Ok, you Brits. Who saw it? Have you read David Peace’s Yorkshire crime quartet? (If you haven’t, you need to). What about Tony Grisoni’s (Fear And Loathing In Las Vegas, Tideland) script ? I hear, though very good, this production wasn’t the bullet to the head it could have been. We’ll never see it here in the states, so I’ll go for the dvd. Talk about it.
I actually made a thread for this ages ago with little response:
For the most part though, I found it very impressive. Some of the best camera work Ive seen in a television production.
I shamefully still haven’t gotten around to seeing this. Am very interested to see the juxtaposition of Super 16, 35mm and RED. David Higgs shot the final instalment (1983) on the RED ONE. He’s a cinematographer I’ve admired the work of for some time now; one of the few that has managed to bring the TV aesthetic close to the beauty of cinema.
My wish list is so long; perhaps I need to escalate this one.
Yes, get the DVD. It IS impressive in its cinematography, and while the production isn’t huge it doesn’t detract from the story. Great script I thought as well (Grisoni is fantastic).
I did a few screencaps of the 2nd film if anyone wanted to get a taste:
I hate being stuck in America. Any word on when we are supposed to receive this? I know IFC are distributing it.
Are they really, Clayton? Theatrical? Web? You gotta link?
I think theatrical.
From Rotten Tomatoes:
The Red Riding Trilogy, a triptych of films from directors Julian Jarrold, James Marsh and Anand Tucker, has been picked up for US distribution by IFC Films who plan to release the trilogy in theatres and on demand after a whip around film festivals, it was announced today in Cannes.
Produced by Michael Winterbottom and Andrew Eaton, the trilogy, which is based on the fictional noir novels by David Pearce, is made up of three self-contained dramas revolving around the investigation into the Yorkshire Ripper case.
Set in three distinct periods of history — 1974 (Jarrold), 1980 (Marsh) and 1983 (Tucker) — the films were penned by Fear and Loathing scribe Tony Grisoni and feature an all-star cast including Sean Bean, Paddy Considine and Rebecca Hall.
IFC’s President Jonathan Sehring, described the trilogy in a press release today as, “an absolutely thrilling work of cinema and one of the great true crime adaptations of recent times,” adding that IFC are confident the films will be a “major event” on their release schedule. Made for television in the UK, the trilogy of films was critically praised and arguably raised the bar for television drama in the country.
Damn good news.
more like arguably raised the bar for TV globally. I can’t stress enough how impressive the production is for a non-theatrical release.
I will put the dvd purchase on hold and look forward to a sweet theatrical release.
Opened today in New York. FanTASTIC films all shown back to back as it deserves.
David Thomson in the New York Review of Books has some provocative thoughts about it:
I can’t wait to see this.
The Detroit Film Theater are showing these is March. Unfortunately being over 6 feet tall it’s nearly impossible to sit in the seats there for any length of time. OoDemand in my area has 1983 available but not the first 2. ?. Loved the first 3 novels. Just picked up the 4th.
Can’t wait to see these at IFC.
All Three films are now available on IFC on demand.
Chris-Not everywhere. IFC thru Comcast in my area only has the third film available right now.
I’m wondering if David Peace’s books should be read first.
I bought them the other day and I’ve watched the first two. Excellently directed, moodily austere films with more than competent acting. It’s just too bloody depressing…
Just saw 1974 last night and really loved it. Was this really a TV series? That’s incredibly impressive is that’s too, it plays out like a finely tuned movie. I loved the pacing, the moodiness and the huge level of corruption. It definitely kept me hooked the whole time.
I will be seeing the other 2 within the next few days. Can’t wait
Bloody excellent, this. It did not disappoint. You guys picked up on how each segment used a different aesthetic? Beginning with 1974- 16mm; 1980- 35mm; 1984- Red One. Tapping the photographic qualities of each, and what they brought to their segment of the narrative was a shrewd move.