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Marple (2004–2013)
10/10
Geraldine McEwan is outstanding!
8 September 2015
I read and enjoyed all the Agatha Christies when I was a teenager. Despite this I love these adaptions, and I enjoy the new twists we get in the screenplays.

I have to say that Geraldine McEwan for me is the consummate Miss Marple, as envisaged by Agatha Christie, managing to combine the ideas of sweet little old lady, knitting pink woollies for babies, with intelligence, humour and determination. 'Just passing were you, Miss Marple?' 'Oh, Mr Burton!'

Julia McKenzie is not nearly as successful - have you noticed that her garb is far more severe, with jackets, stiff collars and plain hats rather than the cardigans, and flowery hats of McEwen? Even Joan Hickson, in the earlier series filmed in the 80s and early 90s, does not match EcEwan for authenticity.
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Eleni (1985)
1/10
Claptrap
4 December 2012
It is clear from some of the more glowing reviews that this film tends to be judged by its value as a true story, and I will take the same approach.

Zero stars. Anyone who knows anything about the Greece of the 40s can recognise Gage's book about his mother for the cynical money spinner that it is. The film dishes up the same claptrap.

The much-maligned ELAS was the only effective resistance organisation in Greece. It was loved and supported by the majority of Greeks, due to its commitment to the fight against fascism, its strict discipline and its respect for the rights and needs of the Greek people. Its founder Ares Velouchiotis became a legend in his own time, a byword for military genius, toughness and fairness, with numerous songs composed about him even before his death.

After the British handed Greece over to the collaborators, the criminal classes and the pusillanimous, civil war was inevitable. Eventually Greek children were moved across the border to escape the napalm that was being dropped on them by America, but with parental approval. As Gage concedes, Eleni was executed by ELAS for treachery, and her name is still hated in her village today.
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8/10
Nikos Galanos in the best film ever about ELAS
15 May 2012
Warning: Spoilers
It is surely time for this film to be re-released and with subtitles. And then released on DVD.

The film is about the Greek resistance movement, ELAS, and the time is December 1944. The Germans have left, only to be replaced by the British who have provoked an uprising in Athens, which they are putting down with tank and airplane fire, aided by the collaborationist forces who worked with the Germans. ELAS devises a plan to blow up the Grande Bretagne hotel, which is hosting British dignitaries such as Winston Churchill and General Scobie.

The December events (in Greek the Dekemvriana) are some of the most significant in modern Greek history. The military defeat of ELAS against the British, and the subsequent diplomatic defeat against the same, sentenced the country to decades of right-wing rule under collaborators, with resistance fighters ineligible for jobs in the police force, army, education or the public service, or for pensions.

Of particular interest are the meetings amongst the British officers at the Grande Bretagne hotel, which are both historically accurate and quite chilling.

The highlight, however, is a scene where the character played by Nikos Galanos makes his way into a bar frequented by British soldiers. Galanos plays this perfectly, with only the merest twitch of the mouth indicating his feelings at the sight of the Greek women hanging round the soldiers. After suffering through 'It's a long way to Tipperary', he in turn forces the clientèle to listen to a stirring rendition of the ELAS hymn. (Clips of this scene can be found on the web.)
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Secret War (2012– )
1/10
Propaganda at its ugliest
5 April 2012
Warning: Spoilers
Is Europe at war? Nothing else could explain the outrageous propaganda that characterises the episode 'Double Cross Deal'.

There are two players: British agent Monty Woodhouse and the main Greek resistance movement EAM-ELAS. Woodhouse was in a team parachuted into Greece in order to sabotage the German supply line by blowing up a major railway bridge, the Gorgopotamos. The mission was led by Brigadier Myers and included British saboteurs and partisans led by Ares of ELAS and Zervas of the much smaller group EDES.

No credit is given to the role of ELAS (Ares' judgement and leadership and the competence of his men were essential to the operation, while Zervas himself was simply a handicap, wanting to go home at the first sign of trouble, as Myers reported to London.)

It appears that the British quickly realised that EAM-ELAS were controlled by communists, and that their motives were of the worst. Woodhouse apparently sent a message to London warning that ELAS was planning a coup. At this point the historicity of the programme starts to fall apart. Reports from British agents at the time do not warn of an imminent coup. The real problem is that , EAM-ELAS, after years of a monarchy-supported Metaxas dictatorship, hoped for a democratic republic. The British were equally determined to restore the monarchy, though 80% of Greeks were against it. The agents, the Foreign Office and Churchill referred to the question of the monarchy, of having a government favourable to Britain, constantly. It is extraordinary that the programme does not mention this issue.

