Thursday 31 March 2011

Women In Love S01E02

"It’s not all about sordid rutting..."

When most people think of DH Lawrence, they probably think of Lady Chatterley’s Lover, sex and schoolboy sniggering. But as part of its Modern Love season, which explores love and sexuality in 20th-century literature, BBC Four has eschewed Lawrence’s most famous work in favour of fusing two of his earlier novels, The Rainbow and Women in Love, into one adaptation. As is only to be expected with Lawrence, the result is an intense, heartfelt drama which treats sex as a serious topic for intellectual interrogation.

“Lawrence’s sexuality is humanist, it’s not degrading or exhibitionist,” says Rachael Stirling, the 33-year-old actress who stars alongside Rosamund Pike as one of the two Brangwen sisters. Nevertheless, The Rainbow was considered sufficiently scandalous on its publication in 1915 for it to be successfully tried for obscenity, with all copies seized and burnt. As a result, the second part of the saga, Women in Love, was published five years after the first, even though Lawrence had originally intended to run the two together in one novel.

As this new drama shows, the different works form a coherent whole, telling the story of two sisters in the provincial Midlands wrestling with family relationships and struggling to find fulfilment – with tragic consequences. Though Stirling admits that before this production, the only DH Lawrence she had read was Lady Chatterley’s Lover, “mostly for the rude bits”, she says she was immediately attracted to her character, Ursula.

“It’s a coming of age story about discovery, a woman enjoying her own sexuality. It’s about her falling in love with a man and how she deals with it.”

Ursula is a schoolteacher and notably more gritty than her sister Gudrun (Pike), a flighty, idealistic artist. The two pursue ill-fated love affairs with a pair of friends, played by Rory Kinnear and Joseph Mawle, and discuss them with zest. “Men cannot define you,” Ursula tells Gudrun at one point in the drama; at another, she complains, “he did not feed that animal side of me.”


The most shocking aspect of Lawrence’s work in his time was arguably not the sex itself, but the fact that his female characters viewed it as so important. Lawrence once described himself as a feminist, and Stirling agrees “absolutely” that he was. “He’s stating that a woman has as much right as a man to be unashamedly a sexual creature,” she says.

The sort of scenes that sent the moral guardians of the early 20th century scuttling for the matchboxes and kindling may now barely raise an eyebrow, but Lawrence would not have cheered at modern society’s attitude towards sex, according to Stirling.

“I think he’d be revolted by the way it’s accompanied with such exhibitionism and narcissism, he’d be grossed out. I think he’d start to write positively monkish literature. I think he’d start writing about plants.”

The actress has a natural humour and feistiness which fit in well with the role of Ursula, even though she jokes that she is much more of a prude than her character. “The Miranda Harts of this world, that’s what makes me laugh, a bit of modesty,” she says, referring to the famously buttoned-up comedian.

There is not much space for modesty in Women in Love. In one of her scenes, Stirling takes a nude dip in a lake with her on-screen sister.

“It was about two girls who go for a naked swim because they want to get out of a dreadful party full of toffs,” she says. “My character feels at peace. What we were depicting was sorority, not sordid rutting.” She carried the scene off with serenity – “I didn’t go on a diet. It’s important to see naked bodies as they actually are” – but shudders at the idea of the stills being “taken out of context and put in the News of the World.”

Stirling is a little wary of publicity, perhaps as a result of the inevitable reaction to her first major TV role as a vampy lesbian opposite Keeley Hawes in the 2002 adaptation of the novel Tipping the Velvet. She’s not often spotted on the red carpet or in gossip magazines because, as she puts it, “I’m not going to turn up to the opening of an envelope.”

She draws inspiration from her mother, the supremely dignified Dame Diana Rigg, the celebrated Shakespearian actress, Avengers star and former Bond girl. Stirling has also embraced both stage and screen, winning her second Olivier nomination for her performance as Lady Chiltern in last year’s adaptation of Oscar Wilde’s An Ideal Husband.

She may not yet be as famous as her mother, but Stirling has already won an ardent male fanbase. One admirer wrote to her, she says, announcing: “I live in Wolverhampton, I only work in Tesco’s, but I have extremely firm buttocks.”


Television Series: Women In Love (S01E02)
Release Date: March 2011
Actress: Rosamund Pike, Rachael Stirling &
Tinarie Van Wyk Loots
Video Clips Credit: Trailblazer
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Wednesday 30 March 2011

Gillan Takes Manhattan

Doctor Who star Karen Gillan will play the lead role in a new BBC Four drama. The actress will star as real-life supermodel Jean Shrimpton in 90-minute one-off We'll Take Manhattan.

The project, set primarily in 1962, will focus on the love affair between Shrimpton and British Vogue photographer David Bailey. It is currently unknown who will play Bailey.


"Jean Shrimpton is an icon of the '60s and I am so excited to be playing somebody who had such a lasting impact on the fashion world," said Gillan. "I can't wait to take on the challenge of bringing Jean and Bailey's fascinating love story to life."

In addition to her Doctor Who role, the actress has appeared on The Kevin Bishop Show and in episodes of Rebus and Harley Street. She will also star in David Baddiel's upcoming movie project Romeo and Brittney.

