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The Gondoliers (2022) #1409
MUSIC
Main
150 mins. BBC. One of the finest of Gilbert and Sullivan’s operas in a sumptuous production by Scottish Opera. Sunny, funny and with more 'tra-la-las' per square inch than any other opera in the canon, The Gondoliers is a joy from start to finish. This witty satire is jam-packed with unforgettable star roles, musical highlights and dancing, including numbers such as Take a Pair of Sparkling Eyes, Regular Royal Queen and the Cachucha. The Gondoliers is a charming poke at the appeals and pitfalls of rulership, privilege and cronyism. Two happy-go-lucky Venetian gondoliers, Marco and Giuseppe, discover that one of them is, in fact, heir to the throne of a distant kingdom. True to their (adopted) republican roots, they set off together to rule in idealistic if somewhat chaotic style. Marco and Giuseppe have just chosen their brides, Gianetta and Tessa, when their lives are thrown into turmoil by the arrival of the grand inquisitor, Don Alhambra, who informs them that one of them has acquired the throne of the distant Kingdom of Barataria. The Duke of Plaza-Toro brings his daughter to meet Don Alhambra because she has been betrothed to the new monarch - whichever he is. No-one can identify which of the gondoliers is to be the king, so they both agree to go and rule jointly and according to their strict republican instincts. It’s a fine but exhausting ideal, as they find that ‘equality’ means they end up doing all the work themselves. The Duke of Plaza-Toro, bringing his daughter, arrives in the chaotic kingdom, and after vain attempts to teach the monarchs decorum and judgement, the confusion and incompetence is resolved, and the rightful monarch is in place. In a co-production by D’Oyly Carte Opera and State Opera South Australia, Stuart Maunder directs the production with fun, verve and taste, with Scottish Opera’s music director, Derek Clark, conducting one of Arthur Sullivan’s most attractive and affecting scores. The designs are by Dick Bird, drawing on views of Venice by Canaletto and creating colourful costumes full of style and wit. Isabel Baquero has devised an energetic and boisterous choreography that matches the joy of the production. |
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The Gondoliers (2022) #1410
MUSIC
Special
150 mins. BBC. One of the finest of Gilbert and Sullivan’s operas in a sumptuous production by Scottish Opera. Sunny, funny and with more 'tra-la-las' per square inch than any other opera in the canon, The Gondoliers is a joy from start to finish. This witty satire is jam-packed with unforgettable star roles, musical highlights and dancing, including numbers such as Take a Pair of Sparkling Eyes, Regular Royal Queen and the Cachucha. The Gondoliers is a charming poke at the appeals and pitfalls of rulership, privilege and cronyism. Two happy-go-lucky Venetian gondoliers, Marco and Giuseppe, discover that one of them is, in fact, heir to the throne of a distant kingdom. True to their (adopted) republican roots, they set off together to rule in idealistic if somewhat chaotic style. Marco and Giuseppe have just chosen their brides, Gianetta and Tessa, when their lives are thrown into turmoil by the arrival of the grand inquisitor, Don Alhambra, who informs them that one of them has acquired the throne of the distant Kingdom of Barataria. The Duke of Plaza-Toro brings his daughter to meet Don Alhambra because she has been betrothed to the new monarch - whichever he is. No-one can identify which of the gondoliers is to be the king, so they both agree to go and rule jointly and according to their strict republican instincts. It’s a fine but exhausting ideal, as they find that ‘equality’ means they end up doing all the work themselves. The Duke of Plaza-Toro, bringing his daughter, arrives in the chaotic kingdom, and after vain attempts to teach the monarchs decorum and judgement, the confusion and incompetence is resolved, and the rightful monarch is in place. In a co-production by D’Oyly Carte Opera and State Opera South Australia, Stuart Maunder directs the production with fun, verve and taste, with Scottish Opera’s music director, Derek Clark, conducting one of Arthur Sullivan’s most attractive and affecting scores. The designs are by Dick Bird, drawing on views of Venice by Canaletto and creating colourful costumes full of style and wit. Isabel Baquero has devised an energetic and boisterous choreography that matches the joy of the production. 2 DVDs - Act I & Act II |
