Red Riding In the Year of Our Lord 1983 (2009) Other movies recommended for you
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Plot: A murky tale. A child goes missing in West Yorkshire, one of several over ten years; the police find a patsy, an acquaintance of Michael, a blood simple man serving a life sentence for another girl's death. Michael's mother asks John Piggott, a burned-out solicitor, to look into her son's conviction; Piggott finds injustices in current and past cases. Maurice Jobson, part of a group of corrupt cops, searches for the missing girl, involves a medium, finds nothing, leans hard on Piggott, and may be tiring of the sham. He's warned off going soft. Is there moral strength anywhere capable of facing down the cabal? Runtime: 100 mins Release Date: 10 Nov 2009
A Brilliant Piece of Soon To Be British Cult Drama (by jfcthejock)
What can I say, this show was gritty, sad, depressing, moving, touching and it made you hate the bad cops with vigour and even I detested them through all three parts of this thrilling trilogy. This is indeed very close to Life On Mars, but so very much darker. No humour just pure grit and dirt and it was a brilliant show. Police corruption, obsession and murder. This programme showed the dark side to the very people we trust to protect us, and if it was bad anywhere then it is always going to be the north due to no control or observation of the police. Through every episode from the first <more>
part where we saw the darkness grow and only win, with only one victory. A few of the corrupt cops and the man behind it all being killed by the hero journalist, but it was short lived as we saw in the end. With part two we thought that it would come crashing down on the evil cops but it didn't with another hero dying and losing his life to the people he thought were his friends and fellow officers. Finally part three, we all thought that it would end with the corrupt evil police officers getting away with their sins and deeds and they indeed do but a small victory shows itself, a small one yet the first victory for the good in a long time.Red Riding was entirely gripping through each of it's parts and it never slowed down or put me off from watching it through. Hard hitting, sad, and truly heartbreaking we all were glued to our seats as a nation to this well wanted drama. I hope for the rest of its viewers they were happy with its conclusion as I was because this show deserves only praise and not criticism. A piece of soon to be cult television without a doubt, something hopefully our next generation is told about and views it themselves to know British television is to be matched.
Sean Bean Week: Day 7The Red Riding Trilogy is one of the most dense, absolutely impenetrable pieces of work I've ever seen, let alone attempted to dissect with my clunky writing skills. It's also fairly horrifying, as it chronicles the tale of the Yorkshire Ripper, an elusive and mysterious serial child killer who terrorized this area of Britain through the late 70's and early 80's. Viler still are the strong implications that very powerful people, including the brass of the West Yorkshire police, made every disgusting attempt to cover up the crimes and protect the killer, <more>
who's murders included that of children. It's a brave move by UK's Channel 4 to openly make such notions obvious within their story, and commendable the level of patience, skill and strong ambition in the undertaking is quite the payoff, whilst simultaneously taking a toll on you for sitting through it. The sheer scope of it must be noted; it's separated into three feature length films, each vastly different in setting, character and tone, and each blessed with a different director. The filmmakers even went as far as to film the first, which is set in 1974, in 16mm, the second in 35mm being set in 1980 and the third makes a leap to high definition video and takes place in 1983. Such a progression of time is a dismal reflection of the sticky corruption which clings to societies, decaying them stealthily over years, and the few keen individuals who will not let the truth die as long as there is a glimmer of uncertainty. Now, if you asked me exactly what happens over the course of this trilogy, who is who, what has happened to which characters and who is guilty, I simply wouldn't be able to tell you. It's a deliberately fractured narrative told through the prism of dishonest, corrupt psyches and has no use for chronology either. Characters who you saw die in the first film show up in the subsequent ones, actors replace each other in certain roles, and there's just such a thick atmosphere of confusion and despair that in the 302 minute running time I was not able to make complete sense. I think this