Filming on We'll Take Manhattan, which is being produced by Kudos Film and Television, will begin in May.

Gillan will next be seen reprising her role as Amy Pond in the sixth series of Doctor Who, which begins on BBC One next month.
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Monday 28 March 2011

Mildred Pierce S01E01/02

Guy Pearce has disclosed that he has fancied his Mildred Pierce co-star Kate Winslet for many years.

USA Today quotes the Australian actor as saying that he was initially intimidated to portray Winslet's love interest in the HBO mini-series adaptation of James M Cain's 1941 novel.

"She's someone I've had quite a crush on for many years," Pearce said. "So suddenly there we are, naked together. It's a weird job."


Pearce went on to admit that it was often awkward to provide his wife Kate Mestitz with details of Mildred Pierce's filming.

"I'd go home to my wife funny enough and say, 'I had sex with Kate Winslet again today'," he said. "She admires Kate as much as I do, so it was okay."

Earlier this year, Oscar winner Winslet claimed the process of making a mini-series to be much more of a challenge than working on a movie.

Television Series: Mildred Pierce (S01E01/02)
Release Date: March 2011
Actress: Kate Winslet
Video Clips Credit: Zorg
Format : AVI | 162 MiB for 7mn 48s | 1280 x 720











http://www.filesonic.com/file/383337314 ... 20p_01.avi




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Sunday 27 March 2011

Women In Love S01E01

Rosamund Pike has said that the sex scenes in her upcoming TV version of DH Lawrence's Women In Love are erotic. The Barney's Version actress plays Gudrun in the two-part BBC Four adaptation. The role was famously performed by Glenda Jackson in Ken Russell's 1969 movie version of the story.

Pike told Stylist: "I was aware there would be nude scenes, but Women In Love is about intimacy. I have no interest in objectifying women, of course, but all four characters are searching for intimacy and naturally that involves sex.

"Also, I thought the scenes should be really erotic. I haven't seen a sex scene that I've found sexy for ages."

Of the cast's preparation for the naked scenes, she added: "We had a joke about us all having to go to the gym because we all have to get our kit off, but it's so not about that.

"If the audience is involved and watching the story they're not going to look at whether or not your thighs are toned. And if I thought that seeing my body would detract from the character I wouldn't do the scene. It's the character that people want to see."

Pike insists that she is certainly not a nudist or an exhibitionist. The actress was asked by Metro about previous reports that she is a fan of skinny dipping. "I'm a fan of water in general. I can't go past a lake or a piece of water without getting into it," she admitted. "I'm not a nudist or an exhibitionist but if I haven't got a bikini, I'll go in without a bikini."

She added: "There are some beautiful places in the Lake District. I've been swimming in western Scotland, which was freezing. There was a lake when we were filming Pride & Prejudice. I don't even know if I was allowed to go in it. I probably wasn't."


Television Series: Women In Love (S01E01)
Release Date: March 2011
Actress: Saskia Reeves, Olivia Grant, Rosamund Pike & Rachael Stirling
Video Clips Credit: Trailblazer
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Friday 18 March 2011

Notes on a Scandal

BBC4's adaptation of Women in Love has a distinctly female focus writes Gerard Gilbert in this morning's Independent...

A spot of word-association. What springs to mind when you read the following: DH Lawrence, Women in Love and Lady Chatterley's Lover? It wouldn't be the wildest guesswork to suggest that Women in Love might be twinned with naked wrestling, Alan Bates and Ollie Reed grappling by the fireside in Ken Russell's 1969 movie, or Lady Chatterley with that 1960 obscenity trial. As for Lawrence himself, he has become almost totally synonymous with sex – an earthy, unrestrained, would-you-let-your-servants-read-it kind of sex, that is against the sniggering Carry On tradition of the British psyche. No wonder the French seem to appreciate him more than we do.

This Lawrence is akin to the tabloid press dubbing Dennis Potter "Dirty Den", highlighting the sex to the exclusion of all Potter's other concerns, although it has to be admitted that Lawrence's books do lend themselves to pornographic interpretations – or they did back in a time when soft-porn films required plots. And it's no surprise that the great flowering of Lawrence adaptations took place in the late 1960s and early 1970s, riding the wave of new-found sexual permissiveness. And feminism was also burgeoning at this time, with Lawrence being dismissed as phallocentric, or even misogynist. As Germaine Greer wrote last November, on the 50th anniversary of the Old Bailey trial of Lady Chatterley ("a thoroughly nasty book"), "Lawrence has much the same view of women as Stephen Fry".

All in all, it now seems impossible to come to Lawrence with an open mind and a willing heart, but that's exactly what a new BBC4 drama has attempted to do, despite a BBC trailer that is a montage of sex-scenes pandering to the common notion of Lawrence being purely (or impurely) about one three-lettered word, and a not a few four-lettered ones.


In fact, against all the odds (not least budgetary) this new Women in Love is a bit of a triumph. Adapted by Nottingham-born screenwriter William Ivory (Common as Muck, Made in Dagenham), his three-hour collation of Lawrence's The Rainbow (1915) and its quasi-sequel Women in Love (1920), seems to me to have come closer to Lawrence than any earlier adaptation, even Ken Russell's by-turns lauded and derided 1969 screen version.

