Tag Archives: S4C

Series Review, Enid a Lucy, S4C by Gareth Williams

4 out of 5 stars (4 / 5)

Writer Siwan Jones blends social realism and surrealist comedy in the most delightful way in Enid a Lucy. The S4C mini-series, which came to a slightly abrupt end on Sunday night, made for an entertaining and enjoyable drama. Termed the ‘Welsh Thelma and Louise’ by some, Eiry Thomas and Mabli Jên Eustace certainly provide plenty of laughs as the two leads whose offbeat road trip takes them from Llanelli to London via the most unconventional of routes.

The drama begins on a modest housing estate in Llanelli where we meet next door neighbours Enid (Thomas) and Lucy (Jên). Enid is a piano teacher whose home is neat and tidy, fitted with mod cons and well lit. Meanwhile, Lucy lives in a dark, dank and messy space. The drained colour palette of the cinematography, as well as the use of handheld camera, gives the impression that this is going to be a gritty, class-based drama. The introduction of Lucy’s drunken and abusive boyfriend Denfer (Steffan Cennydd), in contrast with the genteel and traditional images of the Mother’s Union that Enid is involved in, only serves to underline the divide that exists between them. Yet early indications that this is going to be a serious piece of realist drama are confounded by the end of the first episode when Enid turns getaway driver for Lucy in order to escape the hapless Denfer and his buffoon of an uncle, Sid (Nicholas McGaughey). What follows is a random and raucous cat-and-mouse chase across the country as the men seek to reclaim a holdall containing drugs and a gun from Lucy, who is determined to use the contents in order to make a better life for her and her baby.

Siwan Jones’ script plays like a melody that is pitched just below hard-hitting but doesn’t quite decrescendo into absolute farce. It manages to deal with some big issues, such as childlessness and mental health, but these never feel forced. Neither are they allowed to consume the overall narrative, Jones ensuring that the escapades of Enid and Lucy are filled with much hilarity and randomness. This includes perhaps the most comical scene of the series, where two farmers that they end up staying with accidently take some of the drugs in the holdall. Actors Ifan Huw Dafydd and Rhodri Evan really let loose their inner zombie to produce a very funny scene. It borders on the ridiculous but never descends into the realms of the unbelievable. It is this kind of accurate measurement which Jones must be applauded for in the writing of Enid a Lucy.

My only bone of contention with this drama was the finale. It was as if a timer had suddenly gone off with five minutes to go and all the loose ends had to be tied up tout suite. It left me feeling rather out-of-kilter; that such a well-paced journey should end so abruptly. Although not quite on the same level as the conclusion to BBC1’s The Replacement (2017), it nevertheless conjured up similar feelings. It is a shame because, otherwise, Enid a Lucy is a great drama, with particularly notable performances from Eiry Thomas and Mabli Jên Eustace. Thomas, in particular, slips into her character with ease here; in contrast to her over-exaggerated performance as the detective in Keeping Faith, she is completely believable as Enid. She is a joy to watch, especially during her exchanges with Eustace: the two bounce off one another wonderfully.

It is great to see S4C, via producers Boom Cymru, giving a prime-time platform to female writers at the start of 2019. Both Fflur Dafydd (35 Awr) and now Siwan Jones have provided Welsh audiences with some quality TV drama already this year. Enid a Lucy may have only received a short run, but it was fun whilst it lasted. Its slightly left-field style follows on from some of Jones’ previous work – not least 2011’s Alys – but it still feels highly original. It would have been great to have spent longer with these characters. Despite its rather hasty end though, Enid a Lucy still manages to thoroughly entertain.

Watch the series on S4C’s Clic here.

gareth

Series Review, 35 Awr, s4c by Gareth Williams

4 out of 5 stars (4 / 5)

Exasperated by BBC1 Wales’ Pitching In? Thankfully, it is now the exception to the rule when it comes to contemporary Welsh television drama. What would have once been seen as a godsend – alleviating the problem of non-representation, if only briefly – is now seen as an affront to the people of Wales. We’re better than this. The last few years has seen an explosion of Welsh drama. Not only in the number of series’, but in the quality of these series’ too. From Hinterland to Bang, Parch to Keeping Faith, there has never been a better time for Welsh-set, Welsh-made drama. A Golden Age, as I’ve been inclined to call it.

At the start of 2019, there is another drama to be added to this growing roster: 35 Awr. Fflur Dafydd’s new series sees a 12-person jury assemble after a court case to consider their verdict. But finding the defendant guilty or not guilty of murder proves far less straight-forward than some were expecting. And when it comes to light that they could be in danger if allowed home, they are taken to a local hotel for their protection, until they can come to a decision. But not all is as it seems.

Across this 8-part series, the lives of these characters begin to slowly, tentatively, and intriguingly unfold. As they do, Dafydd begins to entangle them in a dark and sinister web. Connections are made, alliances formed; the power play between the different characters is always fascinating, never simple. The game of poker in episode three becomes the perfect metaphor for this psychological murder mystery. Even where their conversations seem mundane, or rather superfluous, one need only dig a little deeper, beneath the surface, to discover the ulterior motives, selfish motivations, and hidden desires at play. These aren’t always obvious at first. Which is what keeps the drama interesting. Dafydd slowly feeds us with tit-bits of information; now and again she surprises us with a big reveal. Such revelations come at steady intervals throughout; gradually increasing the tension, which bubbles gently until the final episode when it finally boils over, with pulsating twists and numerous turns.

