It's 1914, the beginning of WWI. In White River, Ontario, en route to a training camp in Valcartier, Québec, with the Winnipeg section of the Canadian Army Veterinary Corps, Army Lieutenant... See full summary »
John Kent Harrison
Cassie is a shy college girl who wants to be accepted by others, but is only truly loved by her best friend Thelma. Cassie later discovers that she possesses dangerous powers, and is being ... See full summary »
King Henry VIII doesn't wear his heart on his sleeve, he carries it with him in the emblem of the Tudor Dynasty a red rose. Love for him is a seasonal cycle. His first wife Katherine of ... See full summary »
Based on the best-selling book by award-winning writer Simon Garfield, four stories from Britain's 'lost decade' (1945 - 1955) are presented from the diaries of four very distinct people. ... See full summary »
Given the pronounced anti-Catholic bias of most contemporary English history, one might think that any attempt to redress the balance might be welcomed. Alas, Jimmy McGovern's drama, 'Gunpowder, Treason and Plot', proves this not to be the case. Its greatest problem is its unfortunate tendency to encapsulate complex political issues in slogans, and those slogans, in turn, in characters - the portrayal of John Knox (who does little more than storm about and utter his most famous quote) exemplifies this. This, and the number of historical liberties taken (James I, for example, discovers the Gunpowder Plot in person) make the story a less accurate guide to the past than even 'Braveheart'.
The series is not helped either by some substandard acting. Clemence Posey, with her bizarre French-American-Scottish accent, is mostly inaudible as Mary Queen of Scots and seems to take most of the cues for her performance from Mila Jovovitch's disastrous turn as Joan of Arc in 'Messenger'. Sira Stampe is robotic as James I's wife, while Robert Carlyle's James is as unconvincing as he is unhinged. Also detracting from our enjoyment are the understaffed battle scenes, the histrionic tone, and a decidedly anachronistic portrayal of sexuality.
Surprisingly, given McGovern's own politics, there's almost no hint of republicanism here, although within a few decades Britain was engulfed by a civil war that disputed absolutely the relevance of monarchy: perhaps this is ignored because it was a Protestant rebellion. Instead, we get a boring, linear drama of good queen Mary, bad queen Elisabeth and mad king James. I'm still certain that somewhere, behind the propaganda, there's an interesting story - how did hatred of Catholocism spread so rapidly when only a handful of years previously, everyone in England was Catholic? But this film does little to open one's eyes.
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