"There's a lot of stuff that's quite different and I changed the order and all that," Ivory told me. "And I know that if Lawrence were to walk into this room now he'd say, 'oh, you bugger'. But he'd know why I'd done it – I tried to be in his skin as much as possible."

Glenda Jackson, as headstrong artist Gudrun Brangwen, may have won the Academy Award for Women in Love, but Russell's 1969 version is dominated by alpha-males Bates and Reed, as the repressed homosexual Rupert Birkin and masterful mine-owner Gerald Crich.

Ivory's adaptation brings Gudrun and her schoolteacher sister Ursula back fully centre-stage, and allows a new generation of actresses the chance to inhabit two of the great female characters (pace Greer) in English literature. Rosamund Pike and Rachael Stirling are the duo following in the footsteps of Jackson and Jennie Linden. I'm not sure I entirely buy them as sisters, or even as coming from the same socio-economic class, but they offer nicely contrasting styles of performance and temperament.

"I read Lady Chatterley's Lover when I was younger, but only for the sex bits," admits Stirling, who gives the more instantly engaging of the two performances (Pike is arguably more subtle). "I think people get drawn to it by the prospect of 'naughties'," she continues. "But what they find is his extraordinary comment on society at the beginning of the industrial age, and about women enjoying their sexuality, or discovering their sexuality. I think Lawrence was a realist and that that reality still exists, and I think that's why he still speaks to us.

"It certainly ticks all the boxes about what you're looking for as an actress. There was no day when I woke up and my heart sank and I thought, 'oh God I've got to film that awful dialogue and that awful scene today'. It was all delicious to do" – even the inevitable nudity and sex scenes, the latter shot with an honesty that will go over the heads of those, as Stirling puts it, "watching it waiting for tits and arse."

The 33-year-old actress made her name with material like this nearly a decade ago, in the 2002 lesbian costume drama Tipping the Velvet. "I felt that Tipping the Velvet was an important story to tell, and if that meant swinging from chandeliers in the buff, so be it," she says. " I think the same with this. I know a juicy part and nudity won't put me off... not yet. Maybe one day. Anyway I don't look like a childlike creature when I'm naked – I look like a woman and I think it's important to put that on telly."

Rosamund Pike is altogether more reticent about taking her clothes off for the camera. "I don't particularly find it liberating," she says. "I'm not really an exhibitionist at heart. I have no desire to give everybody everything, I really don't. Anyway, Gudrun is a great part and I knew that Miranda [Bowen, the director] wouldn't screw us over – I had great trust in her, she's a very cool girl."

Pike was the actress who came "from nowhere" to play the Bond girl in Die Another Day (actually she came from Wadham College, Oxford, with a II:i degree in English, having won a scholarship from Iris Murdoch's old school in Bristol), before graduating to big screen roles in Pride and Prejudice (where she met her one-time fiancé, the director Joe Wright), and Hollywood movies opposite the likes of Anthony Hopkins and Bruce Willis. She has also proved her thespian mettle (as well as her willingness to perform naked if necessary) on stage in Terry Johnson's Royal Court production of Hitchcock Blonde, as the preacher's daughter in Tennessee Willliams' Summer and Smoke and, more recently as Hedda Gabler.

"I had quite a lot of success at a young age, which was great, but I think people were quick to say, 'OK, well, that was very lucky,' when actually I think luck had nothing to do with it," she says. "I've been working towards this since I was tiny, although I wasn't a stage brat. People think you got a lucky break, but now I think I'm getting a bit of respect for the first time."

It is deserved respect on the evidence of her beautifully restrained performance as Gudrun – less brittle than Glenda Jackson's Oscar-winning portrayal and more vulnerable. "I've always quite wanted to follow in Glenda Jackson's footsteps... I love her whole irreverence to the industry," says Pike in her disconcerting manner, in which sentences are left hanging, unfinished. It makes her seem vague, but you come to realise it's because she's still there, pondering her replies.

Pike and Stirling are part of a small cast that includes the excellent Rory Kinnear as the repressed Rupert Birkin and Joseph Mawle as the mine-owning object of Birkin's passion, Gerald Crich. The naked wrestling here takes place in the sea, not in front of a blazing log fire. "Ken Russell was much more thoughtful," quips Mawle, who played Jesus in the BBC/HBO mini-series The Passion. "I was more worried about whether there were sharks in the sea than I was about being nude."

This Women in Love wasn't filmed in England, but, like so much TV drama these days, in South Africa. Producer Mark Pybus insists that the decision to film near Cape Town instead of in Nottinghamshire was a creative one, and not simply because of the Republic's tax breaks and a competitive exchange rate.

"The production company that made this, Company Pictures, also made The Devil's Whore, about the English Civil War, and that was filmed in and around Cape Town and I guess I was confident it would work," he says. "What was more daunting was Billy had written the end of the Women in Love script as the Alps, as per the novel, and obviously that wasn't going to happen."

