I loved the entire play. The thought of the play was amazing. I loved how the music blended so perfectly with the feelings of the characters and how the lighting always matched the mood. The producers kept you going with the entire thing and knew when to go to a another scene, which they executed it quite beautifully. The camera angles were great, the over the shoulder angles kept a kind of sense that this person was disgusted with them (mainly the Inspector). Also, the actors were a perfect fit. I adored Finn Cole, he was such a perfect fit to play Eric Birling. He provoked such feeling in the character and he just suited the role perfectly. But, all the actors were a perfect fit for their roles. Overall, thee play was phenomenal.
130 Reviews
Concise representation of the play
lpuchadesgimeno29 November 2015
As an English student who recently read thoroughly the play this movie is based of, my main thoughts about this film is that it's a perfectly crafted piece that follows the plot of the play quite accurately, but I also consider myself quite "unexperienced" in the matter because I have only seen this adaptation and not the rest- so maybe by watching the rest of the movies my opinion on the quality of this movie may differ, but I hope that not drastically.
To be honest, right at the beginning when the characters were presenting themselves at the dinner table I found most of their portrayals quite bland and out of character in a sense- especially Eric and Sheila. I found them lacking that strength and uniqueness that had made me strive for them while reading the play, but then again it's true that at the beginning their personalities were much more superficial and that were mostly developed as the play progressed- something which was shown naturally in the film.
Nevertheless, as soon as the plot starting moving the skepticism faded away and I was left awestruck by the actors' outstanding performances; Mr and Mrs Birling were just how I pictured them throughout the story; Gerald was given much more emotional depth than what I had imagined and Eric even though it wasn't how I initially thought of him made me comprehend a completely different interpretation of his character. I am not quite sure of Sheila yet, but I do have to admit that Chloe Pirrie reflected her major character development, but I imagined Sheila as a more immature and naive girl in the beginning. Let's not forget about Sophie Rundell's breathtaking job as Eva: taking only brief descriptions from a dead girl and turning that into a round character with a profound, political and representative meaning behind it.
Even if the characters' portrayals is essential to the film, what really sticks to the audience are the audiovisuals, and I can assure you this film excelled in that job. The shots were beautiful and gave the story a deeper meaning for me as a viewer and indeed hinted many subtle messages that otherwise wouldn't have made much sense. Above all, what most impressed me was the score; from the beginning until the very end the score was used skilfully to match the characters' emotions in certain scenes, but the feeling of strings and a piano matched the main themes of the play, and probably may be the main reason for my passionate liking of this film.
To be honest, right at the beginning when the characters were presenting themselves at the dinner table I found most of their portrayals quite bland and out of character in a sense- especially Eric and Sheila. I found them lacking that strength and uniqueness that had made me strive for them while reading the play, but then again it's true that at the beginning their personalities were much more superficial and that were mostly developed as the play progressed- something which was shown naturally in the film.
Nevertheless, as soon as the plot starting moving the skepticism faded away and I was left awestruck by the actors' outstanding performances; Mr and Mrs Birling were just how I pictured them throughout the story; Gerald was given much more emotional depth than what I had imagined and Eric even though it wasn't how I initially thought of him made me comprehend a completely different interpretation of his character. I am not quite sure of Sheila yet, but I do have to admit that Chloe Pirrie reflected her major character development, but I imagined Sheila as a more immature and naive girl in the beginning. Let's not forget about Sophie Rundell's breathtaking job as Eva: taking only brief descriptions from a dead girl and turning that into a round character with a profound, political and representative meaning behind it.
Even if the characters' portrayals is essential to the film, what really sticks to the audience are the audiovisuals, and I can assure you this film excelled in that job. The shots were beautiful and gave the story a deeper meaning for me as a viewer and indeed hinted many subtle messages that otherwise wouldn't have made much sense. Above all, what most impressed me was the score; from the beginning until the very end the score was used skilfully to match the characters' emotions in certain scenes, but the feeling of strings and a piano matched the main themes of the play, and probably may be the main reason for my passionate liking of this film.