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The Windermere Children: In Their Own Words (2020) #1240
DOCUMENTARY
Main
1 hour. BBC. The story of the pioneering project to rehabilitate child survivors of the Holocaust on the shores of Lake Windermere. In the year that marks the 75th anniversary of the end of World War II and the Holocaust, this powerful documentary, which accompanies the BBC Two drama, The Windermere Children, reveals a little-known story of 300 young orphaned Jewish refugees, who began new lives in England’s Lake District in the summer of 1945. With compelling testimony from some of the last living Holocaust survivors, the film explores an extraordinary success story that emerged from the darkest of times, all beginning with the arrival of ten Stirling bombers carrying the 300 children from Prague to Carlisle on 14 August 1945. The survivor interviews include extraordinary first-hand accounts of both their wartime experiences, separation from their families and the horrors they experienced, but also their wonder at arriving in Britain and their lives thereafter. The children hailed from very different backgrounds, including rural Poland, metropolitan Warsaw Czechoslovakia and Berlin. Some had grown up in poverty, others in middle-class comfort. Their rehabilitation in England was organised by one charity, the Central British Fund (CBF). Leonard Montefiore, a prominent Jewish philanthropist, used his pre-war experience of the Kindertransport and successfully lobbied the British government to agree to allow up to 1,000 young Jewish concentration camp survivors into Britain. It was decided that the first 300 children would be brought from the liberated camp of Theresienstadt to Britain. And serendipitously, empty accommodation was found on the shores of Lake Windermere in a defunct factory. During the war, it had built seaplanes, but after D-Day the factory was closed, and the workers’ accommodation stood empty. With space to house them and in a truly beautiful setting, it was to prove the perfect location for these traumatised children. The CBF, however, was in uncharted territory. A project to mass-rehabilitate a group of traumatised children had never been attempted before. But in the idyllic setting of Windermere and with just the right team assembled, the children were given the chance to unlearn the survival techniques they’d picked up in the camps. With the freedom to ride bikes, play football, learn English, socialise with local teenagers and swim in the lake, they began to come to terms with the horrors they had experienced and the fact that their mothers, fathers and siblings had perished. Despite the fact that the UK government initially only offered two-year temporary visas, with strict immigration policies enforced in other countries and without families to return to, it soon became clear that there was nowhere else for most of the children to go. Many of the 300 stayed in the UK for their entire lives, becoming British citizens and raising children of their own. Now, 75 years later, the close friendships that were forged in Windermere remain and many consider each other as family. Reflecting on the survivors’ lives after Windermere, the film includes touching home movie footage and remarkable success stories, like Sir Ben Helfgott’s incredible weightlifting career, representing Britain at the 1956 Olympics, only eleven years after arriving in the UK. The documentary also tells the story of the charity they formed, the 45Aid society. With footage of their annual reunions, the documentary gives a sense of the generations of families who all trace their British beginnings to Windermere. |
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A Slow Odyssey: The Great Wall of China (2019) #1171
DOCUMENTARY
Main
90mins. BBC. Slow television. A spectacular aerial journey flying over the world’s longest man-made monument, the Great Wall of China. In classic slow-TV style - without commentary and using authentic location sound - fly 2,500 kilometres along the 2,300-year-old wall, from the Yellow Sea in the crowded east, near Beijing, to the remote Gobi Desert in the west. This epic adventure explores 20 location highlights of the UNESCO-world-heritage site, built by the Ming Dynasty between 1368 and 1644, starting at Old Dragon’s Head on the east coast and ending at the extraordinary Jaiyuguan Fortress - once the gateway into China from the ancient Silk Road trading route. With the