The British period drama is an institution. And a billion pound industry built on bonnets and breeches, which has been the cornerstone of British cinema since its birth in the dark old days of black and white film, inter-titles, and live musical accompaniment. The formula is an enduring and profitable one: toffs, scenery, and romance; from Pride and Prejudice, remade countless times for film and television, to Downton Abbey, the TV ratings juggernaut about gentry versus plebs. And I’ll confess, I’ve never been a fan of the bonnet-buster. Underneath the genre’s staples of intricately laced corsets and refined manners, it could be argued there has always been a deep-seated moral conservatism and provincial outlook, which has stifled cinematic reinvention and boundary-pushing drama within the landscape of ubiquitous country piles and windswept moors.
Lady Macbeth dares to be different. Very different, in fact. William Oldroyd the British theatre director,...
Lady Macbeth dares to be different. Very different, in fact. William Oldroyd the British theatre director,...
- 2/16/2018
- by Thomas Salmon
- The Cultural Post
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