:00:20. > :00:29.On the Review Show tonight, we have Father Ted, Dickens for Christmas
:00:29. > :00:36.and a modern morality tale. A '50s classic, the Ladykillers, is
:00:36. > :00:42.reworked by 21st century comic masters. Would you like a tea, Mr
:00:42. > :00:45.Marcus? Oh, I do apologise. I should have known your face.
:00:45. > :00:50.Another reinvention of tradition in Dickens' Great Expectations for the
:00:50. > :00:56.BBC. He is to live as a young fellow of
:00:56. > :01:00.great expectations. Real people from the past at Scotland's
:01:00. > :01:07.National Portrait Gallery after a two-year revamp with 60% more space.
:01:07. > :01:12.Does a new picture of the nation emerge? And a documentary portrait
:01:12. > :01:17.of a forgotten woman in her 30s whose skeleton was found three
:01:17. > :01:19.years after her death in a London flat. What does that say about
:01:19. > :01:22.modern Britain? I often thought about what she was doing and
:01:22. > :01:29.probably most of the time I actually thought that, she was
:01:29. > :01:39.already dead. Plus, performing live in the studio,
:01:39. > :01:40.
:01:40. > :01:44.the Manic Street Preachers' front man, James Dean Bradfield. Joining
:01:44. > :01:50.me in the studio to mull and whine over the seasonal offerings are the
:01:50. > :01:53.Classic FM presenter Mark Forrest, the Economist's public policy
:01:53. > :01:58.editor Anne McElvoy, the writer AL Kennedy and comedian and political
:01:58. > :02:02.activist Mark Thomas. Don't forget to send us a torrent of Tweets.
:02:02. > :02:06.They keep us amused and horrified in the green room after the show.
:02:06. > :02:09.The transition from stage to screen is well established, but some
:02:09. > :02:14.recent productions have reversed the trend. Think about Dirty
:02:14. > :02:19.Dancing, Legally Blond or Ghost, for example. Now one of TV's top
:02:19. > :02:23.comedy writers has gone back to the 1950s to adapt one of British
:02:23. > :02:27.cinema's all-time greats for the stage. Written by William Rose and
:02:27. > :02:31.directed by Alexander Mackendrick, the Ladykillers is one of the best-
:02:31. > :02:36.loved British comedy films of all time. Alec Guiness, Cecil Parker
:02:36. > :02:39.and Peter Sellers form part of a motley crew of criminals who pose
:02:39. > :02:49.as classical musicians in order to rent a room from an apparently
:02:49. > :02:54.dotty landlady. I thought you and your guests might like a cup of tea.
:02:54. > :02:58.Oh, you shouldn't. Now a writer renowned for his eccentric
:02:58. > :03:01.characters, the creator of Father Ted and the The IT Crowd, Graham
:03:01. > :03:09.Lineham has written a new version of the black comedy. The film is
:03:09. > :03:16.very lean and very - it tells the story and it tells a very simple
:03:16. > :03:20.story very effectively, and it kind of gets out, but with the play,
:03:20. > :03:23.once I had lost all the location stuff, it left me with a lot more
:03:23. > :03:26.room to play around with these characters, because you'll notice
:03:26. > :03:30.in the film there's all of these great comic actors playing the
:03:30. > :03:40.roles of Harry and the Major and so on, but they don't actually get a
:03:40. > :03:50.
:03:50. > :03:59.Mrs Wilberforce? Yes. My name is Marcus. I believe you have rooms to
:03:59. > :04:05.rent. What? Who told you? Director Sean Foley's cast includes TV stars
:04:05. > :04:08.James Fleet and Ben Miller with Peter Capaldi as the brains behind
:04:08. > :04:18.this. There is such affection in the show. There is such a warm
:04:18. > :04:18.
:04:18. > :04:22.tribute to the original material. Oliver -- all of us come here with
:04:22. > :04:29.great respect and are trying to make a new, warm version of the
:04:29. > :04:36.same thing that people can embrace. It's a brave move to adapt a film
:04:36. > :04:39.often cited as one of our finest classics, so can Lynne Han's
:04:39. > :04:44.version equal the standards of the original film, or would it be
:04:44. > :04:49.better left undisturbed as a gem of the silver screen. You have been
:04:49. > :04:54.dishonest with me, professor. All of you have. You're not amateur
:04:54. > :04:58.musicians! Now, Mark, we know Graham Lineham clearly relishes
:04:58. > :05:02.eccentricity if we look at the work he's done with Father Ted and The
:05:02. > :05:06.IT Crowd, so in a way perhaps it's not surprising he was drawn to this.
:05:06. > :05:11.No, because the characters are so extreme, exciting and quirky and
:05:11. > :05:14.odd that, yes, this is really his natural palette, if you like.