help of informative captions, witness the classic stone, crenellated walls, ramparts and watchtowers, which rise and fall over the high mountain ranges for the first 500 kilometres of the Great Wall, north of Beijing. Highlights include the famous tourist wall of Badaling, which has seen visits from 500 heads of state, including the Queen and US Presidents Nixon and Obama. It was the first section of the Great Wall to open to tourists in 1957. The middle section explores the rarely seen rammed-earth mud wall, built in provinces with few stone or brick resources, which is much more fragile. More than a third of the entire Great Wall has been destroyed by nature, war and progress over the last three centuries. There is a significant meeting of two Chinese icons as the Great Wall crosses the great Yellow River, known as the cradle of Chinese civilisation. In the final third of the journey, the wall stretches off across desolate floodplains as it starts to border the remote western Gobi Desert. Flying high above one of the last remaining ancient walled towns, its name becomes obvious - Yongtai or ‘Turtle Town’ – as its 17th-century walls and watchtowers resemble the shape of a turtle. The final dramatic climax comes at the Qilian Gorge, 80 metres above a roaring river, with the snow-capped mountains of the Tibetan plateau in the distance. The end tower is just a few kilometres from the impressive double-walled Jaiyuguan Fortress, whose three gigantic temple towers dominate the landscape, brandishing the words: ‘The First and Greatest Pass under Heaven’. This was the intimidating welcome to all new arrivals entering China from the west along the Silk Road. A Slow Odyssey is a TV first, showing The Great Wall as it has never been seen before – entirely from the air. |
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The Unwanted: The Secret Windrush Files (2019) #1200
DOCUMENTARY
Main
1 hour. BBC. David Olusoga opens secret government files to show how the Windrush scandal and the ‘hostile environment’ for black British immigrants has been 70 years in the making. The film features Sarah O’Connor, Anthony Bryan and Judy Griffith. Settled here legally since childhood, they were re-classified as illegal immigrants by new ‘hostile environment’ regulations. Unable to show proof of their nationality status, they lost jobs, savings and their health, facing deportation back to countries they could barely remember. David reveals how today’s scandal is rooted in the secrets of the past. The first Windrush generation were Commonwealth citizens - many of them ex-servicemen - coming to rebuild war-torn Britain. Yet even before arriving, they were seen by the Government with hostility. Civil servants and MPs warned of dire consequences if what they called a ‘coloured element’ was introduced into the UK. PM Clement Attlee even suggested diverting the Windrush passengers to east Africa - to pick peanuts. The same government was actively recruiting tens of thousands of white volunteer workers from Europe - some of them former members of Waffen-SS regiments which stood accused of war crimes on the Eastern Front - for ‘permanent settlement here with a view to their inter-marrying and complete absorption into our own working population’. The files expose how successive British governments spent the next decade trying to devise a way to prevent further Caribbean arrivals without appearing to discriminate against them. PM Winston Churchill, dissatisfied with ministers’ response to what he saw as a serious problem, kept the issue on the cabinet agenda and a special Working Party was set up to gather information to make the political case for immigration controls. Two weeks after the Queen’s coronation as head of the UK and Commonwealth, a secret race survey was undertaken and completed, looking for proof that Commonwealth immigrants were a burden on the Welfare State. Chief constables in major cities were asked if ‘the coloured community as a whole, or particular sections of it, are generally idle or poor workmen’, and if they were ‘addicted to drug-trafficking or other types of crime’. The Working Party found no evidence for the view that the ‘coloured community’ was less law-abiding or hard working than other Brits. When Harold Macmillan’s government introduced the 1962 Immigration Act, its control mechanism was the employment prospects of would-be immigrants. The files show how home secretary ‘Rab’ Butler, described the ‘great merit’ of the scheme was that it ‘can be