is a great tactic to help you realize that the film means to show the futile, cyclical nature of reality, as opposed to a traditionally structured story with a clear cut conclusion. Events spiral into each other with little rhyme or reason, until we feel somewhat lost, knowing full well that terrible events are unfolding in front of our eyes, events that are clouded and just out of our comprehensive grasp in a way that unsettles you and makes you feel as helpless as the few decent people trying to solve the case. One such person is an investigative reporter searching for the truth in the first film, played by Andrew Garfield. He stumbles dangerously close to answers which are promptly yanked away by the sinister forces of the Yorkshire police, brutalized and intimidated into submission. He comes close though, finding a lead in suspiciously sleazy real estate tycoon Sean Bean, who's clearly got ties to whatever is really going on. The level of willful corruption demonstrated by the police is sickening. "To the North, where we do what we want" bellows a chief, toasting dark secrets to a roomful of cop comrades who are no doubt just as involved as him. The kind of blunt, uncaring dedication to evil is the only way to explain such behaviour, because in the end it's their choice and they know what they're doing. Were these officers as vile as the film depicts in the real life incidents? Someone seems to think so. Who's to know? Probably no one ever at this point, a dreadful feeling which perpetuates the themes of hopelessness. The second film follows a nasty Police Chief David Morrissey who is bothered by old facts re emerging and seems to have a crisis of conscience. Or does he? The clichéd cinematic logline "no one is what they seem" has never been more pertinent than in these three films. It's gets to a point where you actually are anticipating every single person on screen to have some buried evil that will get upturned. A priest Peter Mullan is superb shows up in the second film only to be involved in dark turns of the third. Sean Bean's character and his legacy hover over everything like a black cloud. A mentally challenged young man is held for years under suspicion of being the Ripper. A disturbed abuse survivor wild eyed Robert Sheehan seeks retribution. A Scotland Yard Detective Paddy Considine nobly reaches for truth. Many other characters have conundrums of roles to play in a titanic cast that includes Cara Seymour, Mark Addy, Sean Harris, James Fox, Eddie Marsan, Shaun Dooley, Joseph Mawle and more. The process in which the story unfolds is almost Fincher - esque in its meticulous assembly, each character and plot turn a cog in a vast machine whose purpouse and ultimate function are indeed hard to grasp. I need to sit down and watch it at least two more times through before the cogs turn in a way that begins to make sense to me, and a measurable story unfolds. It's dark, dark stuff though, presenting humanity at its absolute worst, and in huge quantities too, nightmarish acts that go to huge levels of effort just to produce evil for.. well, it seems just for evil's sake, really. The cast and filmmakers craft wonderful work though, and despite the blackness there is a macabre, almost poetic allure to it, beauty in terror so to speak. It's rough, it's long, it's dense and it thoroughly bucks many a cinematic trend that let's you reside in your perceptive comfort zone, beckoning you forth with extreme narrative challenge, an unflinching gaze into the abyss no promise of catharsis at the end of the tunnel. There's nothing quite like it, I promise you.
An excellent closure to 2009's best trilogy! (by MetalAngel)
The following review is a follow-up on the reviews written for Julian Jarrold's "Red Riding: 1974" and James Marsh's "Red Riding: 1980"; for further info on the Red Riding trilogy and content related to the series' continuity, read the other reviews before this one. The excellent Red Riding trilogy has finally come to a close...and it went out with quite a bang! Anand Tucker helms the final film, "Red Riding: In the Year of Our Lord 1983" and does a pitch-perfect job of joining the two previous films, solving up most of the enigmas that had been <more>