However the British still needed ELAS, in particular for the 'Animals' campaign, a series of sabotage operations to make the Germans think the allied landing was going to be in Greece. The partisans were congratulated on 18 July by General Wilson: "These operations … carefully prepared by us and executed with great precision by you, contributed and were conducive to the successes of the allied armies in Sicily'. The major role by far was played by ELAS. From 26 May 1943 to October 1944 ELAS engaged in 327 operations against the enemy occupation.

The claim that ELAS's unwillingness to destroy the Asopos bridge was an act of treachery and an attempt to undermine 'Animals' is a fabrication – the operation had been mooted months before Myers knew about 'Animals'.

Once the tide of the war had turned ELAS was no longer needed; it was time to make a move against them. On 15 September 1943, the British Cabinet agreed to break with EAM-ELAS and make propaganda against them. So the government's success in another age in making the British people believe that Napoleon ate babies was to be repeated now.

There followed a vicious smear campaign against the Greek Resistance. ELAS were no longer heroes but monsters, with Ares an arch-sadist. The BBC was ordered by Churchill not to report anything positive about ELAS, nor to say anything negative about the collaborationist Security Forces(!). If EDES attacked ELAS, it was reversed to make ELAS responsible. When the small group EKKA attacked ELAS, killing several of its men, it was a clash initiated by ELAS, and when ELAS counterattacked, it was termed a massacre, and the execution of EKKA's leader a brutal murder. (Afterwards half of EKKA's officer joined ELAS, while the rest went to join the Security Battalions and the Germans). The confirmation (by Zervas) that the Athens arm of EDES was collaborationist was smoothly changed to a claim that ELAS was collaborating with the enemy, a claim that even now sits in the official British war history.

On 3 December of 1944 250,000 people demonstrated in Athens (the total population of Greece was 7 million), protesting at the proposal that ELAS disarm but the right keep their weapons. The demonstrators were unarmed and jocular. Suddenly the police opened fire, killing 28 people and wounding many more. The next day armed gangs fired on the again defenceless funeral procession. The ensuing riots, which developed into a small war in which the British played a major part, complete with tanks and aircraft, are known as the December events. In no way can they be seen as a calculated bid for power. However this programme makes no reference to the tragedy of the demonstration, but asserts that the events were an attempted coup by EAM-ELAS.

After the ceasefire ELAS disbanded and disarmed and there followed a British-sponsored reign of terror against the left. Members of ELAS were rounded up and imprisoned, collaborators not only walked free but roamed in gangs beating, raping and killing. The offices of left-wing newspapers were destroyed. At an official level, there were an enormous numbers of arrests (84,000 in the first year), and in 1946 they started to execute people, sometimes hundreds in a day. Resistance members were arrested for killing collaborators, and in some cases German soldiers. Resistance heroes Glezos and Santas, who stole the swastika flag from the Acropolis, were both imprisoned, and Glezos condemned to death. Greece was the only occupied country that did not punish its collaborators, but instead victimised those who fought for freedom.

The programme was presumably done on the cheap, but there is no excuse for the failure to interview a single member of EAM-ELAS, the makers preferring to vilify the Greek Resistance in their absence. Chris Woodhouse went on to join the British Embassy in Iran, where he played a significant role in the coup that removed the democratically elected government and installed the Shah.

In 1986 Jane Gabriel made a documentary for Britain's Channel 4 made a film called the Hidden War, consisting mainly of interviews with Woodhouse, Myers, ex-partisans and other figures. The idealism, the awareness, but at the same time the very ordinariness of the partisans, some of whom spent decades in prison or exile, is startling. The film was banned by the British Government, and all except one copy destroyed.
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9/10
A homage to the human spirit
19 March 2012
This beautifully made film tells an extraordinary story which bears witness to the indomitability of the human spirit. After the Civil War in Crete ended with the Battle of Samaria, a dwindling number of survivors of the Democratic Army took refuge in the inhospitable White Mountains. Some stayed on in caves in the south Cretan cliffs, while others were given shelter in and around Hania by sympathetic friends and contacts. In 1962 six of the remaining eight left for Italy and then Tashkent, where they spend 16 years in exile before returning to Greece.

The documentary takes us from the spectacular Samaria gorge and the White Mountains, to the refuge provided by the caves in the cliffs near Hania and to the various accommodations provided by their hosts in the villages, which in some cases consisted of a hole dug in the ground. The three survivors of the six who left in 1962, Aryiro Polychronakis, Nikos Kokovlis and Yannis Lionakis, describe with surprising humour their experiences in hiding. Argiro and Nikos spent most of 12 years sharing a stable with a donkey. Their sole entertainment over this time seems to have been peeping out at passing villagers, producing an illegal newspaper and falling in love.

