Here we are, January barely even begun, yet we're now looking at what the BFI is planning on showing in February. Phew. Hold on tight - 2017's going to be speedy, everyone.
February's TV season will probably seem to go by quickly, too, since it's exclusively dedicated to 'Forgotten Dramas' - a range of little-known TV dramas. Basically, ones people have forgotten about but deserve to be known better, such as Rudolph Cartier's last directorial project Loyalties, John McGrath's experimental The Day of Ragnarok and Arthur Hopcraft's gritty political piece The Nearly Man, which inspired a subsequent TV series.
It's curated by Lez Cooke, John Hill and Billy Smart as part of Royal Holloway's project The History of Forgotten Television Drama in the UK, so an extra bonus is a TV conference on Wednesday 22nd February all about TV archives, access and research.
All that and more after the jump. No videos, I'm afraid, because, you know, they're forgotten dramas. If there were videos, they probably wouldn't be forgotten.
It's not quite 45 years since The Stalls of Barchester was first broadcast, as it aired on Christmas Eve 1971, but this is close enough and since when have I ever run TMINE's The Wednesday Play feature on a day other than a Wednesday, hey?
The Stalls of Barchester was an adaptation of master ghost story writer MR James' short story of the same name. It sees 1930s scholar Clive Swift uncovering a box in the library of Barchester Cathedral that contains the diary of the cathedral's former archdeacon (Robert Hardy). Swift is able to work out from the diary that Hardy caused the death of his own predecessor at the cathedral and resultingly came under the curse of the man who made the wooden decorations for the cathedral's stalls - a curse that ultimately leads to his own death…
Stalls was the first official entry in the annual 1970s BBC play strand, A Ghost Story for Christmas. It was adapted, produced and directed by Lawrence Gordon Clark, who had seen Jonathan Miller's 1968 adaptation of James' Whistle and I'll Come ToYou and being a lifelong fan of the author, pitched the idea of another adaptation to Paul Fox, the then controller of BBC1. Fox agreed and Clark chose Stalls to be the first in a series he would produce, as well as largely write and direct.
The slightly novice and unconfident Clark chose to follow many of Miller's choices with Stalls, including building up tension and fear through suggestion and atmosphere rather than being overt, and shooting on location (Norwich Cathedral doubles for Barchester) using 16mm film rather than video; he even hired Warning's Ambrose Coghill to play the curator. Unlike Miller, however, he was able to shoot in colour - and rather tastefully, too, unlike many video-shot shows of the early 70s. He also reveals a bit more of the supernatural than James ever did in his story and despite a cast of actors known mostly for their roles in sitcoms, avoids the humour that Miller included in his piece.
With no fixed run time thanks the scheduled late night time slot, Stalls was able to run to 50 minutes and proved so successful that Clark was able to make an annual return to James' stories for most of the decade.
And it's your Wednesday Play - enjoy!
PS Remember: if you like it, support the makers (ie the BBC) by buying it on DVD
We've seen in our Weird Old Title Sequences section quite a few genre shows of the 60s and 70s, such as Out of the Unknownand The Tomorrow People, that had properly weird title sequences designed to do your nut in.
It was, after all, a psychedelic time, during which Delia Derbyshire and the Radiophonic Workshop were doing all manner of fun things with music and sound effects, so it shouldn't be too surprising that television was trying to do the same visually.
But this wasn't the occasional effort by a programme - such was the age, even smaller shows got in on the act.
As the name suggests, 1968's Late Night Horror was an anthology horror show, one that would have fit quite nicely into TMINE's The Wednesday Play section were it not for the fact five of the six pisodes were lost/wiped by the BBC, with only The Corpse Can't Play surviving. In part a test of the new colour capabilities of television, it was also a beneficiary of the boom in TV horror in the late 60s that also gave us Mystery and Imagination (1966-70), A Ghost Story For Christmas, The Stone Tape, The Dead of Night and more.
What else survives of it, except for that one episode? Well, its weird old title sequence, naturally - music by the Radiophonic Workshop, of course…
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A UK media blog focusing on the best scripted TV from around the world, with daily news, views, exclusive reviews and good conversation. There's a bit of a bias towards the latest and greatest US TV, but we also cover Scandinavian, Canadian, European and Antipodean TV, as well as UK TV ranging from new Doctor Who to old Z Cars, and BBC4 to S4C.
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I'm Rob Buckley, a freelance journalist who writes for UK media magazines that most people have never heard of, although you might have heard me on Radio 5 Live's Saturday Edition or Afternoon Edition. I've edited Dreamwatch, Sprocket and Cambridge Film Festival Daily; been technical editor for trade magazine Televisual; reviewed films for the short-lived newspaper Cambridge Insider and the equally short-lived Death Ray and Filmstar magazines; written features for the even shorter-lived newspaper Soho Independent; and was regularly sarcastic about television on the blink-and-you-missed-it "web site for urban hedonists" The Tribe. I'm freelance now and have contributed to the likes of Broadcast, Total Content + Media, Action TV, Off The Telly, Action Network and TV Scoop.