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Red Riding: In the Year of Our Lord 1983
The seemingly untouchable, corrupt West Yorkshire police, and the true evil mastermind behind the child abductions and murders of the last 14 years, can't resist doing it again. Against them, a fat useless lawyer, and one remorseful copper.
Nine years on, another Morley child has gone missing on her way home from school. Detective Chief Superintendent Maurice Jobson is forced to remember the very similar disappearance of Clare Kemplay, who was found dead in 1974, and the subsequent imprisonment of local boy Michael Myshkin. Washed-up local solicitor John Piggott becomes convinced of Myshkin's innocence and begins to fight on his behalf, unwittingly providing a catalyst for Jobson to start to right some wrongs.
Mark Addy, Daniel Mays and David Morrissey were absolutely phenomenal in the conclusion of The Red Riding Trilogy, but Robert Sheehan shines brightest despite his placement in the shadows of each film.
David Peace brought us this fact-based fiction and what he has created was so effective that I felt like I was going to have an aneurysm numerous times throughout each movie. I'm almost glad I watched the films first because I know that if I read the novels beforehand, there's no way I would have been able to read them without skipping to the end. I wouldn't be able to take it. It's a blessing and a curse, he's so absolutely brilliant at weaving together corruption, crime and…
I would advise for, if possible, to watch all these three films in a row. I regret taking a break between the last two, even only for a few days.
What struck me after seeing all three is how similar in style they all were even if directed by three different directors. There was nothing to indicate the producers weren't in total control, and I guess they had to not to make it incomprehensible.
I can't really comment on the plot without spoiling anything, but again the performances are very good. David Morrissey, who has been in all three films takes the lead this time and shines. A new character, John Piggott (Mark Addy) is also very good as the scruffy lawyer who unwillingly ends up in the middle of the investigation.
"This is the north, where we do what we want."
The final side of the triangle closes into place. The policemen who have been built up to be the primary villains of the story, even when The Yorkshire Ripper is involved; now appear to be victims of their own avarice. They make a deal with the wrong demon, and people pay across decades. After five hours of television, phrases like "I had my house designed in the shape of a swan" twist the gut, and the ghost of Eddie Dunford torments those unlucky enough to have to live with a part of this corruption. It says a lot for Andrew Garfield's performance that it remains stamped on this series, long…
To the North... where we do what we bloody want!
I would highly recommend anyone that is planning on watching these films to try and do it in one day or with as little time as possible between each one. The total running time of the trilogy is just over 5 hours so it's not that bad for 3 films.
Have to say that after seeing Mark Addy as one of the leads in this final installment that he is an underrated actor. He does a great job here as John Piggott, a lawyer that has very little motivation to do anything with his life, much less take on a complicated appeal. He only does so when he…
the trilogy closes with its 1983 installment, which brings one thread to a close but leaves open a lot more.
Ultimately the last in the series proves to be the hardest watch, as the police corruption angle, although present like a wretched hag, is placed on the back burner to allow the viewer to receive the fullest hammer blow of the child abuse and murder thread that began it all.
There are quite a few reveals here- the episode starting with a get together of all the co-conspirators and tying off plot points as it progresses left open from parts 1 & 2 through the aid of flashbacks that sometimes begin to muddy the waters and prove slightly confusing at times.…
And finally to the third film in the trilogy – first I should mention that these 3 films were based upon a novel, and that they were all filmed at the same time, by 3 different directors, using 3 different types of film (in fact the 3rd was digital) – and yet, amazingly, there is a definite cohesiveness to the enterprise as it fully immerses you into the mid 70’s to mid 80’s world of Northern England.
Further, I neglected to mention that the Yorkshire Ripper tale which anchors film two was a fer real event that captivated and haunted much of England during the time. Scotland Yard was called north to help the investigation, which mirrors the sending of…
This conclusion slinks back down to the bright colours of the original without the unifying point of view which helped the first two have some sense of coherence even as they floundered. Instead the narrative is tied to two men, a bespectacled good cop whose sections are slumber inducing and a lawman whose story actually has a few points of interest thanks primarily to Mark Addy, making the thin plotting all the more so. The whole series comes across as someone's idea of a British LA Quartet only the history of Britain's recent corruption isn't as compelling and that someone simply has no talent to recognize how to work the material he does have.
The final chapter to one of the most dystopian real-world film experiences I can remember. Conflicted Police Commissioner Jobson (Morrissey) starts to let his conscience eat away at him, both for acts of his own and of his corrupt Yorkshire P.D.
Meanwhile, barrister Piggott (Addy) gets a bee in his bonnet to save an imprisoned man he believes might actually be innocent. The two paths slowly begin to converge upon an unlikely culprit. And though the plot reaches its most depraved depths here, it also begins to (FINALLY!!!) offer some redemption to a heretofore bleak world. Heroes and villains come from unlikely places. It's a necessary code to a very intense immersion into noir; a most-welcome palate cleanser.
Watched the third and last of The Red Riding films.
Regrettably, I should have watched them closer together.
What a BLEAK trilogy!
This was hard to watch and COMPLETELY TERRIFYING!
Will re-watch some day all three in a row.
I finished it! Phew... what a delightful ride. Ok not really, that was three of the bleakest movies I've watched in a row, but all very well done. The middle chapter remains my favorite, even though this one brought some closure.
Nine years after the first series of grisly killings and a few years following the arrest of their primary "suspect", a young girl again goes missing and the local population fears for the worst.
The absorbing conclusion to the Red Riding trilogy is a fitting end for the masterful series as the trials and tribulations of all of the detectives and journalists who came before finally has a payoff and the previous (shock!) deaths and surprises weren't in vain.
Do NOT watch this unless you've seen the other two. You shan't even be reading this if you've never heard of the other two ... go away!!
Red Riding is over ... and I am both happy and sad. Strong film-making. Excellently gripping.
(Lady Mary is even in this one ... I love Ms. Dockery)
The darkest film in the trilogy, 1984 also concludes the entire story rather neatly. Still packed with blink then you miss it information, the film is my second favorite of the series after the original. The acting shines and someone needs to cast Maurice as Kurt in a Escape from NY remake.
Elegisches Amalgam der ersten beiden Teile und Abschluß der Trilogie. Beimischung esoterischer und religiöser Motive, aber nie außer Balance zum Thrillergerüst. Geschickte Verflechtung von Rückblenden und Remixen bereits gezeigter Szenen, kreisförmige Annäherung an (Serienkillerfilm-typischen) Tatort und Lager des "Wolfs". Guter Einsatz der Musik auch, von Soul zu klassischem angehauchten Filmscore. Sehenswert.
A fantastic ending to this very dense (maybe sometimes too dense) British crime drama.
The best of the 3 in pacing, character development and overall story.
Ordered by latest release first