ignored, and closing the circle. Tucker is a master at his characters' catharses and at carefully observing and commenting on the infinitely heartbreaking human characteristics of revenge, redemption and atonement. Tucker concludes Jarrold and Marsh's films in this way: he extracts Jarrold's poignancy from "1974" and Marsh's intelligence from "1980", mixes them and adds his own masterful touch while tying the loose ends of each film's plots. The result is, as I've said before, an excellent closure to this harrowing series and a very satisfying finale.The film returns to 1974, and the opening scene shows us the corrupt and darkly evil group of villains we've already come to know assembled in a country estate, including Harold Angus Jim Carter , the seedy police superintendent, and Maurice Jobson David Morrissey , the mysteriously cryptic and detached crime investigator. The child murders we saw in the first film are only just being discovered by the police, and their shady dealings with John Dawson Sean Bean are beginning to be discussed. Then the film shifts us to the year 1983, where attorney John Piggott Mark Addy is being commissioned to appeal for the killer of the three girls, whom his family believes to be innocent and secretly, so do we .The film dangerously shifts between 1974 and 1983 without letting the viewer know. At first we're confused to see so many characters who're supposed to be dead already involved in present-time events, but as the film goes along it is all explained. Tucker is interested not in the chronology of events or making sense out of the twisted plot...after all, what sense can ever be extracted from such base crime and corruption? We eventually manage to sort the plot out, and by then we just KNOW that no matter whether the events make sense or not, the depravity and evil behind it all can never explain itself to our consciences. Tucker digs deeper into the Yorkshire murders than Jarrold and Marsh could because he can play with all of the characters from the previous two films, giving us everybody's side of the story, everyone's point of view and every person's true face as opposed to the mask they've been painting all along . And the new character Piggott, the attorney who we've only come to know is such an ambiguous, flawed and relatable character that even through his weak points he becomes the most human character of the film. Piggott leads the investigation taking place in 1983 and Maurice Jobson leads a covert investigation back in 1974 parallel to Eddy Dunford's but obviously laden with a corrupt agenda .Once again, the film builds a steady tension that reaches unbearable heights as each minute passes on, as as the answers to all the questions we had are revealed to us, we can't help but lift our hands to our mouths and stare open-eyed at the horror behind the truth. The first two films dealt with one person trying to expose the guilty murderers and crime lords; this film is about the murderers and members of the Force seeing how they can cover up their footprints, how they can redeem themselves from tainted consciences, and how they can go on living while internal disagreements arise. And Anand Tucker, who has shown us with films like "Hilary and Jackie" and "Shopgirl" that he's a master at exploiting guilt and internal conflict, makes the most of his characters and blows them up from the inside out.I can't say anything about the ending without spoiling everything for you, but I WILL say that the series couldn't have ended better. I saw these films on DVD, in the comfort of my bedroom, and as soon as "1983" was over I felt like jumping to my feet and clapping my heart out. I'll never tire of repeating this: I am amazed! Overwhelmed, really.I've recently heard that Ridley Scott's been taken into consideration to direct an American film which joins this trilogy into one full-length feature. That is just ridiculous. These three films put together amount to over FOUR hours and a half, and not a minute is wasted in any of them. Trying to summarizing this will take out the POINT of it all, and is sure to be a flop after all, there's a reason why the British made this into a trilogy . I seriously recommend you see this before the USA releases its own reduced version. This is as good as trilogies are ever gonna get. Rating: 3 stars and a half out of 4!
Phase Three:Dotting All Of The I's & Crossing All Of The T's (by druid333-2)
It is now three years since The West Yorkshire Ripper has been allegedly caught & disposed from society,but things are no better for the citizens of West Yorkshire. Another disappearance of a young girl has been duly noted. This time,Sgt.Major,Maurice Johnson is on the case to find out just who is the so called ripper. This time,he's assisted against his knowledge by a sleazy lawyer,named John Piggott,as well as a "New Agey" clairvoyant,figure into it,as well as a wrongly accused,mildly retarded young man falsely accused of the original set of murders,and a mysterious <more>