presented as making no distinction on grounds of race or colour’, but would, in practice, ‘operate on coloured people almost exclusively’. By that time, Caribbean immigration had shrunk to a fraction of earlier levels. But, fearing further restrictions, the Windrush generation now arranged for their children to come. The ‘children of the Windrush' had full legal rights to join their parents in the UK, and many arrived with little paperwork or official record keeping. Successive governments passed new immigration and nationality legislation, often in response to perceived ‘problems’ or ‘crises’. Harold Wilson rushed through the 1968 Immigration Act, in just three days to stop arrivals of thousands of passport-holding British-Indians living in Kenya, whose businesses and livelihoods were threatened by its government. Edward Heath’s 1971 Act tried to restrict the legal definition of ‘Britishness’. It also placed the burden of proof on the claimant should their Britishness be challenged—a fateful clause for the ‘children of the Windrush’. Throughout the multiple changes to immigration and nationality law enacted up to 2014, the nationality status of the ‘children of Windrush’ remained unchanged and unchallenged. As British citizens with full legal rights to live here, they put down roots, pursued careers, raised children and grandchildren and contributed in ways great and small to the creation of modern Britain. But with the introduction of the so-called ‘hostile environment’ legislation of 2014 and 2016, their situation changed. Though they were never the intended targets of the new laws, the hostile environment machine that evolved over the decade wasn’t designed to make allowances. Suddenly required to prove their status (due to the 1971 Act), Sarah, Anthony and Judy found themselves unable to show the levels of proof demanded by the new ‘hostile environment’ regulations. All three lost their jobs for up to two years and ran up debt trying to make ends meet. Anthony was arrested twice by Immigration Officers and held for weeks in detention centres. Then a ticket was bought to deport him to Jamaica, a country hadn’t seen since he left, aged eight, in 1965. ‘They broke me in there’, Anthony says. ‘It was hard’. Judy Griffith, still struggling to repay her debts, says: ‘It makes you question the whole, what is British? What is Britishness?’ |
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1944: Should we Bomb Auschwitz? (2019) #1211
DOCUMENTARY
Main
1 hour. Rise of the Nazis - Episode 3. 1 hour. BBC. In April 1944, two Jewish prisoners miraculously escaped from Auschwitz. When they recounted what they had left behind, their harrowing testimony revealed the true horror of the Holocaust to the outside world for the first time. They described in forensic detail the gas chambers and the full extent of the extermination programme. The news they brought presented the Allies with one of the greatest moral questions of the 20th century: Should we bomb Auschwitz? While the Allies deliberated in London and Washington, the killing machine ground on in southern Poland. One month after the men’s escape, almost 800,000 Hungarian Jews had been rounded up awaiting transport to Auschwitz. By early July 1944, the majority had been transported. Most of them were murdered on arrival. As the killing at Auschwitz reached its frenzied climax, the outcome of the Second World War hung in the balance. Millions of troops were fighting on both fronts and battling for supremacy in the air. Should the Allies use their resources to push on and win the war or to stop the industrial slaughter at Auschwitz? The request to bomb the camp, with 30,000 captive prisoners, was remarkable and came from a place of utter desperation. But it was a direct response to the destruction of an entire people. There were operational challenges - was it possible to reach the camp to bomb it? How many heavy bombers would it take? What would the Nazi propaganda machine say about such an attack? - as well as complex moral ones. How many prisoners would likely die in such a raid? Can you kill friendly civilians in order to save the lives of those being transported towards the death camp? These were the hard questions faced by Churchill, Allied Air Command and the Jewish Agency. For the first time on television, we tell the whole of this incredible story. |
| 7 |
Hidden History: The Lost Portraits Of Bradford (2019) #1217
DOCUMENTARY
Main