A great version of an old classic
ruthfromoz12 November 2015
Having seen the original movie and a rather strange stage version starring the late Barry Foster, I had no doubts about the content of this telemovie - but was curious about how this modern version would treat it. Brilliantly cast, it did not disappoint, although it did tend to drag at times. On the whole the suspense was well maintained and it stayed quite close to the original, although the later scenes after the Inspector left the house were new and added little to the overall story. In fact it would have been better without them. This is a story that has to be taken at face value (the mystical part aside) - it would be easy to question the possibility that all the persons gathered together in that household had the impact they are supposed to have had on one young woman. It was written as a morality play, very relevant to its times and even today relevance can be found in many of the disclosures made. It tells us to think before we act and to be less likely to prejudge and to take responsibility for our actions. An interesting story, that makes you think - what more can one ask for?
Drama at its very best
arthurlally127 September 2015
I went into this with an open mind, as i knew it was a remake. Right from the start i was captivated by the enveloping period atmosphere and way the story weaved its story. The plot was simply superb, exposing the class divide and way that others can be mistreat their fellow man, without any conscious or care for the consequences. The lessons in humanity ring as true today as they did in that period so its still highly relevant and should provoke some internalising. However putting that all to one side the acting was simply top drawer and David Thewliss contribution was truly spellbinding. He was so commanding throughout and more than a match for the wealthy opposition he encountered that night. This was so good that i actually watched it three times back to back, as every scene was so immersive and tense. So if you like good drama you would be hard pressed to beat this and all the more amazing was the fact it was mostly delivered in a drawing room, so that speaks volumes for the way it was acted. So I hope you enjoy this period piece as much as i did
Totally captivating version.
Sleepin_Dragon14 September 2015
Inspector Goole arrives unannounced at the home of the Birling family. The family had been celebrating the engagement of daughter Sheila, to Gerald Croft, a match that would unite two powerful businesses. The Inspector informs the family of his business, that of the death of a young woman, Eva Smith. It turns out each member of the family has encountered Eva, and each in turn damaged her life in some way.
I must admit I had my doubts beforehand about this, I tend to think sometimes if it ain't broke don't fix it, I love both the 1954 and 1982 versions respectively. This though had me utterly engrossed, it was an outstanding version. It looked superb, the factory scenes looked incredibly authentic, as did the scenes in the house.
I liked how it began too, not straight into the dinner setting, we were given a little bit of background. From then on it kept to the story beautifully, it must have been tempting to have tweaked it in some way. Definitely the most serious version of it, no softer humorous side, this was pretty bleak. I couldn't pick a standout performance as I thought every cast member was wonderful.
Truly captivating, 10/10
I must admit I had my doubts beforehand about this, I tend to think sometimes if it ain't broke don't fix it, I love both the 1954 and 1982 versions respectively. This though had me utterly engrossed, it was an outstanding version. It looked superb, the factory scenes looked incredibly authentic, as did the scenes in the house.
I liked how it began too, not straight into the dinner setting, we were given a little bit of background. From then on it kept to the story beautifully, it must have been tempting to have tweaked it in some way. Definitely the most serious version of it, no softer humorous side, this was pretty bleak. I couldn't pick a standout performance as I thought every cast member was wonderful.
Truly captivating, 10/10
Amazing
iaanniss30 November 2015
After watching this movie adaptation of An Inspector Calls, I felt that this remake turned into a great success. At first the characters weren't what I expected, most of them seemed quite simple and bland and thought that the actors weren't suited to to their roles. But as the film progressed my attitude towards the characters changes, Eric and Sheila aren't the spoiled brats I thought they were- they actually care about the death of this young woman. Gerald, I realized has more emotional depth Han I gave him credit for, but Mr and Mrs Birling we're exactly what I thought they'd be like and their attitudes towards Eva didn't really change. As for the Inspector I thought that David Thewlis did a great job being the Inspector and his character was also amazing but what I didn't like about the Inspector was that towards the end of the film, he starts time traveling (Priestly hinted that the Inspector was supernatural) but I started getting very confused and became unsure of if he was there before she died and it was a flash back or he is the reason she is dead... I have no idea. But overall this was an amazing movie and I really enjoyed it.
Called to account
Lejink16 October 2015
I have for a long time enjoyed J B Priestley's famous "time-play" having read it and seen it performed in the theatre more than once. This BBC Drama version plays it relatively safe, staying true to the era and by and large to the text. It's very well acted by its ensemble cast with David Thewlis almost ghoulish as the soft-spoken, avenging "Inspector" Goole, Ken Stott as the self-important patriarch Mr, soon-to-be Sir Birling and especially Sophie Rundle as the spirited but doomed Eva/Daisy/Alice whose fate casts a long shadow over the whole Birling family, father, mother, son, newly engaged daughter and her well-to-do fiancé Mr Croft, assembled at the Birling mansion to celebrate the engagement.
