16 - 22 DECEMBER 2023

Two apologies are in order! I failed to notice that BBC 4 was repeating a very good Arena documentary on Louise Brooks from 1986, Thursday 7 December, and I could have mentioned it before Beggars of Life. And BBC 4 followed it with another Arena documentary on Screen Goddesses from 2012. The second apology is for failing to give my annual health warning to avoid films with ‘Christmas’ in the title – and several channels have already been showing them. Unless films like Love at the Christmas Chalet and Christmas Matchmakers Romance are your cup of tea. I am confident, however, that we would all prefer to wait for Keeley Hawes as Miss Austen, the 4-part series that the BBC will be showing next year. 
PIANOFORTE: STORYVILLE (2023) Sunday 17 December 9.20-10.50pm BBC 4    P             
If any documentary could truly be described as eye-opening, then it is this one: an intense, behind-the-scenes look at how musicians prepare for the International Chopin Piano Competition. And, rest assured, it is intense!
CYRANO (2021) Tuesday 19 December 10.00-11.55pm BBC 2    P             
This is Cyrano de Bergerac in a musical setting. Whilst it doesn’t quite come off, Peter Dinklage is very good as the lovelorn Cyrano. It was on our questionnaire a couple of years ago; it didn’t make the cut off, but I don’t think you’ll regret giving it a try. 
BELFAST (2021) Wednesday 20 December 9.00-10.30pm BBC 2    P            
And this week’s LRFS Freeview premiere is . . . Belfast! Kenneth Branagh’s semi-autobiographical work, set in 1969, was well liked by members (91% score). I liked it too (and Jude Hill is very engaging as the young Buddy) – but not as much as this season’s Close which is a much better film about childhood. 
THE BISHOP’S WIFE (1947) Friday 22 December 9.00-10.45am BBC 2                
We’ll dedicate this one to Steve, the Marine’s technician, as it is a favourite of his. Cary Grant is the angel (called Dudley, not Clarence – although one of the children from It’s a Wonderful Life puts in an appearance), and David Niven the Episcopalian bishop who has lost touch with both his flock and his family. Our bishop prays to God for help, and help is sent. The Bishop’s Wife didn’t make the Top 20 at the US box office (unlike Grant’s The Bachelor and the Bobbysoxer, at no.13 with $4.5 million), but was still popular with cinemagoers. In contrast, the critics of the time savaged it; even so, it gave Niven the honour of two consecutive Royal Command Performances. What happened behind the scenes was actually more dramatic than anything in the film. Producer Sam Goldwyn hated the first two weeks’ rushes, sacked the director (William Seiter), pulled down the sets, and started again – but with the two principals swopping roles. Staying with the project was doubly difficult for David Niven as his wife, Primmie, had died recently after a tragic accident. Then, after the film had wrapped, the test screening went badly. Apparently, someone called in a favour from Billy Wilder; extra scenes were filmed and – mostly – the public responded favourably.