“爽やかな驚き。”
1959年、オレゴン州の田舎町に暮らす12歳の仲良し少年4人組、背が低いゴーディ、リーダー格のクリス、メガネのテディ、ふとっちょのバーンは思春期を迎え、親や兄弟に対する愛憎や将来の不安などそれぞれ悩んでいた。ある夏の日、彼らはクリスの兄ら不良グループから、行方不明になった少年の遺体が森にあるという噂を聞く。遺体を発見できれば英雄になれると興奮した4人は、こっそり家を抜け出して探索へ出発する。
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This is a terrific piece of political drama from Channel 4 and Alan Bleasdale that shines a light on a myriad of topics whilst set amidst the polarisation of Mrs. Thatcher’s 1980s Britain. Despite her fairly comprehensive election win in 1983, most of the urban population remained unconvinced by her policies and it’s in one such city that the fictional character of “Michael Murray” (Robert Lindsay) rules the roost. He is determined to thwart the government at every step, and calls a general strike throughout his un-named city. There’s a pretty rock solid turn out, except for one teacher - “Jim” (Michael Palin) who teaches young kids with learning difficulties and who decides that they are more important. His black-leggary attracts the attention of the charismatic “Murray” and over seven episodes we follow the battle between these two men. Both are on the political left, but they do not agree on the extent to which the former would radicalise the people. Of course, as the story develops we explore some fairly complex demons and nuances in their characters and these are presented with a potent thwack of dark humour that both men simply excel at. As their stand-off intensifies, the story takes a definite twist and strings start getting pulled from an altogether unexpected direction thanks to the intervention of “Barbara” (Lindsay Duncan) and the internecine scheming really takes off. Aside from Julie Walters’s strong effort as the mother of the increasingly wayward politician, there is also a really effective supporting cast featuring the likes of Philip Whitchurch, Paul Daneman, the frequently scene-stealing John Shrapnel and an whole host of familiar faces that offer us an observational critique of the sublime and the ridiculous. I wasn’t ever sure how I did want it to conclude, and that’s maybe my only real criticism of the series as it sort of fizzles out disappointingly, rather exposing the political convictions of the author, but with Lindsay and Palin both imbuing their roles with characteristics that can simultaneously evoke sympathy, loathing, anger and affection this just goes to show what can be done what talented people both in front and behind a camera can do with a solid story, creative acting talent and the bare minimum of distractions. Elvis Costello and Richard Harvey’s closing title music rather sums the whole thing up - a musical rollercoaster that includes the heavy, the light and even a little bit of the waltzer. Great television that in many ways symbolises a UK generation.