The Namibian desert stands in for the Alps in this version, a hot wilderness replacing a frozen one, the country being well-known to director Bowen, who spent part of her childhood there. "Even so I was dubious as to how I was to make South Africa feel like the muddy Midlands," she says. "It's amazing what you can do with plenty of cow parsley."

Stirling also was surprised by the choice of location. "You have to be careful filming a close-up at 6.30 in the morning – by 7.30 the mist has lifted and that person has got a palm tree growing out of the back of their head. But that means you have to creative about how you film it and that's where Miranda came into her own. Sometimes, if you've got a huge great budget, you're almost spoilt for choice and things can become unfocused, whereas this – no budget... got to do eight pages a day... we're filming in Cape Town... somehow genius comes out of every pore."

There's no denying that once you know it's filmed in South Africa, you can't help noticing it – whether it's the shape of the trees or the warmth of the light – but fortunately it doesn't matter. Women in Love isn't one of those costume dramas in which steam trains puff through green meadows or the camera lingers on stately homes and manicured lawns.

"The incredible thing about Lawrence was that he really did live it," says William Ivory, who spent several years on his adaptation. "He was nuts... a hard man... a difficult man... but he really did believe that what he felt could happen at that point of orgasm was quite profound."

But what about the perennial charge against Lawrence, that he was a misogynist? Producer Mark Pybus couldn't disagree more.

"When you read the books that we've done, particularly The Rainbow, these are incredibly strong female characters that no one else at the time was writing. The whole book is about women taking the initiative, and yet this man is accused of being misogynist. It's totally the opposite – he writes beautiful female characters."

Much more so, indeed, than the essentially rather passive female characters – even, to some extent, Glenda Jackson's Gudrun – in Ken Russell's Women in Love. Bowen says she was undaunted by directing in the shadow of Russell. "I think that film is made with a particular language that is endemic to the Sixties and Seventies film-making," she says. "In fact it really convinced me that now is really good time to attack those books again.

"I hadn't read Women in Love since I was 16, and when I picked it up again I was shocked by how contemporary it felt. In a post-modern world we're so used to the idea of fractured language and fractured thought – that's rife. He repeats himself, ideas tumble around his head... the language feels feverish at times, the language itself feels incredibly visceral, and actually I think now is the best time ever to read Lawrence."

Which is what I decided to do before I interviewed Ivory and the cast, reading The Rainbow for the first time, and re-reading part of Women in Love. I didn't envy Ivory having to dramatise what is in effect one long stream of consciousness interspersed by shattering salvos of action and dialogue. But he has done a brilliant job.

"I liked what Lawrence was as a writer," says Ivory, "what he stood for – essentially, abandon and a lack of the cool, ironic detachment which seems to so delight current, post-modern audiences but which drives me mad. Lawrence is unashamedly there, pronouncing and pontificating, every word coming from deep within himself, utterly heartfelt and damning of self-restraint. He wore his heart on his sleeve and therefore left himself exposed to the easiest, and most cruel, forms of criticism.

"My producer, Mark Pybus, felt, as I did, that if we were to tackle Lawrence at all it had to be in the most Lawrentian way... Our sole task was to interpret these books so that their heartbeat could be felt; and Lawrence's too."

Women in Love begins on Thursday at 9pm on BBC4
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Sunday 13 March 2011

Romola Garai: On a Roll

From an unflinching portrayal of the life of a Victorian prostitute in The Crimson Petal to a comically dreadful wife in the film adaptation of One Day, Romola Garai is set for stardom. But while she is uninhibited in her work, don't try asking about her private life warns Alice Fisher in today's Observer.

Ker-flunk, ker-flunk. Romola Garai thumps across the wooden floor of the photography studio with the grace of a flat-footed Cyberman. She seems unable to control her shoes – a pair of Christian Louboutin platform heels. She looks so elegantly beautiful from the ankle up that her clod-hopping progress is particularly amusing. In the end the photographer comments.

"Yeah," says Garai and stares dispassionately at her feet. "I can't really do shoes."

Garai, it transpires, has very firm ideas about what she does and doesn't do; the way life should be lived, what's important and what she can really do without, thank you very much. This attitude would be admirable in any 28-year-old, but it is particularly interesting in an actor – a profession synonymous with insecurity.

"Acting is a strange job because your control is very limited," says Garai, cheerfully. "Unless you're at peace with that you're going to be unhappy. I think it's harder for men to accept they're just a tool, they're not the generator of art. I don't struggle with it. I feel happy and lucky. In fact I honestly can't think of actresses who are my direct peers whose careers I want. This year I've got amazing roles in things I really believe in. I mean, what more could you want?"


Though Garai is perhaps best known for her roles in period dramas such as Atonement, I Capture the Castle and the 2009 TV series of Jane Austen's Emma, her upcoming projects are juicy and diverse. First up is the four-part BBC adaptation of the much-loved Michel Faber book The Crimson Petal and The White. Garai plays Sugar, a Victorian prostitute who becomes a wealthy man's mistress and is eventually introduced into his suburban household.

"I read a lot, but I don't think I've ever read a character so absolutely conjured as Sugar," says Garai. "I wanted to portray her to the best of my ability and very respectfully. She is so complex, full of paradox. She is also very damaged."