:05:14. > :05:17.What's brilliant about it, I think - because the show is great. I
:05:17. > :05:22.think what's really interesting about it in terms of his writing
:05:22. > :05:25.and in terms of directing is they've stripped out the suspense
:05:25. > :05:28.element because we know what's going to happen, so they have
:05:28. > :05:32.stripped out the suspense. They have stripped out the idea of
:05:32. > :05:38.what's going to happen next, and it means the actors can just play, and
:05:38. > :05:42.they have created almost a farce this wonderful slapstick adaptation
:05:42. > :05:45.of the Ladykillers that exists in its own right. It's great. But then
:05:46. > :05:50.if you strip out the suspense, isn't there a risk there isn't the
:05:50. > :05:54.same kind of excitement about it? loved the original film. I don't
:05:54. > :05:58.know if I was excited by it. No, it's a beautiful character piece.
:05:58. > :06:02.You've got a fantastic cast. They're clearly working
:06:02. > :06:06.extraordinarily well together and having fun in a good and not self-
:06:06. > :06:08.indulgent way, and you've got this extraordinary staging. Michael
:06:09. > :06:15.Taylor's set is remarkable, and what's happening more and more -
:06:15. > :06:19.you have Scott Penrose, a magician, is bringing in magical effects, so
:06:19. > :06:24.the actors are doing things you would expect a magician to do. Pen
:06:24. > :06:29.and teller are working in the theatre. Now Andy Wyman has been
:06:29. > :06:33.working in the theatre. It's very generous. I love going to see
:06:33. > :06:38.something that's funny and you get the verbal humour, the slapstick
:06:38. > :06:41.humour, the remarkable staging. You just get extra and extra. The
:06:41. > :06:45.curtain call is immaculate. It's going to run. You're going to take
:06:45. > :06:51.your mother to see it, the kids to see it, people to see it on
:06:51. > :06:56.holidays. It's a lovely show. Capaldi in particular is having fun,
:06:56. > :06:59.isn't he? I think he's having fun in the role. When we saw him
:06:59. > :07:03.talking about playing the role, my skin was beginning to creep because
:07:03. > :07:08.he gets in you're blood. When he comes on, he has a leering presence.
:07:08. > :07:13.His body is so angular. His body is too big for him all the time, just
:07:13. > :07:19.as he thinks he's too big for his boots. "I am a very clever man," he
:07:19. > :07:23.says at one point as he gets stuck in the window with a cello case
:07:23. > :07:26.that fantastic comedy, but underneath it, there has to be a
:07:26. > :07:33.dark side to the Ladykillers. I wondered with the slapstick how
:07:33. > :07:37.they were going to do that moment when you believe he's prepared to
:07:38. > :07:41.have her killed. He does that perfectly. It is dark. They have
:07:41. > :07:45.stripped out a lot of the sinister elements. If you look at the
:07:45. > :07:49.original film, the lighting, the way they're in that room which is
:07:49. > :07:52.sinister and expressionist, you get that - Alec Guiness is brilliant
:07:52. > :07:56.because you really think he can do some damage. There is one scene
:07:56. > :07:59.where they're having the fight at the end in the film where he
:07:59. > :08:03.emerges out of the smoke from the trains holding this club, and it's
:08:03. > :08:06.just amazing. It really is quite an amazing moment. They have stripped
:08:06. > :08:11.that out. I think they have taken the suspense out. I think they have
:08:11. > :08:15.taken a lot of the menace out in a way, but that doesn't matter. In
:08:15. > :08:18.many ways it doesn't, because the actual direction - I think Sean
:08:18. > :08:20.Foley really deserves major league credit for this because he's got
:08:20. > :08:24.his fingerprints all over this production. I think it's absolutely
:08:24. > :08:29.brilliant. What they've done is just allowed them - Graham is right.
:08:29. > :08:32.What they've done is allowed them room to play. But the spiritual -
:08:32. > :08:37.or indeed the presence of Alec Guiness looms large, doesn't it,
:08:37. > :08:42.over any future production? Very much. His voice in the film -
:08:42. > :08:45.absolutely sensational. The look he went for - it was a hair-and-teeth
:08:45. > :08:48.part, extraordinary. Peter Capaldi does that. I was worried when he
:08:48. > :08:53.first came on he hadn't got far enough away from Peter Capaldi. He
:08:53. > :08:57.had hair and teeth and gone for the scarf and the long coat as well. I
:08:57. > :09:01.felt with Alec Guiness in the film, what you got was parts that grew
:09:01. > :09:04.and developed. And I felt with Peter Capaldi, even though I loved
:09:04. > :09:10.the show, I felt with Peter Capaldi he came on menacing, leering. For
:09:10. > :09:16.me he was like the hooded claw out of Wacky Racers. He was a cartoon
:09:16. > :09:19.from the beginning. The other four are cartoon characters. I felt they
:09:19. > :09:23.were more subtle. Their characters grew, whereas Peter Capaldi was one
:09:23. > :09:28.note all the way through. Alison? He'll come into it because he's
:09:28. > :09:32.really authority it ative with the audience. They're doing a lot of
:09:32. > :09:36.difficult business and physical stuff. I imagine that set is so
:09:36. > :09:40.raked, you could really easily snap an ankle if you're not careful, but
:09:40. > :09:45.when it settles, it will really... I loved all the slapstick and the
:09:45. > :09:51.stuff with the black board. It's puerile but sensational. I wondered
:09:51. > :09:55.if that distracted from what he was doing. The film in its time, which
:09:55. > :10:00.was seen as a social commentary, a state of the nation - they could
:10:00. > :10:03.have updated this. The original film - there is a wonderful shot at
:10:03. > :10:07.the beginning where Ms Wilberforce walks through the street, and
:10:07. > :10:11.there's picture of Churchill and a picture of a tramp next to him
:10:11. > :10:17.begging. That sets the tone of this is Britain after its finest hour,
:10:17. > :10:21.and here we are. We've come to this. They're too hung up on the film,
:10:21. > :10:26.which I watched in a haze on Boxing Day many years ago - I recognise
:10:26. > :10:30.it's very good. It wasn't in the forefront of my mind. I was one of
:10:31. > :10:36.those theatregoers if you like. The person who missed out on this - it
:10:36. > :10:39.really makes this social commentary very well is Mrs Wilberforce.
