Tag Archives: Gwyneth Keyworth

Film & TV

Review, Lost Boys and Fairies, BBC, by Gareth Williams

4 Comments
out of 5 stars (5 / 5)

Lost Boys and Fairies is a very moving piece of television. Created and written by Daf James, it is both heartwarming and heart-wrenching. He draws on his own experience of the adoption process to tell the story of Gabe (Sion Daniel Young) and Andy (Fra Fee) who, as potential parents to a little boy called Jake (Leo Harris), journey through the highs and lows of what is an illuminating and very affecting narrative. So much so that it sometimes hits a little too close to home.

Daf James

One of the reasons for its potency lies in the performances of the cast. Young and Fee are suitably matched as the central couple, bringing charm and warmth to their characters but in very different ways. Through their initial meetings with social worker Jackie (played with effervescent forbearance by Elizabeth Berrington), Andy appears easy-going and comfortable whilst Gabe is defensive, with an assurance that suppresses a very dark backstory. The latter becomes the protagonist in many ways, through an arc that forces him to face his demons and accept himself. His relationship with his father is key here. William Thomas portrays the emotionally-restrained, chapel-going Emrys with understated gentleness. It is the tiny cues in his body language and softness of voice that unearth a kind and considerate man whose attempts to interact with his son are compassionately flawed. The contrast between the grey skies above his drearily-decorated farmhouse in rural Wales and the vibrant colour inside the Cardiff nightclub where Gabe works could not be more marked. Yet they remain in touch, conversing in Welsh in a way that feels natural, unlike the deliberately inclusive bilingualism of a Hinterland or Hidden.

William Thomas
Gwyneth Keyworth

For all its verisimilitude, the series makes clever use of magical realism. The inclusion of musical elements at once hyperbolises, celebrates and subverts its subject matters. It leads to flashbacks being presented in a fresh and surprisingly non-superficial way. It adds a touch of the absurd to make emotionally intelligible what might otherwise be elaborate or nihilistic. It queers the conventional to emboss the dramatic nature of the storyline with pensive irony. Ultimately, its contribution makes moments like Gabe and Andy’s first meeting with Jake all the more emotive; Gabe’s answers to the adoption panel, particularly the second time around, more revealing; and his meeting with Jake’s mother all the more tear-jerking. Gwyneth Keyworth may only appear in this penultimate scene of the series but her presentation of a boisterous but broken single parent is spellbinding. Specifically, how she encapsulates the range of attitudes and emotions across the length of their encounter, going from garrulous and domineering to kind and caring, fragile and vulnerable and deeply loving toward her son. It is heartbreaking but also, in the context of her interaction with Gabe, strangely uplifting.

Given that Leo Harris is starring in his first major role here, his portrayal of Jake is fantastically well-rounded and hugely empathetic. Opposite Young and Fee he embodies a mischievous yet lovable child with realistic aplomb. Which makes Jake and Gabe’s connection over a dressing table simply wonderful. In addition to the silence and diegetic sound of birdsong, and the sunlight creeping into the room with them, it makes for one of the most beautiful pieces of television. Contrast it with the second episode’s unexpected ending and the description of Lost Boys and Fairies becomes ‘deeply moving’. It is a hard watch at times but also life-affirming. Prepare to laugh and cry and be fearfully and wonderfully broken.

Click here to watch the series on BBC iPlayer.

Reviewed by
Gareth Williams
Film & TV

Review, Fflam, S4c by Gareth Williams

Leave a comment

out of 5 stars (3 / 5)

The recent S4C series Fflam was a slow-burner. I came to it with much intrigue and anticipation given the concept and acting talent. The idea of a woman, Noni, seeing her dead husband, Tim, again, after years believing he had died in a fire, sounded like the perfect spark from which to ignite a gripping narrative. The fact that Gwyneth Keyworth (Bang, Craith/Hidden) and Richard Harrington (Hinterland, Poldark) played the lead roles only served to excite and offer high expectations. So it was with sadness and disappointment that I found myself ultimately underwhelmed by its delivery. It did manage to strike a few matches throughout its six, half-hour episodes. However, these failed to set alight a series that was full of promise but low on satisfaction.

The performance of Keyworth was central to giving the drama a certain kudos that it may otherwise have lacked. Her ability to convey Noni’s internal emotions onscreen was akin to that of Eve Myles in Keeping Faith. The difference here though was the oft understated way that Keyworth did this. She demonstrated the conflict between grief and passion going on inside through very subtle expression which, nevertheless, with help from the camera and editing suite, was full of depth. Her appearances alongside Richard Harrington, particularly those in a restaurant over dinner, provided some of the most enjoyable scenes of the series. The gentle charisma that Harrington brought to his mysterious character, opposite the romantic infatuation that Keyworth successfully tempered as Noni, helped create a sense of ease. It led to a free-flowing script that meant their conversations appeared natural onscreen. These moments became absorbing as a result, giving some required fizz to a drama that, outside of them, felt a bit flat and unengaging.