The Crimson Petal director Marc Munden – whose work includes The Devil's Whore and The Mark of Cain – says that Sugar's opaqueness would have made it difficult for audiences to engage with her if weren't for Garai's skill as an actress. "Romola has such intelligence and lively thought going on behind her eyes that she keeps us compelled and seduced, despite Sugar giving little away. She is a great technical actress who also understood instinctively Sugar's guile, her status, her damage."

Playwright Lucinda Coxon adapted the book for the small screen, which pleased Garai. "There's a lot of sex and nudity involved so it was important for me to know that the person making the piece was going to talk about prostitution in a serious and responsible way, because that doesn't often happen."

This aspect was also important to Munden. "The Crimson Petal is also about the mechanics of prostitution," he says. "The base things Sugar puts her body through – the douching, the use of abortifacients, her painful skin condition. Romola was determined that we were unflinching in our depiction of that."

Garai's other big role this year is also in a BBC drama, The Hour, and it is also realised by a woman – Abi Morgan, who created Sex Traffic and adapted Brick Lane for the big screen. The Hour is set against the backdrop of the 1956 Suez Crisis and follows the launch of a current-affairs TV programme. Though Garai was intrigued by the period, and by parallels with the current political situations in both Iraq and Egypt, she was drawn to her role as a TV producer because it was the chance to show another side of the era. "I have mixed feelings about the 50s nostalgia at the moment, especially in terms of women and fashion. I think Mad Men is an amazing show, but there's another side to it. Postwar Europe was morally stagnant and there was a lot of neo-conservatism. There was an underside to that period, especially in terms of gender politics, which I think was much more interesting."

As you may have noticed, Garai does not make light of things. Ask her an anodyne question about any role she's played and chances are you'll find yourself nodding along to her thoughts on sex equality and sociology. She admits that she finds it impossible not to think about the impact of her work and the repercussions of her choices.

"I can only do something that my sister or my daughter, if I have one, could watch and feel positive about. That rules a lot out. I think one of the reasons I've done so much period work is because I feel so depressed by how society chooses to represent women in contemporary work. I mean, I'm sure I have a total persecution complex and I do it more than I have to, but I definitely think about it."

Not that Garai is po-faced: she laughs at herself when she mentions her persecution complex and it's best to imagine that everything she says comes with a big, good-natured beam. She really wanted to make her other upcoming role a complete "comedy bitch", despite her thoughts on the typical representation of women on screen. The bitch in question is Sylvie, a character in One Day which is one of the most anticipated films of 2011. Adapted from David Nicholl's bestselling book, the film follows the romance between Dexter and Em on the same day each year for two decades. Sylvie is Dexter's wife. "I thought there'd be a lot of fun in making her a total bitch, but [director] Lone Scherfig doesn't work in those sorts of stereotypes. The character was quite a departure for me and it was great to do comedy, I've never done anything like it before. If the filming experience is anything to go by, that film will have a lovely warmth."

When all three projects are finished, Garai is off on holiday and says that she's not sure what she's doing when she gets back. Nothing is confirmed. I wonder if it's hard to come home with nothing definite to return to and she looks baffled. "That has never occurred to me. Even if I'm not working, I've got to take my nephews to the park, play tennis. I'm a real culture vulture – I go to the theatre, exhibitions, sometimes when I'm working I feel exhausted keeping up with it all. My life is full of things without work."

Precisely what most of those things are we'll never know, as Garai has made it a policy not to talk about her private life. She was born in Hong Kong and lived there and in Singapore with her banker father and her mother – who was a journalist before Garai and her three siblings came along – until the age of eight, when her family moved to Wiltshire. Her name is simply the female version of Romulus rather than a reference to the George Eliot novel. Her siblings are Ralph, Rosie and Roxy. The surname Garai is Hungarian. Her great-grandfather was Bert Garai, who founded the Keystone Press Agency in 1924. Other than the potted family history there's little else.

"I'm not very strategic," she says. "I'm a motormouth, so if I talked about my private life you'd be here all afternoon and I'd still be talking. The only way to deal with it is not to say anything at all. There's a boundary that I've set and I don't break it."

She's happy to talk about the fact that she recently graduated from the Open University with a first in English Literature, though. She should be happy, it's no mean feat for someone with such an erratic work schedule. It took four years for her to complete.

"I wanted a degree. It's a terrible thing to admit, but sometimes I felt like just an actor. I'm a snob and I wanted a degree. I didn't want to feel like someone's slightly dumb girlfriend when I was at a dinner party with writers."

She says a natural lack of interest in the showbiz events and red carpets that come with her job has made it easy to maintain her privacy. She finds those parties complicated because people attend them for strategic reasons. "I have a fear of appearing frivolous which exerts a strong, controlling influence on me; but also, on a surface level, I just don't enjoy those parties. I was talking to an actor friend and he asked if I was going to one, he said it would be fun. I thought, if I look like total crap, will it matter? Can I get really drunk and dance like mad and talk to random strangers about bullshit and not worry about it the next day? The answer to all those questions is no; so, in my opinion, not so much fun."