:10:39. > :10:43.Marcia Warren. Yes, controlling brilliantly the part of the old
:10:43. > :10:47.lady. She's still the centre of this play around which this all
:10:47. > :10:50.evolves. If you don't believe in her and the fact she's the little
:10:50. > :10:53.voice of morality at a time everyone is exhausted after the war.
:10:53. > :10:57.People are taking their chances. You have a society that is
:10:57. > :11:02.fragmenting after the war has held it together - you really have to
:11:02. > :11:06.believe in her. She did that downplayed in a way Peter Capaldi
:11:06. > :11:09.didn't. In fact it's extraordinary the way she does manage to be the
:11:09. > :11:12.focus of attention so much throughout the pay. I enjoyed it,
:11:12. > :11:14.like all of you I think. The Ladykillers is at the Gielgud
:11:15. > :11:17.Theatre until April. Far more serious and tragic events behind
:11:17. > :11:20.closed doors in a new documentary from filmmaker Carol Morley. The
:11:20. > :11:30.story began in January 2006, when decomposing human remains were
:11:30. > :11:31.
:11:31. > :11:34.found in a bedsit in north London. Officials from a housing
:11:35. > :11:38.association discovered the remains of 38-year-old Joyce Carol Vincent.
:11:38. > :11:46.Her skeleton was surrounded by Christmas presents. The television
:11:46. > :11:49.was still on three years since her her missing. Newspapers offered few
:11:49. > :11:54.details about the case, but the story caught the eye of documentary
:11:54. > :12:00.film-maker Carol Morley. I remember being on the tube, finding The Sun,
:12:00. > :12:06.looking through the Sun and finding this head line, "Woman is dead in
:12:06. > :12:11.plait for three years", and when I read that head line, it was so
:12:11. > :12:15.extreme, really, I suppose, and there was no photograph of Joyce,
:12:15. > :12:19.no personal information. She was so anonymous, and I think as soon as I
:12:19. > :12:24.saw the head line, I wanted to tell the story, and I wanted to make a
:12:24. > :12:29.film about it and find out about her. It's like she never really
:12:29. > :12:34.existed. She was just a figment of our imagination. It was a story. It
:12:35. > :12:38.was like someone we made up almost. Someone died that we all thought we
:12:38. > :12:44.cared about. If you read that in a book form, you would be thinking,
:12:44. > :12:47.this has got to be fiction, but this is real life. The debate about
:12:47. > :12:51.being living in dislocated societies, not having communities
:12:51. > :12:55.anymore has been banging on for ages. It's been a theory. This is
:12:55. > :12:59.the living reality about it. often thought about what she was
:12:59. > :13:02.doing and probably most of the time I actually thought that she was
:13:02. > :13:06.already dead. Carol Morley spent five years track down her friends
:13:06. > :13:10.and former colleagues and managed to piece together a time line of
:13:10. > :13:16.her life in London. She then uses this information to script
:13:16. > :13:19.reconstructions with the actress Zoe Ashton portraying Joyce. The
:13:19. > :13:27.circumstances of Joyce Carol Vincent's enigmatic life and tragic
:13:27. > :13:31.death shock because they're so rare, but does her story highlight wider
:13:31. > :13:36.issues in this story? Why did this happen? Perhaps we could ask
:13:36. > :13:40.ourselves why doesn't this happen more often? Especially in urban
:13:40. > :13:44.areas we can become anonymous. It's the joy of a city, but also the
:13:44. > :13:51.downfall of a city. Dreams of a Life attempts to piece together a
:13:51. > :13:59.story with many gaps. Does her death make the film more of a
:13:59. > :14:03.mystery or make the story Margerie, this is an intriguing
:14:03. > :14:08.story. She doesn't seem to be the kind of person you would expect to
:14:08. > :14:12.fall through the cracks. That was the starting point for me, surprise.