    I wonder whether the drama would have benefitted from having a more compressed narrative in which its central premise was played with a lot sooner and the final twist in the series was incorporated a lot earlier. This would have contributed to the retention of dramatic tension that, instead, bubbles up and then peters out at several points throughout the series. It is not helped by the fact that the characters of Deniz (Memet Ali Alabora), Ekin (Pinar Ögün), and Malan (Mali Ann Rees) were underserved by a subplot that lacked the same level of emotional investment as the main thread. And even in respect of the lead characters’ encounters, the pull-and-push of their developing relationship, though understandable in capturing Noni’s reticence, became increasingly frustrating. It simply took too long to progress, with the undesired effect being that, at points, the series felt like it was playing for time. By the time the revelations started to come out in episode five, they did not elicit the same degree of interest as they might otherwise have done had the narrative been pacier. As such, Fflam would have benefitted from an adaptation that condensed its source material into much more flavoursome half-hour chunks than we get here.

    Overall then, Fflam has plenty of plus points to prevent it from being a damp squib even as it fails to set fire to the landscape of Welsh television drama. It is refreshing to see an image of Wales that is multicultural and inclusive played out onscreen, even if the presence of diverse characters only serve to circulate around a central narrative in which they play a limited part. Gwyneth Keyworth cements her status as one of Wales’ most exciting and talented screen actresses, with Richard Harrington and Mali Ann Rees again proving solid and reliable actors in their own right. If a second series is forthcoming, as expected, then Fflam has plenty of room for improvement. But it also still retains enough unrealised potential to warrant another chance.

    Click here to watch the whole series.

    Written by
    Gareth Williams

    Film & TV

    Series Review, Hidden, BBC Cymru Wales by Gareth Williams

    1 Comment

    out of 5 stars (3 / 5)

    When one looks back over 2018, Keeping Faith is sure to come out on top in the world of Welsh television drama. It has been a huge success. Its latest stop on its incredible journey is primetime BBC One. It goes from strength to strength, and will certainly deserve all the accolades that come its way. In amidst all the hype of this brilliant series however, it has been easy to overlook another Welsh drama that has been airing over the past two months on BBC Wales and BBC Four respectively. Produced by the creator of another Welsh hit drama Hinterland, Ed Talfan, Hidden has been allowed to bubble away below the surface of Keeping Faith’s success. I would suggest that this is primarily because it is a crime drama. And though I would agree, to a certain extent, with some of the groans that accompany the thought of yet another one hitting our screens, it does at least offer something a little different. There is a slight spin on the achingly familiar.

    The twist in Hidden’s tale is the revelation of the killer at the outset. The opening scene sees a girl running through the woods, pursued by an unknown man. This girl is subsequently found dead. The investigation that unravels across the whole of the series centres on finding this girl’s killer. Such a task is given to local detectives Cadi John (Sian Reece Williams) and Owen Vaughan (Sion Alun Davies). But whilst they are in the dark over the killer’s identity, the viewer is given unprecedented access into the life of Dylan Harris, played brilliantly by Rhodri Meilir. A strange, sensitive and brutalised figure, Harris lives with his mother and daughter in an old farmhouse deep within a forest of the Snowdonia National Park. It turns out that he is a serial abductor of young women. Having let his latest catch go, we witness his unsuccessful attempt at abducting a local farm girl. Then, as the pieces of the drama’s puzzle start to come together á la The Bridge, he claims the life of long-suffering student Megan Ruddock (a standout performance from Gwyneth Keyworth). What follows is a tense thriller that follows both the police investigation and Harris’ narrative simultaneously. As a result, it involves the viewer deeply in its various twists and turns over the course of its eight episode run.

    Despite the fact that the central crime isn’t particularly original, Hidden remains worthy of some praise for the performances of two of its central actors: Rhodri Meilir and Gwyneth Keyworth. Episode four in particular, which is wholly focused on Dylan and Megan, is a deeply uncomfortable yet utterly compelling hour of television. It is made so by their noteworthy performances. Firstly, Meilir brings a vulnerability and gentleness to the role of Dylan that will be recognisable to fans of the sitcom My Family, in which he played the hapless Alfie. Yet this vulnerability and gentleness are subverted as a result of the abuse Dylan has suffered at the hands of his mother (Gillian Elisa). As a result, they manifest themselves in an extremely dark and dangerous way, far from the comforting confines of the Harper household. Meilir manages to express such complexity at the heart of his character in such a way that the viewer is both sympathetic yet repulsed by him. To extract such opposing emotions is testament to Meilir and his ability to play such a broken and complex figure. Meanwhile, Gwyneth Keyworth produces an emotionally raw performance as Megan, a student whose mental anguish (outwardly shown in the form of self-harm) is exacerbated by her abduction. It is an incredibly challenging role that Keyworth manages to embody wholeheartedly. As a result, she is powerfully believable as Megan. It is easy to forget sometimes, in the course of the series, that what is witnessed is a dramatic reconstruction. Keyworth plays it in such a way that it seems horribly real. For me, it is one of the most engrossing performances in a British TV drama this year.

    With a stunning backdrop that shows off the bleak, mountainous terrain of North West Wales in all its magnificent and austere glory, Hidden may not be revolutionary but it is still worth watching. With some excellent performances from the cast and a slightly different take on the conventional crime narrative, it has enough going for it to keep viewers coming back for more. If you like your crime dramas dark and disturbing, then Hidden is certainly for you. It may not be Keeping Faith but it nevertheless showcases the fantastic talent coming out of Wales at the moment at every level, from production to acting, storytelling to editing. This is very exciting. With hopefully more fantastic ‘Made in Wales’ dramas to come, the Welsh TV landscape looks like going from strength to strength.

    Click here to watch the full series.

    gareth