The Red Riding Trilogy (2010)
June 7th 2010 02:42
The Red Riding Trilogy (2010)
In the Year of Our Lord 1974 (dir. Jarrold)
In the Year of Our Lord 1980 (dir. Marsh)
In the Year of Our Lord 1983 (dir. Tucker)
Written June 6, 2010
The Red Riding Trilogy is a BBC Mini-series that was released in the U.S. earlier this year as one, long feature film. It is based upon a book series (which is actually a quartet) and comprised of three parts; In the Year of Our Lord 1974, In the Year of Our Lord 1980 and In the Year of Our Lord 1983. The aforementioned feature a different director, different protagonist, and each is filmed in varying formats with the earliest year filmed in 16MM, the middle 35MM and the final in digital. This decision is unique and functions well within each film. 1974 is the strongest of the three films. It’s laced with tension and carried by young actor Andrew Garfield, whom the camera loves. The three films are centered on serial killings and the vast corruption of the government, police, and basically anyone associated with these agencies. The motto of these crooked individuals is, “the North. Where we take what we want.” The Yorkshire Police are sadistic and entitled; they feel the entire North of England is their plaything.
To describe the plot would be futile, especially since key developments in the trilogy’s underlying mysteries are not discovered until the final film. Nonetheless, here’s a brief overview. In 1974, Eddie Dunford is a reporter who begins investigating the disappearance of a child, Claire Kempley, whom was abducted on her way home from school. Eddie begins to piece together connections to two other girls whom were also abducted in the past. His search leads him to numerous shady characters as well as one of the girls mother, played by the brilliant Rebecca Hall. The film then follows Eddie as his inquest propels him deeper into a wave of deceit and corruption that appears endless. The film is fraught with tension and soon there appears to be no way out, not only for Eddie but the viewers as well who are taken on this roller-coaster ride.
The next film, 1980, follows a new investigation into the Yorkshire Ripper murders but again the original murders are also of focus and many characters recur. Even though the protagonist shifts, the film still follows the same basic structures consisting of investigation, cover-up, and revelation. It also contains a romance, as does each film. However, the romances in 1980 (as well as 1983) are simply not needed and actually take away from the main narrative as opposed to enhancing it. The last 10 minutes of 1980 are easily the strongest of the series and are utterly haunting.
In 1983, we finally get a protagonist (or antagonist, actually) who is not trying to solve a puzzle, in Maurice Jobson. Instead, Jobson is the man who has been morally compromised from the start, privy to all of the wrong doings and attempting to seek redemption through his remorse. The film asks us to, if not emphasize then at least understand the impunity he was involved in. Naturally, as Jobson’s the main focus of the film we are asked to connect with Jobson but at the same time it’s difficult to reconcile his knowledge and his disinclination to stop the course of events that were set into motion. Although Jobson is the character we follow most in the final film, we are also exposed to a character that is intricate to the series, BJ. BJ embodies the loss of innocence, the desire for retribution, and perhaps moreover, closure. BJ is identifiable, broken, and beautiful. Therefore, it’s not hard to understand why the films focus shifts to him toward the very end. And while closure is received with certain characters, there is still some longing for justice to have been awarded to the key players behind the conspiracy. Sadly, the series ends before any further retribution can occur.
A main complaint, besides the pacing of the second film and some unnecessary plot inclusions, would have to be a general displeasure in the soundtrack of the trilogy as a whole. Taking place in England in the 70’s and 80’s, it would have been nice to see an infusion of the varying British glam/punk rock scene but instead we are greeted with an abundance of soul/R&B.
While not a perfect series of films, The Red Riding Trilogy is nonetheless captivating, tense, and thought-provoking with some great acting, strong and diverse directing and gorgeous cinematography. When all is revealed, you immediately want to return to the first film and begin piecing together clues that may have been overlooked originally. Thus, the series achieves its goal of sustaining interest over the course of nearly five hours and is definitely worth a viewing or two.
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