young man just released from prison who is just referred to as B.J. Other elements rampant police corruption,organized crime,political graft figure into this to make this final chapter in a triptych a true nail biter,to keep you guessing until the very end. Anand Tucker Hillary & Jackie,Shopgirl directs from a screenplay written by Tony Grisoni,adapted from the novel by David Peace. The moody wide screen cinematography is by David Higgs,with precise editing by Trevor Waite. David Morrissey returns as Maurice Jobson,with Warren Clarke,as Bill Molloy,Lisa Howard as Judith Jobson,Sean Bean as John Dawson,and rounding out the rest of the cast among others is Chris Walker,Shawn Dooley,Jim Carter,Mark Addy,David Mayes & Robert Sheehan. Not rated by the MPAA,but contains outbursts of strong language,adult content,gruesome images,including brutal police interrogation scenes & violence,as well as much smoking of tobacco & marijuana & drinking of alcohol
A kick in the chest after three equally great films (by dbborroughs)
Final part of the Red Riding Trilogy based on the Red Riding Quartet concerns the events that transpire several years past the previous film. The Ripper is in prison, as is the killer of young girls. The trouble is that another young girl goes missing and its echoing the nastiness that the police are desperate to keep buried.I'm feeling like I was punched in the gut. This is a descent into pure evil and there seems to be little hope of escape. To be honest I'm not sure what I just saw but I need a bath.Time tripping film requires one pays a great deal of attention since the story <more>
meanders back and forth through time in such away that its not always clear when we are. Its a film that closely mirrors memory as we shift through several characters time lines. The un-rooted effect keeps you off balance which when coupled with the films continuous revelations creates an effect similar to being hit by a truck. I know some people don't like this film much because it seems so disjointed but I think if you can go with it you will be richly rewarded. this is not a film to watch on fast forward, something I think at least one reviewer did Supposedly the three Red Riding films can be seen separately and still have them work, and I think that's the case with the first two films in the sequence. Personally I think the first film works completely on its own, and while numerous plot points are left hanging, there is nothing to say that the story must go on. Similarly the second film works when viewed alone. yes there are references to the earlier film, but until the final minutes I think it works on its own terms.That is not the case here. Here the film bounces through time and refers so much to what has gone before that the anyone who watched this with out seeing the previous films would have none of the back story or the references to earlier events. I know I would have wondered why some things were not explained.I know the unease is such that even the ending which has some great images some how has a different sort of impact than one thinks... it is some how fitting for a film and a series that has confounded my expectations.What do I think of the three films? I think the films have a great deal of power. I think they are quite good. I also think that I need to see them again, partly to see what I missed previously and to have it all knitted together. But at the same time I need to see what the films were getting at. I'm still not sure what all of this is about short of a look at festering corruption.If you want challenging film-making see the films.
Criminal Thriller is not a word I will use for this, more like: Disturbing. (by nodisalsi)
The Red Riding trilogy is not something one would normally watch for comedy style entertainment. The underworld criminal corruption and fascist bastard Yorkshire police encountered so far in the first two parts are just touching the surface of this crime drama; beneath this is sick, violent and twisted evil. And the final episode lays it bare.I have to say the performance by the cast is extraordinary. Sure, you can say that actors like Sean Bean and Paddy Considine do possess a degree of cool and that they easily endow upon their character roles. However, in the final part, something happens <more>
which really surprised me and gave me the creeps.The setting for this trilogy: 1970-1980's Britain, has touched a nostalgic nerve in me - a 40 year old Brit. However, my memories of Gypsies, vandalised cars on the street and the grassy wilderness that carries on from the back garden are all fond memories of my childhood. Red Riding brought me back into these days and these places, and introduced a host of beastly horrors and brutal realities of which - until now - I was blithely unaware.Finally, I guess that in conclusion, I was specially targeted by this. But it may just be well-written, expertly researched, quintessentially British, supported by a great cast and neatly photographed. And the impact that was intended for the end - certainly worked on me.
