun, but crucially, she isn't an out-and-out villain. She might do some abominable things, but you can understand the psychology behind it, so far at least.

Among the supporting players, Stephen Graham (better known for less refined types in the likes of "Snatch" and "This Is England") is the particular stand-out; cast well against type as the social-climbing, would-be-intellectual Macmaster, he's clearly very fond of his friend, but certainly displays a degree of ambition that may cause ruptures down the line. Clemens' part is, so far, a touch thinner than the others, but the relative newcomer does a lot with it, and the camera adores her. There are a couple of actors who seemed to struggle with the period dialogue a little and Jack Huston's early cameo didn't quite scan. But for the most part, it's an impressive assembly of talent. [A-]

Bits & Pieces

- We have to confess, we've never quite gotten round to tackling the novels. Are there any of you who are fans of the source material? How did the adaptation match up?

- Director Susanna White (who recently made her feature debut with "Nanny McPhee And The Big Bang," and was one of the names in early discussions to direct "The Hunger Games" before Gary Ross got involved ) does an excellent job here. It's undeniably handsome stuff, but not staid; an early flashback featuring whip-pans and dutch angles indicates this isn't going to be your average TV costume drama.

- We feel that we haven't talked enough about how funny it was, but Stoppard's script was in places very funny. The cutaway to see Hall sitting near her mother and the priest as they talk about her is an old one, but a good one.

- It's unusual to see a political conservative (Tietjens describes himself as "the last Tory") portrayed so sympathetically. Stoppard has a reputation (which we're not sure is entirely earned) as one of the more right-wing writers of the 20th century, so we're interested to see how much this continues to develop.

- One slightly sour note. We weren't great fans of the score by Dirk Brosse ("Final Fantasy: The Spirits Within," "The Good Thief"), which signalled every shift into lighter territory by bringing out the plinky-plonky piano.

- We were however fans of the kaleidoscope credit sequence which was classy and innovative.

This article is related to: Television, TV Reviews, Parade's End, Benedict Cumberbatch, Adelaide Clemens, Rebecca Hall, Stephen Graham


The Playlist

The obsessives' guide to contemporary cinema via film discussion, news, reviews, features, nostalgia, movie music, soundtracks, DVDs and more.


E-Mail Updates