Garai doesn't offer to paint the town with me when we finish talking, but she does give me a lift home, which is miles out of her way and very nice of her. Unsurprisingly, we don't talk about boys and shopping in the car. Instead we discuss the peculiar artifice of interviews. We get close to boys when we talk about journalists and actors who've hooked up, but that's it. Garai really would rather discuss ego and the importance of saying something significant. In a world far more interested in shopping than politics and in boys rather than gender politics, that can only be a very good thing.

The Crimson Petal and The White starts on BBC2 on 23 March
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Saturday 12 March 2011

Women In Love (preview)

The proper way to eat a fig, in society,
Is to split it in four, holding it by the stump,
And open it, so that it is a glittering, rosy, moist, honied, heavy-petalled four-petalled flower.

Then you throw away the skin
Which is just like a four-sepalled calyx,
After you have taken off the blossom, with your lips.

But the vulgar way
Is just to put your mouth to the crack, and take out the flesh in one bite.

Every fruit has its secret.

Involved,
Inturned,
The flowering all inward and womb-fibrilled ;
And but one orifice.

The fig, the horse-shoe, the squash-blossom.
Symbols.

There was a flower that flowered inward, womb-ward ;
Now there is a fruit like a ripe womb.

It was always a secret.
That’s how it should be, the female should always be secret.

The Fig, DH Lawrence


Credit to Martin for the advance nude caps of upcoming BBC4 drama Women in Love, due to hit our screens on March 24th.

Saskia Reeves











Rachael Stirling












Rosamund Pike



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Wednesday 9 March 2011

BBC2 Scents Success

BBC2 scents success with The Crimson Petal and the White, writes Maggie Brown, with the broadcaster insisting the racy Victorian series shows support for drama despite cutbacks...

Featuring numerous racy sex scenes, it is the BBC2 drama that executives say represents the future of the second channel, which faces the prospect of seeing its daytime output axed to save money.

The Crimson Petal and the White – hailed by the BBC drama controller, Ben Stephenson, as a "drama that only the BBC could make" – details the relationship between a clever Victorian prostitute and a wealthy but insecure industrialist with an ailing wife.

Starting later this month, the four-part adaptation of the book by Michel Faber is the first fruit of the tripling of the BBC2 drama budget at a time when the corporation faces a 20% cut in its budget.


It features a heavyweight cast including Gillian Anderson, Richard E Grant, Mark Gatiss, Romola Garai and Chris O'Dowd.

Stephenson said that he made the return of adult drama series one of his key priorities for BBC2, after taking on the drama job two and a half years ago. "This marks the beginning of the story – the re-emergence of drama on BBC2," he said at a screening of the programme on Tuesday.

The BBC2 controller, Janice Hadlow, has also pledged to make drama a priority despite the budget cuts, boosting spending from £10m to £30m.

However, this week it emerged that the BBC was considering axing BBC2's daytime output to save money – forcing shows such as Perfection and Pointless off the channel. Instead it would run the BBC News channel up until 7pm, providing a viewing boost to the rolling news service.

Stephenson said that despite the overall cutbacks – which are creating debate about axing daytime, off-peak services and screening more repeats – drama was being ringfenced as it was too important to the identities of the television channels and to the audience. It is also, subject to agreements with unions and producers, expected to play a more prominent role through repeat screenings during the week of transmission.

The Crimson Petal has been adapted by film and theatre writer Lucinda Coxon, in her first venture into television, and is directed by Marc Munden (The Devil's Whore, The Mark Of Cain). It is made by Origin Pictures, which is headed by David Thompson, the former head of BBC Films, in co-production with Canada's CBC. It will air at 9pm on 23 March.

Other series which will follow during the year include seven-part conspiracy thriller The Shadow Line; The Hour, by Abi Morgan, about a television newsroom in 1956; The Night Watch, by Paula Milne; Page Eight, the first original television play from David Hare for 20 years; and United, a drama about Manchester United and the 1958 Munich air crash.
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Tuesday 8 March 2011

Sugar and Spice

Debauchery and deception in Victorian London forms the background to a new mini-series based on the bestselling book The Crimson Petal and the White...

London, 1870s: I'm sitting in the Fireside Tavern with a bunch of Victorian prostitutes, writes Sally Williams. You can tell that they are prostitutes because they have got too much bosom bulging from too-tight bodices; too much hair spilling from pinned-up locks; and too much face powder on over-bright cheeks. It is a haze of taffeta and cleavage that has been recreated from snapshots of Victorian whores. Romola Garai is about to make her big entrance.

These prostitutes are extras from BBC Two's The Crimson Petal and the White, the forthcoming big-name four-hour mini-series featuring Garai, Gillian Anderson, Richard E Grant and Chris O'Dowd. Directed by Marc Munden, and adapted from Michel Faber's book of the same name, it charts the relationship between Sugar (Garai), a superior prostitute, and William Rackham (O'Dowd), a perfume magnate.