A Greek review criticised the documentary as presenting only one side, i.e. that of the left, however the film is not manifestly political. While the background to the story is that of the resistance and the subsequent White Terror by the far-right, leading inevitably to civil war (with the left represented by the same people who fought in the resistance), the film does not discuss and scarcely refers to the issues or the evidence pro and contra the two sides. The focus is rather on the incredible story and the determination of the protagonists.

However for those of us whose concept of the left-wing resistance was shaped by the likes of Louis de Bernieres and Mary Stewart, there is a political point to be noted here. The left-wing partisans, rather than the brutes, rapists and cretins beloved of English novelists in their portrayal of the Greek Resistance, were clearly highly idealistic, and supremely courageous. Of the six who left there were two couples who formed permanent relationships. One of the two women became a cardiologist in the Soviet Union. What is particularly striking is that after a lifetime of fighting in the resistance, fighting in the civil war, hiding and then exile, they came home to Greece with an ability to enjoy life, to joke and to appreciate humanity.

The photography is beautiful, the light is (of course) fabulous, the story compelling and the protagonists delightful. Essential viewing for anyone interested in Crete, history or simply humanity.
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Dr. Finlay's Casebook (1962–1971)
9/10
Outstanding series - what a loss!
21 January 2011
I don't think I will ever forget Janet's sweet voice as she answered the telephone, 'Arden Hoos". Not to mention the theme music. Great scripts and superb acting from the three main players.

I agree that for those of us with such fond memories of the original, the more recent remake was unwatchable. Much as I admire Ian Bannen, he could not compare with Andrew Cruikschank in the role of Dr. Cameron.

What is wrong with the BBC that, firstly, they didn't take care of the original tapes, and secondly, they don't allow us to see the rest by releasing them on DVD? Thank you, whoever suggested youtube--I'm on my way there now!
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8/10
Vougiouklaki at her best
11 November 2009
I love this film and have seen it several times. I have known Vougiouklaki to slightly overact tragic scenes, but here her acting is spot on. Her character is both imperfect and sympathetic, and totally convincing. The songs, by Giorgos Katsaros, are lovely. I just wish that a couple of them, such as the song sung over the credits, were longer.

When I watch this film I am also conscious of the quality of the performances of the other members of the cast, especially that of Nikos Ritsos and Despoina Stirianopolou. Petros Lohaitis is exceptional as usual, and Aliki Zaverdinou and Lavrentis Dianellos are also excellent.

My only quibble is that I do not think Papamichael's acting is on a par with that of the others.
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2/10
Don't bother
10 April 2008
I have just seen this, and am trying to work out why it is so truly awful. The worst thing was not the hammy and predictable plot, the two dimensional characters, useless acting or the cheesy male lead, but the fact that it was obviously and unconvincingly dubbed - I think they might have even used each voice for several roles. Certainly the young women all sounded the same.

Another thing, why do films set in Greece, but made in English by English/American speakers, totally ignore authentic Greek body language? I think I will go and watch a Vougiouklaki to try and wipe the taste of this out of my mouth.
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4/10
Disappointing
9 December 2005
I suppose that loving the books at 7 years of age does not mean you are going to like the film as an adult.

There are a lot of aspects of The Lion, the Witch and the Wardrobe that I found very disappointing, not the least being Aslan. From his first appearance the computer generated aspects seem obvious - something odd about the way he moves. Also, they did not manage to solve the problem of how to make him speak and his mouth was quite distorted. I did not like the voice either, myself, though others may love it. Was the film made on the cheap, or was it simply made 20 years too soon?

A number of "enhancements" hindered rather than helped the story. When the children emerge from the Wardrobe, the expressions on their faces and the photography suggest that they have come out into some kind of wintry wonderland, which is overdoing it a bit, as the winter is supposed to be associated with evil. It is not obvious who the old man in the sledge is, as, unlike in the book, he is not wearing a red coat. The crowning at the end owed more to Star Wars than C.S. Lewis. And why did they decide to have Susan moaning about going home all the way through?

Putting in the air raid at the beginning gave some useful background, although the several reminders of the war back home were another innovation, presumably intended to draw a parallel in terms of the fight against evil. Maybe it was also intended to draw a parallel with the fight for oil in Iraq (the airplanes attacking the good guys, the ugly faces of the enemy, who deserve no quarter ...). Hmm, don't go there.

Dawn French gave an excellent voice to Mrs Badger.

I am reviewing this as an adult. I would recommend the film for children under 10 (though I am suddenly a bit worried about its propaganda intentions) but certainly not for grownups.
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