Time to lock up the drinks…
- Stellan Skarsgard confirmed for Thor 2
- Trailer for Man With The Iron Fists, with Russell Crow, Lucy Liu, Jamie Chung and Pam Grier [NSFW]
- Rob Brydon and Ashley Jenson to star in Alan Ayckbourn’s A Chorus of Disapproval
- Netflix UK acquires new Arrested Development
New US TV shows
This is a still from the movie The Ghost.
Really? That’s how we’re spelling ‘British’ now? TV networks may have the excuse they’re in a hurry, but movie-makers? Oh dear.
PS I bet CNN had approval on anything that carried its logo, too.
PPS And the movie’s about a writer. He stares at that for nearly a minute and doesn’t spot the mistake.
- Ryan Reynolds is the Highlander
- New trailer for Olvier Stone’s Savages
- Trailer for Spike Lee’s Red Hook Summer
- New trailer for Total Recall
- Alec Baldwin joins Orphans
- Outnumbered gets a fifth series and a Christmas special
- Beth Willis to become deputy head of drama at Channel 4
- Line of Duty gets 3.4m viewers
- Lip Service‘s Laura Fraser to recur on Breaking Bad
- Trailer for season 5 of Breaking Bad
- Rob Morrow to recur on CSI: NY
- Men At Work gets a second season
New US TV shows
Well, we’ve done a little dance around the decades to take in all manner of different genres for The Wednesday Play, but today it’s time to go hard-core for a play that’s been voted the best British drama ever: The Wednesday Play‘s Cathy Come Home, starring Ray Brooks and Carol White.
Written by Jeremy Sanford, produced by legendary producer Tony Garnett and directed by one of Britain’s finest, most important film directors, Ken Loach, Cathy Come Home is also possibly the most influential British TV play ever made, highlighting on TV for the first time the problems of the homeless in the Britain of 1966: the play was watched by 12.5m viewers, a quarter of the British population at the time, and eventually led to the formation of the charity Crisis as well as changes in the law to allow homeless fathers to stay with their wives and children in hostels.
As well as revolutionising attitudes to homelessness, the play also revolutionised British TV direction. At the time, most TV plays and dramas were shot in studios on video, with a somewhat theatrical direction. Loach instead used a documentary style, shooting everything on location on 16mm film, often with handheld cameras – although union regulations of the time forced Loach and cinematographer Tony Imi to shoot about 10 minutes of the play on video, which they telerecorded and spliced into the film as required.
So, yes, it’s important.
But without further ado, here’s the play, which you can watch in one of three ways: DVD, by giving Ken Loach films some money with the first YouTube clip after the jump, or by watching the regular YouTube version that follows it. Obviously, if you choose option three and like the play, go for options one or two afterwards to ensure that nice Mr Loach and the BBC get some money for their hard work.