Faber's novel is a vivid Dickensian epic about lust, outsiders, class and power. It is also a brilliant work of historical accuracy. His world is furnished with extraordinary detail of the sweat, noise, filth and colour of Victorian London. He even exposed uncomfortable truths, such as the fact that the powder the prostitutes douched themselves with as a post-sex contraceptive was a horrific toxic mix. 'Michel Faber has produced the novel that Dickens might have written had he been allowed to speak freely,' one reviewer wrote.

In 2007, five years after Faber's book was published, David Thompson, the former head of BBC Films and the founder of Origin Pictures, an independent film and television production company, read a copy on holiday. He was gripped by the story of how Sugar, 19, escapes her brothel to become Rackham's mistress – and subsequently the governess for his daughter, Sophie. 'I was completely obsessed with it, completely fell in love with it,' he says. 'It shows you Victorian London in a way you have never seen before, but most of all it's a really ripping emotional yarn with incredible characters.'


Thompson approached Lucinda Coxon, a playwright and screenwriter best known for Happy Now?, which played at the National Theatre in 2008. They had worked together on The Heart of Me, a film adaptation of Rosamond Lehmann's novel. And Coxon knew all about Crimson Petal as she had been approached for the film adaptation.

'That didn't work out and when I reread Crimson Petal I was astonished by it. I had a much bigger emotional response. It's partly that one grows up a bit, but probably the main thing that had happened to me in the meantime was that my daughter had got much older. When I first read the book she was a baby, and suddenly the last third of the book, where Sugar is involved with Rackham's daughter, made so much more sense to me.'

The result is that Coxon has made parenting the prism. 'I think it's a story full of people looking for mothers,' she says. Sugar is damaged by her mother, and so is Rackham (his ran away); Sophie is neglected – we don't even discover Rackham has a child until about halfway through the novel; and Mrs Emmeline Fox, Dr Curlew's daughter, who volunteers for the Rescue Society, a charity that helps to reform prostitutes, becomes a sort of a mother to the fallen women.

But what about the sex? Crimson is a huge story; a great read. But it's so filthy. Faber never resorts to softcore euphemisms such as 'manhood' or 'member'. 'Sex is hardcore,' Faber commented in an interview. 'It should be hardcore. I can't see the point of having a pink-tinged, fluffy version of sex.'

Won't nice, wholesome BBC Two viewers be horrified? 'When I had that conversation early on with the BBC, they said, "Oh, don't worry about that," ' Coxon recalls. 'When you're looking at a book that big, and one so full of complications, the last thing you worry about is whether or not you can see an erect penis.' Ben Stephenson, the controller of BBC drama commissioning, emphasises the point. 'We want Crimson to be sexy and dark and driven by psychology. Period drama like you've never seen it before.'

Coxon is not as explicitly carnal as the novel, nor as vile (there is one very disturbing scene in the novel involving Rackham and 'twin' girls). But Sugar and Rackham do work through a varied menu, and the sex is mostly hoggish with lots of close-ups on Sugar's eyes. The point is to show that she is calculating how to get the most of her latest victim.

'I didn't want it to become prurient,' Coxon says. ' "Oh, the awful things these prostitutes suffer. Come and have a look at one of them now! Oh, it's disgusting!" ' Sugar, she says, is not as compliant as her clients would like to believe. 'There's an exciting tension between her brain and her abasement, and that's partly because she has engineered that. She is manipulating other people so they can force her into something that she has already anticipated.'

Back at the Fireside, which is in fact Wilton's, a Victorian music hall in east London ('We're not in Cranford land,' Grant Montgomery, the production designer, says. 'St Giles, the area where Sugar lived, was a kind of Devil's Acre – the police wouldn't go there unless they were armed'), there's a blast of cold air as the door swings open and Romola Garai walks in. She looks extraordinary. Her pale porcelain skin is set off by a slate-grey dress; her long, long limbs and high-crowned hat elongate her so her 5ft 9in looks about 6ft 3in. Her back is straight, her head held high and her lips are cracked with a special paste that she says is amazing because you can flake it off on camera to make it look like real eczema. The whole effect – the red hair, the height, the fair eyelashes, the flaking lips – is ethereal and other-worldly, and of course makes all the other prostitutes look like squat toads.

'I wanted her to stand out,' Jacqueline Fowler, the make-up designer, says. 'I didn't want anybody else to be red-headed. I broke a lot of rules in what you would do [with a leading lady]. All the little flaws that people have, I actually wanted to play on – like not tinting any eyelashes, and I didn't want to have any blusher or red lipstick.'

Garai's performance is electric. One minute she's flinty, cold-eyed and dangerous; the next she looks ravishing, cheeks flushed and red curls swirling around her face. You really believe she is capable of calculation. 'We did audition a lot of actresses, but she's got a very great mastery of the complexity of the part,' Thompson says. 'She brings a lot of nuance, a lot of subtlety, a great intelligence and she is also very beautiful. It's very hard to find one actor with a combination of all these things.'

When I meet Garai she explains that she has played lots of period heroines (As You Like It, Atonement, Emma) and is loving this because it is so different. 'Normally with costume dramas everyone is going, "Oooh, it looks so beautiful." And they get married in the end. This is not like that at all.'