:14:12. > :14:15.When you read that story, you would possibly think it was somebody who
:14:15. > :14:18.hadn't had a great life and had fallen through the holes but it
:14:18. > :14:26.wasn't like that. She was a bit of a drifter but also rather
:14:26. > :14:31.unglamorous figure, on a fast set... -- a glamourous figure. Getting in
:14:32. > :14:38.with the PR crowd. That, I suppose, is what must have been the starting
:14:38. > :14:43.point, that we are supposed to be surprised. What worries me is that
:14:43. > :14:48.is -- it is extremely voyeuristic and in that way and pleasant. If it
:14:48. > :14:53.set out to do a service and tell a story, it is wide of the mark. It
:14:53. > :14:59.was journalistically not a good film. A big draw you win? Of the
:14:59. > :15:03.things we have watched, it was the most memorable, but because of the
:15:03. > :15:09.frustrations. Carol Morley spent five years tracking people down,
:15:09. > :15:13.but you don't see any of these people. They are a small handful of
:15:13. > :15:18.friends that near her early on. You don't meet the family. She must
:15:18. > :15:23.have spoken to the family. Her mother died when she was 11 but her
:15:23. > :15:27.father and three sisters were still alive when she died. No mention of
:15:27. > :15:31.them, other that they didn't want to talk. The Boyfriend, we hear
:15:31. > :15:38.from again and again. She had dozens a boy friends that we hear
:15:38. > :15:42.from double. The boy friends and the family of what shape to this
:15:42. > :15:47.woman -- and we hear from two. The presumably, they wouldn't want to
:15:47. > :15:52.appear in a film from -- like this? That is one of the failures. Why
:15:52. > :15:56.does a woman ended three years dead in his flat? Really urgent
:15:57. > :16:00.questions, and then it fails to answer any of them. You are right,
:16:00. > :16:05.journalistically, it fails. It doesn't trace the family or talk to
:16:05. > :16:09.them, or the immediate neighbours. It doesn't have any contact with
:16:09. > :16:16.the Lord Taylor -- the utilities or the authorities. You are left with
:16:16. > :16:23.gossip fulls -- from friends, former friends, and that is not
:16:23. > :16:28.good enough. Is it fair to call it gossip? At least two were very
:16:28. > :16:32.close, two were boy friends. don't think she is aiming for
:16:32. > :16:36.journalistic, it is the way she was with her previous film, she is
:16:36. > :16:40.interested in whether you can no people at all and she wants to
:16:40. > :16:48.present you with people as if you are meeting them in a bar, how well
:16:48. > :16:53.can you know strangers? I found it very moving when I watched it. I
:16:53. > :16:57.think it opens up a lot of issues philosophically. I did think it is
:16:57. > :17:02.tried to give you an essay or trying to investigate life in a
:17:02. > :17:07.journalistic way. But it sets out like that, that is how it said said,
:17:07. > :17:15.why did she fall through the gap? Why did this happen? -- that is how
:17:15. > :17:18.it said said. It asks the questions. It is not come into a conclusions
:17:18. > :17:22.are that respect, I didn't think it was telling me you are Red Four,
:17:22. > :17:28.society is at fault. It was making Meikleour, and all of her friends
:17:28. > :17:33.were, she was someone who made the choices -- it was making it clear.
:17:33. > :17:40.We haven't it splayed about the use of the actors. -- discussed about
:17:40. > :17:44.the use of the actors. Carol Morley is explaining what she thinks.
:17:44. > :17:49.does use drama and reconstruction as a way of telling this. They are
:17:49. > :17:54.just awful. I think so I Ashton does the best that she can. These
:17:54. > :17:58.shots that are felt for three times as long as they should be. What is
:17:58. > :18:02.happening is the film-maker is imposing a reality on this woman
:18:02. > :18:07.because she cannot fill in the gaps and then asking somebody to try and
:18:07. > :18:14.back to them out. The really crucial point here is that there is
:18:14. > :18:21.bad imputation. There is imputation about child abuse, people just say
:18:21. > :18:29.so extraordinary things that they eat grass bout of the air. -- grass
:18:29. > :18:34.bout of the air. Your projected on to higher, because she was
:18:34. > :18:39.mysterious and she is dead if -- you projected on to have.
:18:39. > :18:42.appreciate what you are saying that, but I found that moving, opening
:18:42. > :18:47.some present and realising there was a tie in one of those boxes.
:18:47. > :18:52.She was giving a present to a man in her life he didn't notice she
:18:52. > :18:58.was gone for three years. If you can't watch the end sequence
:18:58. > :19:05.without being moved, you have got a heart of Formica. In it is not
:19:05. > :19:10.saying it is a problem in society... It is blaming society and it has
:19:10. > :19:19.this big society message. Like the bloke said in your clip, it goes to
:19:20. > :19:22.show we should all be in a cabinet it. This is somebody who wants to...
:19:22. > :19:30.You are in Boulder Channel 4 website project related to the film.