The play is opened up just enough so as you'd notice with some external scenes but mostly, as you'd expect it's played indoors, intensifying the drama to a backdrop of hypnotic chamber music as the plot edges inevitably to its climaxes. I say climaxes because of the two big reveals that Priestley employs, firstly exposing the hypocrisy of the staid pre-Great War English society in their links to this young woman's demise and then the brilliant twist at the end just when it seems as if they've all gotten away with it.
Some of Priestley's wider themes seem to be just that, i.e. wide of the mark, like his prediction of a bloody uprising by the downtrodden working classes, although considering the social upheaval later in the depicted decade, obviously with events abroad in Russia, Ireland and Weimar Germany to name but three, never mind the General Strike and Red Clydeside disputes of the post-War era here in Britain maybe he wasn't so far out either. It's only in the words and actions of the two youngest members of the afflicted Birlings that we see any hope of societal change in the future as we observe their conscience-stricken reaction to events, neither tainted by the jaundiced, self-motivated experience of their elders.
The treatment of the Inspector I thought played up the fantastic element just a little too much with the extended epilogue showing him as a sort of omnipresent spirit surrounding Eva as she comes to her fateful end almost as if the director felt the need to explain his unexplained presence,which for me reduced the character's effectiveness as the pricked conscience of the group, his last appearance should really have been after he finished with the family at the house.
Nevertheless, any production like this which respects the context of the original play as this one undoubtedly does, even if at times it creaked rather than crept along, still managed to entertain me just as it always has, as a taut, cleverly written, psychological thriller with a moral in the tale.
The play is opened up just enough so as you'd notice with some external scenes but mostly, as you'd expect it's played indoors, intensifying the drama to a backdrop of hypnotic chamber music as the plot edges inevitably to its climaxes. I say climaxes because of the two big reveals that Priestley employs, firstly exposing the hypocrisy of the staid pre-Great War English society in their links to this young woman's demise and then the brilliant twist at the end just when it seems as if they've all gotten away with it.
Some of Priestley's wider themes seem to be just that, i.e. wide of the mark, like his prediction of a bloody uprising by the downtrodden working classes, although considering the social upheaval later in the depicted decade, obviously with events abroad in Russia, Ireland and Weimar Germany to name but three, never mind the General Strike and Red Clydeside disputes of the post-War era here in Britain maybe he wasn't so far out either. It's only in the words and actions of the two youngest members of the afflicted Birlings that we see any hope of societal change in the future as we observe their conscience-stricken reaction to events, neither tainted by the jaundiced, self-motivated experience of their elders.
The treatment of the Inspector I thought played up the fantastic element just a little too much with the extended epilogue showing him as a sort of omnipresent spirit surrounding Eva as she comes to her fateful end almost as if the director felt the need to explain his unexplained presence,which for me reduced the character's effectiveness as the pricked conscience of the group, his last appearance should really have been after he finished with the family at the house.
Nevertheless, any production like this which respects the context of the original play as this one undoubtedly does, even if at times it creaked rather than crept along, still managed to entertain me just as it always has, as a taut, cleverly written, psychological thriller with a moral in the tale.
Fantastic!
theredmare13 September 2015
An absolutely gripping atmospheric huis-clos, this psychological period drama could remind of an English Zola novelette and it will make you take a good hard look at yourself.
Whatever it might be, you're not going to expect *this*. Make absolutely sure to avoid spoilers! All you must know is that it isn't a "detective" story. It's a whodunit of sorts but who did it isn't the point (while being the only point - it'll make sense after)
An inspector calls onto a wealthy family at dinner time in 1910 to impart some seemingly unrelated piece of bad news. Ensues a flawless story, stunning cinematography, perfect period atmosphere, and absolutely top drawer acting. English television at its very best. 10/10 and I'm ever so glad I happened onto this tonight.
Whatever it might be, you're not going to expect *this*. Make absolutely sure to avoid spoilers! All you must know is that it isn't a "detective" story. It's a whodunit of sorts but who did it isn't the point (while being the only point - it'll make sense after)
An inspector calls onto a wealthy family at dinner time in 1910 to impart some seemingly unrelated piece of bad news. Ensues a flawless story, stunning cinematography, perfect period atmosphere, and absolutely top drawer acting. English television at its very best. 10/10 and I'm ever so glad I happened onto this tonight.
