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Vincent Franklin and Daisy May Cooper in the ‘weirdly half-hearted’ The Witchfinder.
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Both are talented performers, but every scene they do together leaves Key reduced to cinders. Key’s Gideon, a small-time witchfinder, trying to scale the career ladder, is (deliberately) low wattage, while Cooper’s Thomasine – a local woman accused of sorcery, taken to be tried in Chelmsford – is a raging bonfire. There aren’t nearly enough jokes in The Witchfinder, and Key and Cooper struggle to find comic chemistry. Which, obviously, is no laughing matter, and yet, in black comedy terms, there is no reason why it shouldn’t be. Written and directed by Neil and Rob Gibbons, who did the cracking This Time With Alan Partridge (Steve Coogan acts as script consultant on The Witchfinder), and starring Tim Key (Partridge’s sidekick) and Daisy May Cooper ( This Country), it’s set in East Anglia in 1645, during the murderous persecution of women as witches. I watched all six episodes of new BBC Two comedy The Witchfinder, as if I could somehow magic up an improvement, to no avail. It’s all in the cocky backchat, the crackles of masked intelligence, the wary glints the acknowledgment that whatever else is going on in cold war Britain, for Palmer, surfing the class system is part of it. However, a couple of episodes in, I’m finding that he’s sneaking into the role, like a cat through a side window. First thought on Cole: he’s just too young looking, too choirboy-pretty you keep expecting him to sweetly burst into the Hallelujah Chorus. Vasiliy snaps at A Vladimir Putin doppelganger: ‘Get lost, move it!’ As arch-spook Dalby, Tom Hollander delivers the best kind of uber-establishment human bowler hat, giving a clipped masterclass in received pronunciation and wry smackdowns. A black CIA operative (Ashley Thomas) doesn’t shy from referring to the rarity of his appointment. Palmer’s military grifter backstory is given airtime, while other characters gain prominence: fellow agent Jean Courtney (Lucy Boynton) becomes a proto-feminist It girl with a splash of Lady Penelope. The basic plot – a nuclear scientist is kidnapped – is retained, with tweaks. Palmer keeps the signature nerd-core spectacles and mac, and, as in the film, camera angles tilt, peep and crouch with arty abandon. The challenge facing The Ipcress File is to nod to the film without becoming so drenched in homage it starts reeking of cheap aftershave. I don’t know about you, but, personally, lines such as: “It seems more and more likely every day that we’re all very shortly going to be blown to smithereens” aren’t landing as period-piece fancy.
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Now, with the Russian invasion of Ukraine, this new TV take on a story about nuclear threat arrives imbued with disturbing resonance. It stars Joe Cole ( Peaky Blinders) as Harry Palmer, the working-class, culturally literate, culinary minded intelligence agent, a role first inhabited, with textured brilliance, by Michael Caine in the 1965 film. I kept this in mind while watching ITV’s The Ipcress File, the six-part cold war spy thriller adapted from Len Deighton’s 1962 novel, directed by James Watkins, scripted by John Hodge ( Trainspotting).