1 hour. BBC. Thirty years ago, thousands of portraits from a small studio in Bradford were saved from a skip. They’re a unique collection of photographs which record the changing face of a British industrial city in the middle of the 20th century. Many of the people in the portraits were new arrivals from the Asian subcontinent, Eastern Europe and the Caribbean, attracted by the offer of work in wool mills. The names of these people are a mystery - only their faces survive. A small studio in the middle of Bradford - Belle Vue - built a business on taking portraits of the newly-arrived migrants. Photographer Tony Walker used an old Victorian camera to take images of his customers, which were often sent back to relatives in the countries they’d left behind. Working alongside staff from museums in Bradford, presenter Shanaz Gulzar identifies and tracks down the people in the portraits, and uncovers dramatic social change and the hidden stories behind the portraits. |
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Art of France (2017) #976
DOCUMENTARY
Main
3x1 hour. BBC. Andrew Graham Dixon takes viewers on a stunning visual journey through French art history. 1/3 Plus Ca Change. French art's development up to the arrival of Classicism and the Age of Enlightenment. 2/3 There Will Be Blood. Andrew Graham-Dixon explores how art took a dramatic turn following the French Revolution. 3/3 This Is the Modern World. France's angry young artists re-invent how to paint. |
| 9 |
Taboo (2017) #979
TV DRAMA
Special
Created by Chips Hardy, Tom Hardy, Steven Knight. With Tom Hardy, David Hayman, Jonathan Pryce, Oona Chaplin. Adventurer James Keziah Delaney builds his own shipping empire in the early 1800s. 8x1 hour. BBC. 1814: James Keziah Delaney returns to London from Africa and is encircled by conspiracy, murder and betrayal. 1/8 James Delaney returns to London to claim a mysterious legacy left to him by his father. 2/8 As James Delaney assembles his crew, an unexpected arrival threatens to disrupt his plans. 3/8 James Delaney finds himself alone with the mysterious Dr Dumbarton. 4/8 Blacklisted, James Delaney sets out to protect his business by any means necessary. 5/8 After a duel at dawn, James Delaney is blackmailed into a dangerous mission. 6/8 The Company declares war on James, whilst a revelation drives him to dark, haunted places. 7/8 A devastating betrayal puts James Delaney's freedom in jeopardy. 8/8 The Crown unleashes one final plan to destroy James. |
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Arrival (2016) #1336
FILM
Main
Directed by Denis Villeneuve. With Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg. A linguist works with the military to communicate with alien lifeforms after twelve mysterious spacecrafts appear around the world. |
| 11 |
Quartet (2012) #490
FILM
Main
Directed by Dustin Hoffman. With Maggie Smith, Michael Gambon, Billy Connolly, Tom Courtenay. At a home for retired musicians, the annual concert to celebrate Verdi's birthday is disrupted by the arrival of Jean, an eternal diva and the former wife of one of the residents. |
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The Artist (2011) #96
FILM
Main
Directed by Michel Hazanavicius. With Jean Dujardin, Bérénice Bejo, John Goodman, James Cromwell. A silent movie star meets a young dancer, but the arrival of talking pictures sends their careers in opposite directions. |
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City Island (2009) #23
FILM
Main
Directed by Raymond De Felitta. With Andy Garcia, Julianna Margulies, Steven Strait, Emily Mortimer. The Rizzos, a family who doesn't share their habits, aspirations, and careers with one another, find their delicate web of lies disturbed by the arrival of a young ex-con (Strait) brought home by Vince (Garcia), the patriarch of the family, who is a corrections officer in real life, and a hopeful actor in private. |
| 14 |
Joshua (2007) #167
FILM
Main
Directed by George Ratliff. With Sam Rockwell, Vera Farmiga, Jacob Kogan, Celia Weston. The arrival of a newborn girl causes the gradual disintegration of the Cairn family; particularly for 9-year-old Joshua (Kogan), an eccentric boy whose proper upbringing and refined tastes both take a sinister turn. aka The Devil's Child |
| 15 |
Pride & Prejudice (1995) #1292
TV DRAMA
Special
With Colin Firth, Jennifer Ehle, Susannah Harker, Julia Sawalha. While the arrival of wealthy gentlemen sends her marriage-minded mother into a frenzy, willful and opinionated Elizabeth Bennet matches wits with haughty Mr. Darcy. Novel by Jane Austen. |