:19:30. > :19:33.Do you think it says something wider about society? I saw some of
:19:33. > :19:37.the talking heads and I found it very interesting and right now, in
:19:37. > :19:41.a very material time, when people are working like hell or been
:19:41. > :19:45.unemployed like hell, that somebody... How long would it be
:19:46. > :19:49.until somebody noticed you were dead? Are you going to notice you
:19:50. > :19:55.would stop? Are you living in a way it is meaningful, are you telling
:19:55. > :20:01.people you love them? One of the things I thought about was that she
:20:01. > :20:06.wasn't somebody who was neglected per save. She had withdrawn. She
:20:06. > :20:09.had decided to hide. The projection she was able to give to all of her
:20:09. > :20:12.friends, she was terribly beautiful and every man wanted to go out with
:20:12. > :20:17.her, she was successful and had a job in the City but something had
:20:17. > :20:21.gone on in her past that was completely shaping the way she made
:20:21. > :20:26.relationships. Dreams Of A Life is in selected cinemas from next
:20:26. > :20:29.Friday. Now, what to Mary Queen of Scots,
:20:29. > :20:36.Dolly the sheep and Susan Boyle have in common? I will tell you
:20:36. > :20:40.before you tweet any suggestions? - -. They are three people on the
:20:40. > :20:43.walls of the oldest purpose-built gallery dedicated to the portrait,
:20:43. > :20:47.which has recently undergone a dramatic facelift.
:20:47. > :20:53.The Scottish National Portrait Gallery houses the second largest
:20:53. > :20:58.collection of portraits in the world. Four other 120 years, its
:20:58. > :21:02.imposing neo-Gothic structure has sat in Edinburgh's New Town without
:21:02. > :21:06.alteration. But over the past two years, a dramatic refit has
:21:06. > :21:11.transformed the gallery's space. have revolutionised what we have
:21:11. > :21:16.done inside. We have restored the building to its Victorian original,
:21:16. > :21:21.much more space, the light floods in, and the pictures look fantastic.
:21:21. > :21:25.In the past, in the room we are standing in now, we told the whole
:21:25. > :21:29.history of Scotland from the 16th century up to the 18th century. Far
:21:29. > :21:33.too much, far too complicated to get your head around. This has been
:21:33. > :21:37.spread out in 28 different galleries, which means we can do
:21:37. > :21:41.the opposite of dumbing down and look at subjects in greater detail
:21:41. > :21:46.that make it more appealing to the general public. What we have got
:21:46. > :21:50.our Portrait of the people who did amazing things. Each person on the
:21:50. > :21:55.walls has a fabulous story to tell. The aim of the redesigned space is
:21:55. > :22:01.to tell Scotland's story through 3 -- D batik displays that will
:22:01. > :22:05.change over time. -- thematic. They go for the restoration right up to
:22:05. > :22:08.the present day. This is a gallery about Scotland at the present as
:22:08. > :22:13.well as the past. It is what makes Scotland the country it is today
:22:13. > :22:17.and so as well as all the people you would expect like Mary, Queen
:22:17. > :22:22.of Scots or David Hume, we have also got Karen Gillan, a Susan
:22:22. > :22:27.Boyle, Kenny Dalglish. It is about Scotland today, informed by
:22:27. > :22:29.Scotland of the past. The gallery also houses a new room which was
:22:29. > :22:34.showcase some of the 38,000 photographs in the national
:22:34. > :22:38.collection. What photography does is democratised the gallery. Before
:22:38. > :22:43.we should, we did show photographs occasionally but it wasn't integral
:22:43. > :22:47.to the displays. Now, they are absolutely central and I think the
:22:47. > :22:53.whole product of what we are trying to present to the public is a very,
:22:53. > :22:59.very much richer blend than we were able to do before. So does this
:22:59. > :23:03.ambitious we decide on a grand old Scottish building did justice?
:23:03. > :23:08.I know this building well from where I live in Edinburgh and I did
:23:09. > :23:15.enjoy going there but it was always slightly gloomy. I know, you sort
:23:15. > :23:20.of get distracted by the cake, it was warm and welcoming. It is dark
:23:20. > :23:25.and then that it this -- that is light and welcoming. The first
:23:25. > :23:31.thing you do is Scots that have done well. Are you got a hot Scot?
:23:31. > :23:36.I have never been part in my life. -- are you not. It is not about we
:23:36. > :23:41.are the finest, if you happen to be from here, it is nice to see people
:23:41. > :23:45.who have done well, and if he was not, here we are, a small culture
:23:45. > :23:49.and we present ourselves. Mark, you knew the old one. I love what they
:23:50. > :23:55.have done there, they have transformed that Central Hall,
:23:55. > :24:00.which is incredible. I remember going there and thinking it was
:24:00. > :24:03.like Hogwarts, it was all done dusty, and they have opened up the
:24:03. > :24:07.space and made this incredible opening Hall, the central part of
:24:07. > :24:12.the building that just flourishes. The space is amazing that, they
:24:12. > :24:18.have given... What they have done is created a really amazing it
:24:18. > :24:22.gallery. So much thought has gone into it. It is not done strictly
:24:22. > :24:27.chronologically, but the rooms are thematic, so you have the Jacobite
:24:27. > :24:31.but not just the Jacobites, it is the Jacobite in exile. Actually,
:24:31. > :24:36.there is a bit of chronology. The way they took us around, anyway,
:24:36. > :24:41.and they started us off at 1,500 with their first Portrait, and then
:24:41. > :24:45.you saw Mary, Queen of Scots -- 1,500. The Jacobites, I walked in
:24:45. > :24:50.and I thought it is a bit hysterical and I never studied this
:24:50. > :24:55.but you can clearly see how important that gallery is. We were
:24:55. > :24:59.taken around by a photographer- curator, he was very keen to get us
:24:59. > :25:03.there and that is when the gallery came to life. A lot of these
:25:03. > :25:10.paintings, you will have seen that before, and when you get to the
:25:10. > :25:15.photographs, you are met with these extremely -- met with this extreme
:25:15. > :25:19.where everything has gone and you start this romantic journey through
:25:19. > :25:23.extraordinary Scottish landscapes which then taking into the urban
:25:23. > :25:27.centre of Edinburgh and Glasgow. You're right, the photographs are
:25:27. > :25:33.just stunning. That is where the gallery really kicks in. You get
:25:33. > :25:39.this amazing sense of Scottishness, of it really is an assured --
:25:39. > :25:49.National Gallery of Scotland and tells her history. It's a cultural
:25:49. > :25:49.
