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Global Telly Talk
Classic UK TV
"Beat me on the bottom with a Woman's Weekly": All things Victoria Wood
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<blockquote data-quote="Mel O&#039;Drama" data-source="post: 253420" data-attributes="member: 23"><p style="text-align: center"><span style="color: rgb(0, 0, 0)"><strong><span style="font-size: 26px">Pat and Margaret</span></strong></span></p> <p style="text-align: center"><span style="color: rgb(0, 0, 0)"></span></p> <p style="text-align: center"><span style="color: rgb(0, 0, 0)"></span></p> <p style="text-align: center"><span style="color: rgb(0, 0, 0)"></span></p> <p style="text-align: center"><span style="color: rgb(0, 0, 0)"></span></p> <p style="text-align: center"><span style="color: rgb(0, 0, 0)"><span style="font-size: 15px">(continued)</span></span></p><p></p><p></p><p></p><p></p><p></p><p></p><p><span style="color: #000000"><span style="color: rgb(0, 0, 0)"><span style="font-size: 15px">Pam’s journey is in many ways the opposite to that of other ruthless women in the film. Despite her initial rejection of Margaret, Pat’s younger sister simply continues being who she is. She speaks from the heart, and with them forced to spend time together - at first for the cameras, and then because of Pat asking Margaret to help her track down their long-absent mother out of fear that the gutter press will find her first, Pat finds herself connecting regardless. In the confinement of a car during a motorway journey, Margaret shares some of herself while Pat tries to remain detached:</span></span></span></p><p><span style="color: #000000"></span></p><p></p><p></p><p></p><p></p><p></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"><span style="font-size: 15px">With credit to both writing and performances, Pat’s façade slowly dropping is incredibly well done. As she tries to be incognito, the makeup drops out, the clothes become simpler (she’s stuck wearing a shell suit, getting asked to leave a hotel for not meeting the dress code). The RP slowly gives way to something approaching a Lancashire accent. It feels very truthful for someone returning to the place they grew up. Perhaps the turning point comes when the women revisit the childhood home we briefly saw in the opening flashback, now boarded up and in the cold light of day:</span></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p></p><p></p><p></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"><span style="font-size: 15px">With Pat’s credit cards and belongings left in London by forgetful Claire, she is forced to go to Margaret’s flat and things get even more real with some of Vic’s best dialogue:</span></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"><span style="font-size: 15px">Later in the evening, something’s changed again. They’re not quite sisters, but there’s now an ease between them. And a freedom to be completely honest:</span></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"><span style="font-size: 15px">And this marks THE moment where Pat, for the first time, not only acknowledges her past but embraces it. She takes Margaret to The Swiss Cottage, stuck in time and still owned by the same homosexual</span></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p></p><p></p><p></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"><span style="font-size: 15px">The scene in which Pat, Margaret and Claire enjoy a fry-up with Pete is where the ice is well and truly broken. Pat even passingly refers to her sister as “our Margaret”. Given where they were at the beginning seems convenient - almost corny and contrived - for the characters to achieve this breakthrough. But with this writing, and with these performances, its truly heartwarming because it feels as though it’s been earned. There’s no syrup or saccharine. Just a good, honest nostalgic natter. And we’ve all been there. </span></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p style="text-align: center"><span style="color: rgb(0, 0, 0)"><span style="font-size: 15px">(continued)</span></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p><span style="color: rgb(0, 0, 0)"></span></p><p style="text-align: center"></p></blockquote><p></p>
[QUOTE="Mel O'Drama, post: 253420, member: 23"] [CENTER][COLOR=rgb(0, 0, 0)][B][SIZE=7]Pat and Margaret[/SIZE][/B] [SIZE=4](continued)[/SIZE][/COLOR][/CENTER] [COLOR=#000000][COLOR=rgb(0, 0, 0)][SIZE=4]Pam’s journey is in many ways the opposite to that of other ruthless women in the film. Despite her initial rejection of Margaret, Pat’s younger sister simply continues being who she is. She speaks from the heart, and with them forced to spend time together - at first for the cameras, and then because of Pat asking Margaret to help her track down their long-absent mother out of fear that the gutter press will find her first, Pat finds herself connecting regardless. In the confinement of a car during a motorway journey, Margaret shares some of herself while Pat tries to remain detached:[/SIZE][/COLOR] [/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)] [SIZE=4]With credit to both writing and performances, Pat’s façade slowly dropping is incredibly well done. As she tries to be incognito, the makeup drops out, the clothes become simpler (she’s stuck wearing a shell suit, getting asked to leave a hotel for not meeting the dress code). The RP slowly gives way to something approaching a Lancashire accent. It feels very truthful for someone returning to the place they grew up. Perhaps the turning point comes when the women revisit the childhood home we briefly saw in the opening flashback, now boarded up and in the cold light of day:[/SIZE] [/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)] [SIZE=4]With Pat’s credit cards and belongings left in London by forgetful Claire, she is forced to go to Margaret’s flat and things get even more real with some of Vic’s best dialogue:[/SIZE] [/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)] [SIZE=4]Later in the evening, something’s changed again. They’re not quite sisters, but there’s now an ease between them. And a freedom to be completely honest:[/SIZE] [/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)] [SIZE=4]And this marks THE moment where Pat, for the first time, not only acknowledges her past but embraces it. She takes Margaret to The Swiss Cottage, stuck in time and still owned by the same homosexual[/SIZE] [/COLOR] [COLOR=rgb(0, 0, 0)][/COLOR] [COLOR=rgb(0, 0, 0)] [SIZE=4]The scene in which Pat, Margaret and Claire enjoy a fry-up with Pete is where the ice is well and truly broken. Pat even passingly refers to her sister as “our Margaret”. Given where they were at the beginning seems convenient - almost corny and contrived - for the characters to achieve this breakthrough. But with this writing, and with these performances, its truly heartwarming because it feels as though it’s been earned. There’s no syrup or saccharine. Just a good, honest nostalgic natter. And we’ve all been there. [/SIZE] [/COLOR] [CENTER][COLOR=rgb(0, 0, 0)][SIZE=4](continued)[/SIZE][/COLOR][/CENTER] [COLOR=rgb(0, 0, 0)] [/COLOR] [CENTER][COLOR=rgb(0, 0, 0)][/COLOR][/CENTER] [/QUOTE]
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Global Telly Talk
Classic UK TV
"Beat me on the bottom with a Woman's Weekly": All things Victoria Wood
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