An Inspector Calls
studioAT27 June 2021
A fine version of a classic play
Tweekums14 September 2015
Warning: Spoilers
This television play, based on J.B. Priestley stage play, tells the story of a family gathering that in interrupted by the arrival of a police inspect who has some questions to ask the family. The Birling family are celebrating the engagement of their daughter to Gerald Croft. They are on their way up in the world Arthur Birling manages a local company and his expecting his knighthood to be announced at any time and the marriage of his daughter to the son of a lord will certainly help their standing
that is until the servant girl announces that a police inspector wants to talk to them. He tells them that a girl has been found dead in the town; it is a clear case of suicide but it soon becomes clear that each of the people at the dinner contributed to the girl being in such a desperate position. As each revelation comes out the family is forced to examine their actions; some clearly regret what they have done but others are more concerned about what it means for their own standing in society.
This new version of the classic play is taut and kept this viewer gripped. The revelations about the poor dead girl are nicely shown in a series of flashbacks as we see how each of the five people attending the dinner contributed to her destruction. Not much needs to be said about the story itself; it is a classic for good reason however it does contain twists that will surprise those new to the story especially the final twist. The cast does a brilliant job; David Thewlis is great as The Inspector, he gives a subtle performance as the character who clearly has a low opinion of those he is dealing with. The rest of the cast which includes Ken Stott, Miranda Richardson, Lucy Chappell and Sophie Rundle, as the dead girl, are all on top form. The story is clearly a statement on social attitudes; both in 1912, when it is set, and in post war Britain were social changes were taking place. Overall this is well worth watching; it shows you don't need action to have a tense story if it is well told.
This new version of the classic play is taut and kept this viewer gripped. The revelations about the poor dead girl are nicely shown in a series of flashbacks as we see how each of the five people attending the dinner contributed to her destruction. Not much needs to be said about the story itself; it is a classic for good reason however it does contain twists that will surprise those new to the story especially the final twist. The cast does a brilliant job; David Thewlis is great as The Inspector, he gives a subtle performance as the character who clearly has a low opinion of those he is dealing with. The rest of the cast which includes Ken Stott, Miranda Richardson, Lucy Chappell and Sophie Rundle, as the dead girl, are all on top form. The story is clearly a statement on social attitudes; both in 1912, when it is set, and in post war Britain were social changes were taking place. Overall this is well worth watching; it shows you don't need action to have a tense story if it is well told.
Smart, simple but captivating, well done!
secondtake18 June 2018
An Inspector Calls (2015)
This BBC production is a clever, subtle, well acted movie that is very much in the form of the play it is based on by J.B. Priestly. Some will find it too controlled and knowing, frankly-it suffers from that gift playwrights have of outsmarting a viewer while captive, but not sustaining that smartness once you head home. Another movie of this kind is "Sleuth" which is even more clever and twisty. There is a murder of sorts at hand, but not quite. There is certainly a victim, or so we think. And the perpetrators seem guilty of nothing but being self-absorbed and rich, which of course means they are guilty of all kinds of sins, directly and indirectly. Here, the effects of callousness or selfishness are front and center. Expect to be spellbound once you give it your time. Written in 1945 but set just before World War I, there are lots of embedded points about war and class difference. Priestly was a leftist, and the substance of the play is utlimately about responsibility and the idea that we are all part of a family-a global one, you might say, but certainly a national one, with rich Brits looking out for their less fortunate compatriots. Not at all pro-business, of course. Eventually you realize you are being taken for an interesting ride, and you are in the hands of the mysterious title character (named Goole). This man leads us through the discoveries that he has already made, and we are almost as astonished as the members of this unprepared family. Then there is a playwright's twist-saying there is a twist is almost unfair, because you might well cruise through most of it thinking it was about the interrogation itself. But more comes along. Fun, almost funny, and tragic as well. I thought it was great entertainment. With little plugs for human decency burrowed in.