:25:49. > :25:56.interpretation. That is really exciting. It is such a clear
:25:56. > :25:59.expression of Scottish nationhood, it is very interesting watching the
:25:59. > :26:03.effect that galleries and collections can have on countries
:26:03. > :26:11.that are trying to do something different. I have just seen a lot
:26:11. > :26:16.of emerging countries do that. In the context, it is fascinating. I
:26:16. > :26:20.was riveted by the very miserable picture of James the 6th, or James
:26:20. > :26:26.the first, whichever way you look at it Kebabou I thought that would
:26:26. > :26:31.be going on to campaign posters. -- and I thought. It cannot be called
:26:31. > :26:34.nationalistic, though. Not at all. They are under 10 she would get if
:26:35. > :26:39.you knew the history, like the romantic Camera exhibition --
:26:39. > :26:42.undertones. You get more and more people and you end with that
:26:42. > :26:48.beautiful, vibrant picture of a ball of the people being properly
:26:48. > :26:53.it. The Glasgow town hall Christmas party, which is just people having
:26:53. > :26:58.a wonderful time and being alive. But it is not nationalistic or
:26:58. > :27:02.stupid. There is a real sense of ownership, which was really
:27:03. > :27:08.interesting. While we were there, people came in and said, we are
:27:09. > :27:13.read this and were pointing at one of the films. -- we are in this.
:27:13. > :27:17.There is a real sense of ownership and it raises, actually, an
:27:17. > :27:21.interesting question. It is kind of like the artistic version of the
:27:21. > :27:25.West Lothian question. If the Scottish National Gallery has so
:27:25. > :27:29.much about Scottish national identity and the National Gallery
:27:29. > :27:34.in London is so much about being British, where is the English
:27:34. > :27:37.National Gallery? On that enormous note, we will leave this part of
:27:37. > :27:42.the discussion, because that could take a very long time to answer
:27:42. > :27:45.that question. Now, deny it as you might,
:27:45. > :27:49.Christmas will soon be upon us and it wouldn't be Christmas without
:27:49. > :27:54.the star studied television adaptation of a popular classic.
:27:54. > :27:58.This year's BBC One centrepiece is one of Charles Dickens'best-loved
:27:58. > :28:03.books, Great expectations. The novels of Charles Dickens are
:28:03. > :28:07.no strangers to the TV adaptation. Over the decades, many of his
:28:07. > :28:11.players -- most famous works have to be translated to the small
:28:11. > :28:15.screen and Great Expectations is a firm favourite. It first appeared
:28:15. > :28:21.on the BBC in 1959, at nearly every decade since, a new variation has
:28:21. > :28:25.been made. Where is your mother? Sarah Phelps, who cut her teeth of
:28:25. > :28:31.EastEnders, is the latest writer to tackle this classic tale of
:28:31. > :28:36.transformation. Oscar Kennedy plays the young the Pip, Ray Winston
:28:36. > :28:46.gives a bruising performance as Magwitch. And the X Files Gillian
:28:46. > :28:54.
:28:54. > :29:01.Anderson offers a ghostly Miss You're Pip from the Forge. Yes,
:29:01. > :29:08.madam. I am not madam. I am not married. After years in his uncle's
:29:08. > :29:15.forge, pip is informed by Jagers, played by David Gibbs that he's to
:29:15. > :29:20.be transformed into a gentleman. The owner wants Mr Pirip to be
:29:20. > :29:24.removed from his present life and go to London where he is to be
:29:24. > :29:29.instructed in the ways and manners of society, where he is to live the
:29:29. > :29:37.life of a gentleman, where, in short, he is to live as a young
:29:37. > :29:41.fellow of great expectations. Mean and moody cinematography of
:29:41. > :29:46.the opening episode make much of the bleak setting. The production
:29:46. > :29:53.values are certainly high, and it has a starry cast, but do we really
:29:53. > :29:57.need yet another adaptation of this well-worn favourite? My food not
:29:57. > :30:01.good enough for you? It's Christmas. If you can't beat a boy at
:30:01. > :30:04.Christmas, when can you beat him? That's a fantastic line. We have
:30:04. > :30:07.seen a lot of the Great Expectationss over the years. Do we
:30:07. > :30:11.need another? Yes, please. I thoroughly enjoyed this. It was
:30:11. > :30:16.terrific. The last one I saw was that updated one - Alfonso Cuaron -
:30:16. > :30:20.that was '98. I hadn't seen one for awhile. Knowing this was going to
:30:20. > :30:24.have Gillian Anderson again, who was Lady Deadlock in that amazing
:30:24. > :30:28.Bleak House bleak - I put the DVD in. I was worried at first because
:30:28. > :30:31.the Bleak House was done in half- hour episodes, wasn't it, and it
:30:31. > :30:37.was very short, tight scenes. It was done like a serial. I thought
:30:37. > :30:41.this was the way forward... Going back to Dickens'... Yes, the way
:30:41. > :30:45.Dickens had done it. They have reverted to the conventional style.