It is the intimate characterisation which makes Fflur Dafydd’s scripts always so enjoyable. To see the characters of 35 Awr brought to life in such fine detail, and with such fascinating complexity, by the ensemble cast was a real treat. From the awful masculinity of Carwyn Jones’ Peredur to the nonchalant behaviour of Gillian Elisa’s Val (to name but two), Dafydd succeeds in creating a memorable set of well-rounded characters that become instantly recognisable long after the programme is over. Indeed, the excellent editing of Dafydd Hunt and the cinematography of Alwyn Hughes helps to give this drama a look that feels fresh and original even as it employs fairly standard techniques and tropes. This is no easy feat. Yet, somehow, they manage to do so; perhaps, in part, down to Dafydd’s original screenplay.

If you’re looking for a darker, more subversive murder mystery than your typical Agatha Christie, then 35 Awr should satisfy your needs. In fact, it should exceed them, for it is also much more than that. Part psychological thriller, part crime drama; it contains as much humour as it does menace. Writer Fflur Dafydd has assembled a fine cast of characters whose personal lives slowly seep out and intertwine with one another, creating a gripping narrative which culminates in a superbly arresting final episode. This is what great Welsh drama is. It is no longer defined by the likes of Pitching In. Pitching In is now the exception. Fflur Dafydd’s 35 Awr represents the rule.

Click here to watch the series now.

gareth

Review, Parch, S4C by Gareth Williams

4 out of 5 stars (4 / 5)

Last Sunday evening, I spent a good ten minutes with my hand firmly placed over my mouth. In the final episode of S4C drama series Parch, there was such an unexpected twist that I simply hadn’t seen coming. In my own words, ‘Well, that was a bombshell and a half’. To think that this is it, that we will no longer be following the crazy and chaotic life of the Reverend Myfanwy Elfed, is more than a little sad. Yet writer and creator Fflur Dafydd has reached the conclusion that this is a good time to say farewell to this most lovable of protagonists. It’s a little frustrating. Carys Eleri has brought such warmth and wit to her character that it has always been a pleasure to share in her company of a Sunday evening. But if she must go, then she has gone in the most beautifully tragic of ways. It felt like Dafydd always knew how this series was going to end. It made the final scenes no less surprising though. And for someone who has journeyed with Myfanwy through all three series, the emotional impact of this final section certainly hit hard.

It is only retrospectively looking back at the narrative arc of the main character that you begin to see the full artistic vision of Fflur Dafydd for Parch. As such, although gutted that this is the end of the road, I applaud her for having the conviction to draw a natural line in the sand and stick to it. So many TV drama series’ these days have a tendency to drag on a bit too long, remaining on our screens on the basis of their initial commercial success. What would have been the right time to stop is made into a springboard in an attempt to give fans more of what they love. Yet for so many it is like carrying on after reaching the edge of a cliff. Few fly. Many fall. As a result, I’m rather glad that Dafydd has refused to bow to the desires of people like me who want to see Parch continue. Instead, it will remain an ever-affectionate drama in my mind rather than a hoped-for return to a glorious past. Not that the series has to end due to Myfanwy’s absence. It is testament to the strength of Fflur Dafydd’s writing that, over the course of these three series, the focus has been as much on the other characters as the cleric of the title. As such, although initially a contemporary representation of a female priest within the Church in Wales, the series has also seen a broader focus on the trials and tribulations of the Elfed family and those around them. We have been involved as much with Gwenlli (Non Haf) and her struggles with her sexuality, for example, as we have been with Myfanwy and her faith. This final series, in particular, has been such an enjoyable watch in part due to Dafydd’s ability to hold the various storylines onscreen together. She has woven romance, mystery, fantasy, and family drama together so brilliantly that, in the end, it has become an ensemble piece. But, ultimately, it would be odd to continue in her absence. Even if she were to be like the ghostly visions that have accompanied her throughout the series’, somehow it wouldn’t be the same. In the end, Fflur Dafydd has made the right decision to bring Parch to a close.

Parch is another example of the high quality television drama that is currently being produced in Wales. As I’ve said recently, I think this is something a golden age for Welsh television drama. Having watched it alongside Keeping Faith, I can honestly say that Parch ranks just as highly in my view. It may not have won the plaudits that Keeping Faith has, but it has shown a quiet strength, epitomised by Carys Eleri’s performance. Whilst Eve Myles showcased her bold and brash physicality in Keeping Faith, Eleri has brought a humorous vigour and subtle power to her character in Parch. In doing so, she leaves behind an indelible mark of a veracious female lead who will be sorely missed.

So thank you, Fflur Dafydd. You may have left me in tears at the end, but the past three series have been a joy to watch. Parch will be missed.