The Guernsey Literary And Potato Peel Pie Society, Sunday, BBC Two, 7 p.m.
Why Four Weddings and a Funeral Director Mike Newell chose not to change the atrocious title of Mary Anne Shaffer and Annie Barrows’ novel by bringing it to the big screen Is Unknowable. What is not is the quality of the adaptation. Sure, there’s a whiff of comfy costumed drama Downton Abbey about it (as well as one of its protagonists, Jessica Brown Findlay), but Newell made it a very watchable film nonetheless, one that tugs at the heartstrings of the same way. as did Four Weddings.
Winsome Lily James is author Juliet Ashton, who published a book under her own name (a biography of Bronte that sold 25 copies) and several thousand others under the name Izzy Bickerstaff. It’s 1946 and Juliet is in the throes of a love affair with dashing American officer Markham Reynolds (Glen Powell). Meanwhile, Juliet’s editor, mentor and friend Sidney Stark (Matthew Goode) earns her a journal commission to write about the power of literature and, coincidentally, she receives a letter from the pig farmer. of Guernsey Dawsey Adams (Michiel Huisman). He has a book by Charles Lamb with his name and address and asks if she can recommend a bookstore where he can purchase another book by Lamb. Juliet sends him Tales of Shakespeare and the couple begins a correspondence. And so she learns on the night of 1941 when Dawsey and her friends Eben (Tom Courtney), Elizabeth (Findlay) and Isola (Katherine Parkinson) are stopped by German soldiers and invent a reason why they went out afterwards. the curfew: a literary society which, under the watchful eye of the occupier, they must then appear to be running. Juliet makes the fateful decision to travel to Guernsey and write about her and them. What she discovers is community, friendship and – in the events surrounding Elizabeth’s disappearance – a mystery. And then there’s dashing Dawsey, with his tousled hair and puppy eyes. Perfect viewing on Sunday evening.
My week with Marilyn, BBC Two, 12:50 a.m.
Colin Clark (Eddie Redmayne) comes from a privileged lineage and thanks to family ties he obtains a position of assistant to Sir Laurence Olivier (Kenneth Branagh) on the set of The Prince and the Showgirl, which co-stars Marilyn Monroe (Michelle Williams). Olivier is frustrated when Marilyn fluffs picks up and arrives late, so he asks Colin to gain the trust of his main wife and make her be on time. As Colin falls in love with Marilyn and ends a budding romance with the wardrobe mistress Lucy (Emma Watson), the mermaid of the screen argues with her husband, the writer Arthur Miller (Dougray Scott) . Adapted from Clark’s diary and filming memoir, My Week with Marilyn is an entertaining and bittersweet drama. Adrian Hodges’ script sparkles with polished lines and gives Williams a stunning role as a cinematic icon.
We must save Mr Banks, BBC One, 2:45 p.m.
Decades after Mary Poppins first wowed audiences in theaters, Robert Stevenson’s magical film continues to cast a spell with its vivid characters, heartwarming feelings and humble tunes. Yet the color-saturated fantasy hardly ever materialized on the big screen. Australian-born British novelist PL Travers, who wrote the series of books on which the film was based, pushed back Walt Disney’s efforts to buy the rights for more than 20 years. This infamous showdown between Hollywood writer and filmmaker is recreated in Saving Mr Banks, an elegant and witty comedy emboldened by the performances of Emma Thompson and Tom Hanks, above.
ET: The extra-terrestrial, STV, 11:30 a.m.
The childhood of an entire generation has been shaped by three simple words: âET phone homeâ. Memories (and tears) return from the first images of Steven Spielberg’s masterpiece. Almost 40 years after its initial release, ET: The Alien has lost none of its power to entertain and enchant. If cinematic aliens are coming to Earth now, they tend to be huge, surly beasts bent on dominance, not some sweet creature capable of loving a human child, played to perfection by Henry Thomas. For this reason alone, we should keep this timeless classic close to our hearts. But more than that, ET The Extra-Terrestrial reminds us of the power of cinema to transport us away from the monotony of everyday life, to a world of magic and possibilities.
Cinderella, BBC One, 3:15 p.m.
Slavishly adapted from the classic 1950 Disney animated musical, Kenneth Branagh’s live-action version of the fairytale romance doesn’t skimp on the magic. Ella (Lily James) is entrusted to the kitchen by her vengeful stepmom Lady Tremaine (Cate Blanchett) and her cheeky stepsisters, Anastasia (Holliday Grainger) and Drizella (Sophie McShera). Emboldened by her mother’s (Hayley Atwell) last words – âBe courageous and be kindâ – Ella tries to rise above bullying. When the name calling gets too frightening, she escapes on horseback and catches the attention of the dashing prince (Richard Madden), who must choose a bride at the behest of the dying king (Derek Jacobi). Thus, the prince throws a sumptuous ball where Ella makes her grand entrance then disappears while the clock strikes midnight.
Frozen, BBC One, 1:30 p.m.
Children, Anna (voiced by Kristen Bell) and Elsa (Idina Menzel) love to play together, taking full advantage of Elsa’s ability to create ice and snow with her fingertips. When an accident almost ends in disaster, the king (Maurice LaMarche) agrees to erase Anna’s memory so that she forgets her brother’s hidden talents. At the same time, Elsa hides from the public eye, fearing to hurt someone else with her powers. When the King and Queen are subsequently lost at sea, Elsa reluctantly emerges to claim the throne. Sadly, on his coronation day, his gloves come off and the locals witness his skill … Frozen has been one of the best animated films to come out of the Disney stable in years. Bell and Menzel add dynamism to their courageous heroines, the latter singing the flagship song from the movie Let It Go.
And one to stream …
Destroyer, BBC iPlayer
Nicole Kidman as you’ve never seen her before was the unwritten slogan of this gritty 2018 neo-noir from American director Karyn Kusama – to which the audience’s response seems to have been, ‘and I never want to do it again’. . The film was a box office disaster, at least by its star’s standards. But Kusama, who announced herself with the 2000 indie hit Girlfight, has produced a powerful, captivating and hugely inventive body of work that has earned enough critical capital to earn a nomination for Best Actress for her star at the 2019 Golden Globes.
Kidman certainly looks rougher, fuller, drooping, spottier, and a lot more concerned than we’ve ever seen her as Erin Bell, a troubled LA cop who finds out about her secret agent past. of the FBI catching up with her. Witnessed at the scene of a deadly shooting, she recognizes a tattoo on the victim’s neck, then returns to the office to find a dye-stained banknote in her mail – a message from Silas, the deadly and psychotic bank robber. which she infiltrated 16 years earlier alongside her colleague Chris (Sebastian Stan).
“Silas is back,” she tells Gil Lawson (Toby Huss), her only remaining contact with the FBI. Back in her head, she wants to say. What follows is a series of flashbacks to the undercover operation, while today we follow Erin’s obsessive revenge mission as she tracks down former gang members one by one to reach Silas. On top of that, she has a chaotic personal life to deal with in the form of her 16-year-old daughter Shelby (Jade Pettyjohn). Erin’s ex-partner Ethan (Scott McNairy), who is not Shelby’s biological father, does his best with the girl, but she goes off the rails enormously falling with drug dealer Jay (Beau Knapp).
Destroyer isn’t flawless, but it’s heavy work that examines the power of love and the corrosive influence of guilt on a person. Like the film Jennifer’s Body by Kusama in 2009, also a flop but since rehabilitated (âa forgotten feminist classicâ according to a critic), it could nevertheless become cult.