Crimson requires her to go topless, have sex in compromising positions and squat over a bowl. Did she struggle with that? 'Well, on the one hand you have all this guff about it being a strong, amazing part, but if your tits are out for 25 minutes at the beginning, you think, how do you play it? But Lucinda's attitude to the sex is something I felt very comfortable with. She makes it very clear in her script that Sugar is not racked with ecstasy. It's a job and she's very good at it, but it's as a result of child abuse and let's not be coy about that.'

So what will Faber make of it? 'I don't think that anyone could reasonably claim that The Crimson Petal is one of those guided tours of a tourist 19th century, where you go to look at all the pretty costumes,' he observed of his novel soon after it was published. This four-part series may not make historical sense, but in its aim to shake the good manners of costume drama, it does Faber proud.

The Crimson Petal and the White starts on BBC Two on March 16
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Wednesday 2 March 2011

Shameless S08E13

Shameless star Pauline McLynn has departed the hit show after getting her clothes off for the last time last night. The actress, who plays librarian Libby Croker and love of Frank Gallagher's life, leaves her role after a "difficult year" commuting between Manchester and her homes in London and Ireland.

Irish-born performer and writer McLynn first made her name as Father Ted's tea-loving parish housekeepr Mrs Doyle. She joined The Jockey regulars at the start of the 2010 series, which saw Libby moving in with Frank and the rest of the Gallagher family. "It's not exactly a part people had seen me play before," admitted the actress. "I had to get my kit off because it's Shameless and sex is all part of living on the Chatsworth estate. There's a lot of shagging and I did get naked for the first time in my life... well, the first time for money."

A spokeswoman for the drama said: "It was a natural point for Pauline to leave the show. She's very proud to have been a part of Shameless over the last couple of years and has other projects coming up that she's excited about."


Television Series: Shameless (S08E07)
Release Date: January 2011
Actress: Pauline McLynn
Video Clips Credit: Trailblazer
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Blurring The Boundaries

TV viewers got an eyeful with their breakfast and coffee, reports today's Daily Mail. This Morning blurred the boundaries of pre-cocktail hour conversation when they discussed the results of a sex survey on the show. Phillip Schofield and stand-in host Ruth Langsford didn't appear to know where to look when sex therapist Jo Hemmings and Dr Pixie McKenna showed up with adult toys on the ITV program to chat about spicing things up in the bedroom.

The results of the network's sex survey 2011, a follow-up from last year, were shown to a soundtrack of Sexual Healing and a breathy voice over. Schofield stumbled over his words while discussing one figure - that 20 per cent of male respondents to the survey admit to faking an orgasm. As they watched one couple demonstrating a racy sexual position, he quipped: 'Glad she's kept her stockings on, there's only so far we're allowed to go.' At one point another couple perched on a bed with handcuffs, a feather boa and blindfold, in a demonstration about role play in the bedroom.


The Mail insists some viewers may think that the program had overstepped the line for a morning show as they chatted animatedly about whether or not cyber sex is considered cheating. Results from the risqué survey, of which 88 per cent of respondents were female and 12 per cent were male, showed that 64 per cent of women believe that cyber sex does count as infidelity. 52 per cent of respondents have been cheated on, while 42 per cent of men admit to fantasising about other partners in bed.

Phillip Schofield turned the tables on Dr Pixie McKenna when she chatted about infidelity, making her blush when he asked if she was a victim of a cheating partner. It was his turn to get a little hot under the collar, though, as they discussed the statistics that 68 per cent of women have used sex toys, while 25 per cent of men use pornography 'most days.'
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Tuesday 1 March 2011

South Riding S01E02

"I’ve got a face made for suffering," sighs Anna Maxwell Martin before letting out a peal of laughter that punctuates her lively conversation. In Andrew Davies's new three-part drama serial South Riding for BBC One, Martin plays Sarah Burton, a modern career woman who returns home to take up the headmistress-ship of a struggling Yorkshire high school for girls. Full of ambition, passion and fire to take her life into her own hands, Sarah falls for the man least likely to have won her heart.

The LAMDA-trained actress who studied history at Liverpool University explains why her relationship with Robert Carne (played by David Morrissey) is hostile when they first meet – although that soon changes – and is further complicated by Joe Astell (Douglas Henshall), a rival for Sarah's affections.

"Sarah's relationship with Robert Carne is quite tricky on every level," continues Anna. "He served in the First World War and she's smashing all over that in her quest to encourage young girls to think for themselves. Naturally they have an attraction to one another, she's very open sexually to him and it doesn't necessarily end happily ever after. With Douglas Henshall, who plays Joe Astell, they are great comrades and are much more politically like-minded, he is the person she should go for, but as is the way, women never go for men that they are supposed to! So that's sort of fraught as well."

South Riding is Anna's second collaboration with prolific writer Andrew Davies, following her critically acclaimed role as Esther in BBC drama Bleak House in 2005.
"Working with Andrew again was very interesting because obviously I last worked with him on Bleak House which was quite a few years ago. I felt like a baby when I did Bleak House. I suppose I feel like a different person and a bit more mature and more experienced now."


Television Series: South Riding (S01E02)
Release Date: February 2011
Actress: Anna Maxwell Martin
Video Clips Credit: Trailblazer
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