I have for a long time enjoyed J B Priestley's famous "time-play" having read it and seen it performed in the theatre more than once. This BBC Drama version plays it relatively safe, staying true to the era and by and large to the text. It's very well acted by its ensemble cast with David Thewlis almost ghoulish as the soft-spoken, avenging "Inspector" Goole, Ken Stott as the self-important patriarch Mr, soon-to-be Sir Birling and especially Sophie Rundle as the spirited but doomed Eva/Daisy/Alice whose fate casts a long shadow over the whole Birling family, father, mother, son, newly engaged daughter and her well-to-do fiancé Mr Croft, assembled at the Birling mansion to celebrate the engagement.
The play is opened up just enough so as you'd notice with some external scenes but mostly, as you'd expect it's played indoors, intensifying the drama to a backdrop of hypnotic chamber music as the plot edges inevitably to its climaxes. I say climaxes because of the two big reveals that Priestley employs, firstly exposing the hypocrisy of the staid pre-Great War English society in their links to this young woman's demise and then the brilliant twist at the end just when it seems as if they've all gotten away with it.
Some of Priestley's wider themes seem to be just that, i.e. wide of the mark, like his prediction of a bloody uprising by the downtrodden working classes, although considering the social upheaval later in the depicted decade, obviously with events abroad in Russia, Ireland and Weimar Germany to name but three, never mind the General Strike and Red Clydeside disputes of the post-War era here in Britain maybe he wasn't so far out either. It's only in the words and actions of the two youngest members of the afflicted Birlings that we see any hope of societal change in the future as we observe their conscience-stricken reaction to events, neither tainted by the jaundiced, self-motivated experience of their elders.
The treatment of the Inspector I thought played up the fantastic element just a little too much with the extended epilogue showing him as a sort of omnipresent spirit surrounding Eva as she comes to her fateful end almost as if the director felt the need to explain his unexplained presence,which for me reduced the character's effectiveness as the pricked conscience of the group, his last appearance should really have been after he finished with the family at the house.
Nevertheless, any production like this which respects the context of the original play as this one undoubtedly does, even if at times it creaked rather than crept along, still managed to entertain me just as it always has, as a taut, cleverly written, psychological thriller with a moral in the tale.
The play is opened up just enough so as you'd notice with some external scenes but mostly, as you'd expect it's played indoors, intensifying the drama to a backdrop of hypnotic chamber music as the plot edges inevitably to its climaxes. I say climaxes because of the two big reveals that Priestley employs, firstly exposing the hypocrisy of the staid pre-Great War English society in their links to this young woman's demise and then the brilliant twist at the end just when it seems as if they've all gotten away with it.
Some of Priestley's wider themes seem to be just that, i.e. wide of the mark, like his prediction of a bloody uprising by the downtrodden working classes, although considering the social upheaval later in the depicted decade, obviously with events abroad in Russia, Ireland and Weimar Germany to name but three, never mind the General Strike and Red Clydeside disputes of the post-War era here in Britain maybe he wasn't so far out either. It's only in the words and actions of the two youngest members of the afflicted Birlings that we see any hope of societal change in the future as we observe their conscience-stricken reaction to events, neither tainted by the jaundiced, self-motivated experience of their elders.
The treatment of the Inspector I thought played up the fantastic element just a little too much with the extended epilogue showing him as a sort of omnipresent spirit surrounding Eva as she comes to her fateful end almost as if the director felt the need to explain his unexplained presence,which for me reduced the character's effectiveness as the pricked conscience of the group, his last appearance should really have been after he finished with the family at the house.
Nevertheless, any production like this which respects the context of the original play as this one undoubtedly does, even if at times it creaked rather than crept along, still managed to entertain me just as it always has, as a taut, cleverly written, psychological thriller with a moral in the tale.