:30:45. > :30:50.The scene everybody knows in the graveyard, young Pip is there. The
:30:50. > :30:53.gloom is there. The mist is there. It's washed out when it starts,
:30:53. > :30:58.then teeny bits of colour come in. You see a little bit of blood, a
:30:58. > :31:01.little bit of pie. The bleakness of the landscape and the way it was
:31:01. > :31:06.filmed - there is a brilliant opening where you get a shot across
:31:06. > :31:10.the river and the prison ships and suddenly Ray Winstone's head comes
:31:10. > :31:14.out of the water. It's a nod to apocalypse. There are some great,
:31:14. > :31:22.great moments in it. I think there are some really good actors, but Ms
:31:22. > :31:27.Haver sham is just not good. she's great. She had a bit of Kate
:31:27. > :31:30.Bush in Wuthering Heights. I love it because apart from anything else
:31:30. > :31:36.she's George V Bridge in a petticoat. She stands in front of a
:31:36. > :31:40.young boy and says, here's your future. It's shiny. Oh, I'm sorry.
:31:40. > :31:47.You're condemned to hell forever. Go and write - no, it's grand. It's
:31:47. > :31:50.her speciality now. I adored her. It was a great story of social
:31:50. > :31:55.mobility whether or not George Osborne took it away. She's awful
:31:55. > :31:59.in it. It's such a shame because it's motoring along so beautifully,
:31:59. > :32:04.and Pip that boy actor, your heart is going out to him. You just want
:32:04. > :32:11.to go in and rescue him from his surroundings. Then he comes in -
:32:11. > :32:16.it's like a Kate Bush B side then a goth in a basket look about the
:32:16. > :32:20.whole costume. They have gone too far and over-stylised her. That's
:32:20. > :32:26.not her fault but she has this vacant look on her face. The thing
:32:26. > :32:31.about her is, she's such a manipulative creation, you think,
:32:31. > :32:37.which dark depths of Dickens' mind did she come from? It's like having
:32:37. > :32:41.a 33 RPM record played all the time. She slows the whole thing all the
:32:41. > :32:46.time. What about the interpretation of Pip because he can be incredibly
:32:46. > :32:54.bland, the innocent - just a cipher. It's interesting because we have
:32:54. > :32:58.only seen the first episode - it was an hour long. AL Kennedy played
:32:58. > :33:02.the young Pip. I thought he was terrific, not only soaking up
:33:02. > :33:10.everything around him, but he had a personality as well, which often
:33:10. > :33:15.doesn't come out. We then saw old Pip. I thought it's boy George - he
:33:15. > :33:21.hasn't done a lot as of yet. Whether he turns out to be as good
:33:21. > :33:24.we'll have to see. When you look at the span of them over time, do you
:33:24. > :33:30.think this tells us something about our own age? Absolutely. When you
:33:30. > :33:36.look at the '60s and '70s when everything seemed to be evening out,
:33:36. > :33:39.you had the cozy Dickenses. Now we're going back there in so many
:33:39. > :33:44.ways. It's not an anachronistic bleakness, but particularly in the
:33:44. > :33:48.first episode you're looking at everything slightly from young
:33:48. > :33:51.Pip's viewpoint. Everything is huge and threatening. You have no
:33:51. > :33:56.expectations, genuinely savage. That's where a lot of children are
:33:56. > :34:00.living. The question you asked in the beginning, do we need another
:34:00. > :34:05.adaptation? No, we don't. This is good. It's fine, but it's a period
:34:05. > :34:10.drama served up every Christmas with some kind of regularity...
:34:10. > :34:15.can't we have one now? Dickens... It's a part of Christmas
:34:15. > :34:18.in the end... Which he'll not put - for heaven's sake - the
:34:18. > :34:20.anniversary... There is a coo curious thing about why we like
:34:20. > :34:24.Dickens - the English in particular like Dickens because he represents
:34:24. > :34:32.- the English people or the middle class English like the Conservative
:34:32. > :34:37.radical. That's why we like Stephen Fry and his lot. Ann? I don't agree
:34:37. > :34:41.with that at all. If you look at what they're doing here, they're
:34:41. > :34:46.taking this idea of social mobility, we're all banging on about in one
:34:46. > :34:50.way or another and touched on a bit tonight and focusing on that they
:34:50. > :34:55.have been raised up and the difference of being raised up and
:34:55. > :34:59.cast down into poverty, and it's so brilliantly laid out, it's faithful
:34:59. > :35:03.to the story. I think in a very subtle way it's referring to
:35:03. > :35:07.concerns we have in society today, but it's not done with a
:35:07. > :35:12.sledgehammer. That's the clever thing about it. Sarah Fox has done
:35:12. > :35:17.a clever thing in leaning on things. She's upped the stakes in a really
:35:17. > :35:21.nice way. You can see whether you think it's about the big society.
