Boobirt Stylish but barely mediocre overall

BroadcastChic Excellent, a Must See

Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Goingbegging By the time Joan Le Mesurier got together with Tony Hancock, he was already long past his brief heyday, which had started with a radio series, so good it could empty the pubs, later adapted for TV, and still selling videos wherever English is spoken.But his descent had been swift and steep, following the impulse-sacking of all his most talented colleagues, leaving him lonely and lost among the confusing signs of the 60's, a decade that somehow wasn't his, and whose end he would not live to see.So this is a minor-key drama, based around two alcoholics who were also best friends: John Le Mesurier of the languid, lazy charm, and Tony Hancock of the wild drinking-bouts, alternating with bitter introspection. And caught between them is Joan.Alcohol does not make a very good topic for drama, quite dreary and repetitive to the sober spectator. Not everyone is amused by smashed bottles and foul language, or riveted by diagrams of a swollen liver. What really steals the show is Ken Stott's uncanny gift for replicating Hancock's voice - if this is not too patronising to a Scots actor whom I had found unremarkable as Edinburgh detective Rebus. Not many people actually spoke like Hancock, surprisingly well-educated, with a few "Yeah mates" and "Flippin' kids" thrown-in for demotic effect. Yet both in accent and in tonal register, his delivery is astonishingly faithful to the original. On top of this, he and his lighting-team even manage to capture the facial expressions, both the hopeful smile and the weary resignation. Stott simply is every inch The Lad Himself.As for Maxine Peake, she is able to convey the basic ordinariness of Joan's character and background, further pointed-up by Tony's embarrassing visit to her strict petty-bourgeois family. Since it is unlikely that this dramatised documentary could have gone ahead without Joan's assistance, we can't quite tell how much of it is her own unconfirmed story. She admits that John was the decent and responsible husband, sandwiched between two of the bad-boy types who really got her heart racing. We know that John was surprisingly understanding about being cuckolded, (but as a double divorcée, he might have been). What we can't judge is her claim that Tony would still be alive, but for the postal strike that deprived him of her letters in Australia. Even in those days, a top TV star would have been able to establish a telephonic link home; still, we hear extracts from their correspondence, presumably historical, including his own lament (after the silence he thought was deliberate): "I gather you don't share my feelings any more" - supposedly triggering the overdose. But we can believe her agonised outburst on hearing the news: "I'd rather it was John who'd gone, not Tony."At any rate, both parties seemed to sense that Australia would be the end. He can be heard trying to bluff it out: "We'll bring back the old Hancock - Homburg hat and all!" It would prove a hollow boast. A press review (again, presumably historical) had presciently called his one-man show 'a form of suicide'.Directors often demand a lot of laughing and giggling to signal a close relationship, but there is altogether too much of it here. Tony's mother is well-played by Lesley Nicol, although just one year older than Stott. Alex Jennings resembles John physically, but not in character or personality. Julia Deakin is triumphant in cameo as a Ramsgate landlady. Finally, we didn't need that year's Eurovision winner 'Puppet on a String' as an establishing device. The whole story covers less than two years. How many of us managed to achieve so much by 44?

ColinBaker Maxine Peake showed her abilities with a terrifying performance as Myra Hindley. Considering she was opposite Jim Broadbent as Lord Longford and Andy Serkis as Ian Brady, that took some doing.Here, she steals the show with a spellbinding turn as John Le Mesurier's wife Joan. Unfortunately, this drama is out of kilter with the rest of The Curse of Comedy series. All the others cover a timespan during which the subjects were at their peak of success. This covers a two year period several years after Tony Hancock was one of the biggest stars on UK TV with Hancock's Half Hour and Hancock, and also after his unsuccessful film career. The events in this dramatisation bring matters to the conclusion of Hancock's lonely suicide in Austratlia. The death scenes were unsatisfactory, as Hancock sees a ghostly image of Anthony Aloysius St John Hancock, the character from East Cheam which brought him fame and fortune.A pity we didn't see Ken Stott saying "A PINT? THAT'S VERY NEARLY AN ARMFUL!"

didi-5 This was the second of the BBC's 'Curse of Comedy' dramas and perhaps the seediest. Based on the memoirs of Joan Le Mesurier about her self-destructive and selfish affair with Tony Hancock in the final years of his life, this does not do any of the characters any favours and, despite fine performances from Maxine Peake, Ken Stott, and Alex Jennings (as John Le Mesurier), places the story firmly in the tatty seaside setting (where in fact the two mismatched lovers go to live at one point).I'm never quite sure what's achieved by taking the real-life problems of TV icons and putting them so baldly on the screen. 'Hancock and Joan', although engrossing and oddly moving at times, felt like an intrusion into private lives which should have stayed private.

ed_two_o_nine This was a superbly well crafted TV drama with cracking performances form both leads that made your heart go out to both characters even though you could not help but see the banality of their relationship and the selfishness both of them showed to all those who loved them. Stott and Peake are both outstanding and I hope they receive credit and praise for their performances (it is good to see Peake moving on from 'Shameless' and I for one never expected such a quality performance of restraint from her). The depiction of Tony Hancock's affair with Joan is not pleasant viewing as most of us will know the outcome from the start and it is certainly not pleasant watching people fall into a circle of disaster all caused by one man's impending sense of doom thoroughly fuelled by chronic alcoholism, and you do really feel for the people around them, especially Joan's husband John (another excellent performance by Alex Jennings). Hightly effective viewing which achieves all it sets out to do.