Fisherman’s Friends

Rated: MFisherman's Friends

Directed by: Chris Foggin

Written by: Piers Ashworth, Meg Leonard, Nick Moorcroft

Produced by: Meg Leonard, Nick Moorcroft, James Spring

Music by: Rupert Christie

Cinematography by: Simon Tindall

Starring: Daniel Mays, James Purefoy, David Hayman, Dave Johns, Sam Swainsbury, Tuppence Middleton and Joel Clarke.

‘Never under any circumstances say, “Rabbit”.’

Revelling in Port Isaac for Henry’s (Christian Brassington) stag weekend, the London boys, Danny (Daniel Mays), Driss (Vahid Gold) and music exec and boss, Troy (Noel Clarke) are ready for some larger and yachting.  Until they end up stranded at sea and getting ‘quite burnt’.

It’s up to the local Search And Rescue to fish to them to safety.  Ironic being the crew are the local fishermen.

It’s like two different worlds collide: the city boys who own country estates and work for a record label and fishermen who risk their lives every day and sing sea shanties.

When the London boys come across their rescuers singing in the town square, boss Troy thinks it’ll be hilarious tasking Danny with signing the group to their label.  Only for Danny to see more than just crusty fishermen signing, he hears history in their voices.

‘What’s that song?’ Danny asks Alwyn (Tuppence Middleton), the daughter of man-of-few-words, the words never wrong, Jim (James Purefoy) – ‘That’s the rock’n’roll of 1752.’

Based on a true story, Fisherman’s Friends is about the discovery of these ten men, and the journey from singing to raise money for the village Lifeboat Association to a million pound record deal with Universal Music, a top-ten album and playing the Pyramid stage at the world famous Glastonbury Festival.

But there’s more to these crusty sailors than a fine set of pipes.  There’s the history, the proud Cornwell folk defining those on this side of the river Tamar, and them on the other side – like the emmets (the Cornish word for ants): those who come across and are a pain to get rid of.

There’s some PG humour that doesn’t get too carried away, to keep the boat floating along the storyline – see what I did there?  Yep, that’s me getting carried away with the nautical theme because I enjoyed the ride, damn it.

The film reminded me of the songs we’d sing in primary school (What Shall We Do With A Drunken Sailor included) and dancing to folk music with kids from other local schools.  And the gymkhana with the bag pipes and dog jumping competition.

It reminded me about community and generations of families buried in the same cemetery and knowing a place.  Really knowing a place and people knowing you.

So rather than the underdogs winning and signing to that record label, there’s thought to place and where we stand in it and being able to take a man by his own merit.  Including Jago (David Hayman), Port Isaac’s number one bingo caller.  Bless him.

So yeah, I got a little swept away in the story.

And the guys did a good with the singing, no ‘taking the piss’ required.

Downton Abbey

Rated: PGDownton Abbey

Directed by: Michael Engler

Written by: Julian Fellowes

Produced by: Gareth Neame, Julian Fellowes, Liz Trubridge

Co-Produced by: Mark Hubbard

Executive Produced by: Nigel Marchant, Brian Percival

Starring: Maggie Smith, Michelle Dockery, Laura Carmichael, Imelda Staunton,Tuppence Middleton, Joanne Froggatt, Allen Leech, Jim Carter.

It’s 1927, the roaring twenties. English-style. The Charleston is an underground dance craze and the plots and schemes are swirling, above and below stairs.

Beginning with the nib of a fountain pen as it traces a loop in glossy, black ink, the opening scene follows the byzantine logistics of a royal missive. With the precision of finely-tuned clockwork, the envelope then travels from steam train to a maze of narrow backstairs corridors before it is finally placed on a silver tray and delivered to Lord Grantham (Hugh Bonneville) as he ambles down to breakfast with his favourite retriever in tow.

The king wishes to visit, even though the upstairs coterie are harbouring an Irish republican in their midst. Worse, Lord Grantham  looks set to miss out on his inheritance and Violet Crawley, the imperious and incorrigible Dowager Countess (Maggie Smith), is not prepared to stand for it. Above stairs the scene is set.

Below stairs, apart from a few minor skirmishes, all is humming along nicely. The Downton staff are thrilled to be showing off their domestic skills to the royal couple; that is, until the king’s personal valets, the king’s chef Monsieur Courbet  (Philippe Spall) and the ‘terribly scary’ royal butler (David Haig) arrive to take over the household duties and steal their moment of glory.

Although deeply miffed at the royal interlopers, the Downton staff are sufficiently cowed to stand aside. That is, until scheming pair Anna Bates (Joanne Froggatt) and her husband (Brendan Coyle ) hatch a plot: ‘We’ll meet in the wine cellar.’ Over the protests of the butler (Jim Carter), ‘it’s ‘treason’, the household staff agree to fight back, and, in so doing, find themselves rather perversely staging a minor revolution in order to perform their own cooking and waiting duties.

From the clatter of new millennium machinery to the dinging and tinkling of bells on shop counters, we are subtly drawn in to a world in transition. Not only from an era where handcrafted workmanship is giving way to the age of the machine, but to a time where the old certainties and the precisely ordered clockwork society that king and queen represent are being almost invisibly eroded from beneath. Not only are the staff getting uppity, but the women are more openly standing up to the men. Although, in the world of Downton Abbey, they’ve been arranging affairs all along.

Not that Downton Abbey sets out to deliver any type of lesson, unless that lesson be in the art of Machiavellian intrigue. Rather, the experience is a heady cocktail of tomfoolery and power moves. While some may find the setup lengthy, aficionados will appreciate the clever dialogue, the exquisite costumes, the sense of romance that perfumes the air and the devious minds at work.

When the credits rolled on opening night, the entire theatre offered up a round of applause. And that is something that doesn’t happen very often.

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