:35:21. > :35:24.Great Expectations is on BBC One over three nights from December 27.
:35:24. > :35:30.Monday night saw the presentation of the Turner Prize, and for the
:35:30. > :35:34.third year in a row, the winner emerged from here in Glasgow. We
:35:34. > :35:38.asked art critic Moira Geoffrey what it is about the place that's
:35:38. > :35:44.led to such artistic prominence. someone who lives in Glasgow and
:35:44. > :35:49.writes about art for a living, I asked why the city produces so many
:35:49. > :35:52.Turner Prize winners. The winner for the 2011 Turner Prize, Martin
:35:52. > :35:56.Boyce. With Martin Boyce's win this week, the last three successive
:35:56. > :36:01.winners have been brought up or educated in the city. The questions
:36:01. > :36:05.on Monday night at the ceremony in Gateshead tended to run to, is
:36:05. > :36:09.there something in the water? I am not sure about that but there might
:36:09. > :36:12.be something in this institution - Charles Dicken's Glasgow School of
:36:13. > :36:18.Art where many of Turner Prize's successes have trained. The
:36:18. > :36:22.building itself may be a radical masterpiece that's inspired many
:36:22. > :36:28.Glasgow artists. It's not so much the bricks and mortar that matter
:36:28. > :36:31.as the people inside - the teachers and peers in the city who Martin
:36:31. > :36:35.Boyce mentioned in his acceptance speech. It's worth remembering the
:36:35. > :36:39.artists who reach the Turner Prize now are usually in their 40s.
:36:39. > :36:44.They're the product of an affordable higher education that
:36:44. > :36:48.might be denied to future generations of artists. On the
:36:48. > :36:51.other hand, it might be something about this building here. This is
:36:51. > :37:01.the Modern Institute, the commercial institute that
:37:01. > :37:02.
:37:02. > :37:07.represents both boys and the winner in 2009.
:37:07. > :37:10.The current Glasgow art scene is diverse and can't be reduced to a
:37:10. > :37:15.single building, movement or style - as well as international prize
:37:15. > :37:23.winners, there are dozens of lesser-known artists dedicated to
:37:23. > :37:29.their practising. It's at this bridge over the River Clyde that
:37:29. > :37:37.Susan Phillips cited her prize- winning Lowlands Valley in 2010.
:37:37. > :37:40.Her rendition of a melancholy seaman's ballad marks her Glasgow
:37:40. > :37:47.roots. One of the great things about this city is the river that
:37:47. > :37:50.runs through it. This is a Victorian mercantile city whose
:37:50. > :37:54.products have flowed ever outwards. There is maybe something in that
:37:54. > :37:58.water after all. I can tell you the water didn't look calm like that
:37:58. > :38:02.last night with all the winds. Thanks to my guests tonight, Mark,
:38:02. > :38:07.Alison and the other Mark. Next week, it's the final Review Show of
:38:07. > :38:13.the year, and Kirsty is going to be joined around the Christmas tree by
:38:13. > :38:18.Natalie Hanes, Susan Hitch and Paul morally to look back at the year's
:38:18. > :38:23.highlights. The Divine Heady will be live, and
:38:23. > :38:29.there is even a brass band. Don't say we never push the boat out.
:38:29. > :38:33.Tonight's music comes courtesy of James Dean Bradfield of the Manic
:38:33. > :38:43.Street Preachers, whose complete catalogue has just been released.
:38:43. > :39:09.
:39:09. > :39:12.He's playing Motorcycle of # Culture sucks down words
:39:12. > :39:18.# Itemise loathing and feed yourself smiles
:39:18. > :39:23.# Organise your safe tribal war # Hurt, maim, kill and enslave the
:39:23. > :39:33.ghetto # Each day living out a lie
:39:33. > :39:35.
:39:35. > :39:43.# Life sold cheaply forever - ever, ever
:39:43. > :39:52.# Under neon loneliness motorcycle emptiness
:39:52. > :40:00.# Under neon loneliness # Motorcycle emptiness
:40:00. > :40:09.# Life lies a slow suicide # Orthodox dreams and symbolic
:40:09. > :40:19.myths # From feudal serf to splendour
:40:19. > :40:24.
:40:24. > :40:34.# This wonderful world of purchase power
:40:34. > :40:38.
:40:38. > :40:48.# Just like lungs sucking air # Survival's natural as sorrow,
:40:48. > :40:50.
:40:50. > :41:00.sorrow, sorrow # Under neon loneliness, motorcycle
:41:00. > :41:04.
:41:04. > :41:11.emptiness # Under neon loneliness, motorcycle