Here we have the final chapter of the this turbulently dark and maturely free-flowing three part mini-series, picking up three years after the second chapter, the story for 1983 might be a little convoluted with the plot digging further into past events --- where some passages are set-up flashbacks leading us to even more surprises it still was a fulfilling, harrowing and exciting way to close it off. It might not reach the heights of the first two chapters, as it came down a notch but for me it didn't disappoint and remained just as acceptably engaging as the previous entries.1983 sets <more>
the story that another young girl has vanished from the same area, where nine years earlier set-up in the first chapter; 1974 a young girl's mutilated dead body was found with angel wings. Detective Maurice Jobson was originally on the case with an autistic man Michael Mishkin being accused of the murder/s, but now of this new development the family of the accused seeks the help from dreary lawyer John Piggott to get an appeal. At first hesitant, but Piggott learns some astonishing facts from Michael about police brutality and corruption at the core. There he goes on trying to take on the Yorkshire police on his own. While Detective Jobson seems to be having a change of heart and starts digging in to the case wanting to do the correct thing, which some of his fellow officers begin questioning.1983 pretty much follows on from 1974, as while 1980 seemed there more so there to connect/hold together some issues that worked its way in. The sprawling plot brings together all the pieces child abuse, serial murders and police corruption to put them as one; as every little detail, lead and revelation about this deeply crafted and intelligent crime story comes to a conclusion. Recurring characters seem to find themselves being wrapped up too and it actually centres more on the endlessly brutal actions of the police behind closed doors. The story was never about the bigger picture of police corruption and violence, but just a small note of it with how this case and also Yorkshire ripper was manipulated for self-gain and power the series focused on that aspect. Here the narrative for the last chapter is about someone trying to make a difference, no matter how much they're out of their league or badly tainted. This can be seen from the viewpoint of two central characters ; lawyer John Piggott and Detective Maurice Jobson. Both have regrets and troubled minds, but see this crusade to not turn a blind eye and at least add a touch of hope amongst such bleak, unflinching and fearful circumstances. David Morrisey had lesser roles in the early films, but this one its all about his character's transformation in what is a superbly reflective performance as Jobson. Mark Addy is also outstanding as lawyer Piggott. Then there's a third character; BJ Robert Sheehan who ties all the incidents together from all three chapters. The support is up to game with brilliant show-ins by Warren Clarke, Jim Carter, Daniel Mays and Peter Mullan.Director Anand Tucker just like the other additions captures the times through place and time, embarking with a visually crisp look but never forgetting the glassy and hardened edge that made this series an uneasy and challenging viewing. What always left a mark with me throughout the series, were the music scores and this chapter was no exception. Gloomy, but soulful and emotionally tailored. An unforgettable and stimulating TV crime drama.
Almost literally. In truth there are a few moments featuring outdoor scenes where the sun MIGHT be out amongst clouds, though camera and lighting do their best to avoid such potential charm. And therein are presented the underlying themes of evil, greed, debauchery, misery, hopelessness and...... did I mention....evil.The Red Riding Trilogy is a five hour adventure into a dark world of vile corruption, pedophilia, brutality, fear and futility. It is certainly not without merit. It features police corruption and brutality as well or better than anything I've viewed. Example: When a <more>
mentally deficient character wets his pants upon sight of the cops we understand entirely his reaction. The lead characters, arguably there are four, are so flawed that they function less as protagonists than as faint glimmers of humanity. Yet they are genuine to a fault. The bleak hopelessness of the British working class is well supported by the lighting, tinting its neither color nor B&W and drab settings. There is certainly a story in here somewhere, not so much moved by the characters as by the ugliness of human nature and it's ability to overwhelm the good.Rather than say the RRT would be better pressed into a single feature length film, the true merits of RRT would be better presented as a multi-part, episodic production more slowly introducing and intermingling the various characters. RRT is certainly more about characters and their natures, reactions and failings than anything else! As I mentioned before, only arguably have we four main characters. The story, quite artfully, ebbs and flows re the importance of and emphasis on certain people. A seemingly minor character is a plot devise at one point, only to be more fully drawn much later. An eight or ten part RRT, at an hour a shot, would/could provide something as engaging as ; e.g., a BBC Dicken's production. Imagine a modern day Bleak House adding drugs, sex, gruesome violence and overwhelming fear.The major problem with RRT is that what we ultimately learn to be the great evil has by then become so obscured by characters and emotions that it almost gives new definition to anticlimax. There may -or quite possibly may not - have been sufficient clues, dialog, etc. attending to the "story" to have made its outcome satisfying. Assuming there were enough such tips this is arguable! by the end of RRT the viewer is far too exhausted to piece the story together. In a nutshell, the backbone story/plot takes such a distant backseat to the grittiness, characters and tragedies that it will be long forgotten before RRT's fears and tears are still remembered.