This BBC production is a clever, subtle, well acted movie that is very much in the form of the play it is based on by J.B. Priestly. Some will find it too controlled and knowing, frankly-it suffers from that gift playwrights have of outsmarting a viewer while captive, but not sustaining that smartness once you head home. Another movie of this kind is "Sleuth" which is even more clever and twisty. There is a murder of sorts at hand, but not quite. There is certainly a victim, or so we think. And the perpetrators seem guilty of nothing but being self-absorbed and rich, which of course means they are guilty of all kinds of sins, directly and indirectly. Here, the effects of callousness or selfishness are front and center. Expect to be spellbound once you give it your time. Written in 1945 but set just before World War I, there are lots of embedded points about war and class difference. Priestly was a leftist, and the substance of the play is utlimately about responsibility and the idea that we are all part of a family-a global one, you might say, but certainly a national one, with rich Brits looking out for their less fortunate compatriots. Not at all pro-business, of course. Eventually you realize you are being taken for an interesting ride, and you are in the hands of the mysterious title character (named Goole). This man leads us through the discoveries that he has already made, and we are almost as astonished as the members of this unprepared family. Then there is a playwright's twist-saying there is a twist is almost unfair, because you might well cruise through most of it thinking it was about the interrogation itself. But more comes along. Fun, almost funny, and tragic as well. I thought it was great entertainment. With little plugs for human decency burrowed in.
An angel intercedes
jsw62626 May 2019
Warning: Spoilers
Or attempts to, gives each charachter the option of free choice. To have your actions that have adversly affected anothers life pointed out to you, while there is still the option to go to the person, and right your wrongs. Offer help. Make amends. They were given a doover....yet celebrated that it wasn't true, until it became true.
This movie wowed me. One of the rare movies who make you think. The speach Goole gives to them as he is leaving just made my mind explode! Sadly we seldom think of our actions, or think before we act...
This movie wowed me. One of the rare movies who make you think. The speach Goole gives to them as he is leaving just made my mind explode! Sadly we seldom think of our actions, or think before we act...
Splendid film, but....
byron-11611 August 2020
AWFUL, irritating, pointless
annatriston3 September 2018
Nothing about this plot is reasonable or believable.
A mystery inspector ("new in town") shows up at a wealthy family's dinner party to inform them of the suicide of an impoverished local girl.
And then he proceeds to berate each individual family member for having been unkind to her at some point in the two years leading up to her suicide. For some unknown reason, he implies that they are all legally responsible for her death.
It is certainly a sad story about class issues/ conflicts that can apply in 1912 as much as they apply now...
But we pretty much sat through the entire movie wondering why this inspector thought it was ok to show up and accuse 5 people of "killing" a woman by being mean to her one time each over the course of 2 years.
It seems like the ending attempts to bandaid the absurdity of the rest of the plot by throwing a poorly executed supernatural plot twist in the final minutes, with the biggest "twist" being that there was no twist at all.
Overloaded with socialist innuendo, it's a long watch with your eyebrows raised wondering when they'll actually make some sort of point.
Somber Version of the Priestley Classic
l_rawjalaurence17 September 2015
Aisling Walsh's telefilm of the Priestley classic, first performed at London's Old Vic Theatre in 1945, opens out the action somewhat. It begins with a shot of Eva Smith (Lucy Rundle) writing in her diary in a lonely room, followed by a shot of some wooden floorboards, and two or three establishing shots of the Birling factory with a 1912 car moving out of the gates. Through this brief sequence we are given a clear idea of the class-differences permeating the film between the haves and the have-nots, the exploiters and the exploited, that forms one of Priestley's major themes.
Eva Smith does not appear in the Priestley text; in this version she is transformed into a hard-working girl who is not backward about coming forward. Hence she becomes an object of affection for factory-owner Arthur Birling (Ken Stott), his son Eric (Finn Cole), and Gerald Croft (Kyle Soller), the son of a rival factory-owner who is due to be affianced to Arthur's daughter Sheila (Chloe Pirrie). Yet it soon becomes clear that all of them treat her as an object to be picked up and cast aside at will; it's a tribute to Eva's strength of character that she manages to sustain her integrity throughout, until she gives up the ghost and commits suicide.
At the end of the film the floorboards shot is explained, as Eva describes herself as "a crack in the floorboards" - a member of the underclass who is allowed to fall through in a crassly unequal society. No one, it seems, is willing to treat her on her own terms as a human being.
Walsh's version also represents the Inspector (David Thewlis) as a mysterious figure moving slowly in the darkness towards the Birling residence, walking along a narrow slum in shadow, his bowler hat and long coat silhouetted, and visiting the dying Eva in hospital. We are left unsure as to whether he exists at all - especially at the end when he mysteriously disappears. But the question of his being isn't really important: what matters more is his ability to uncover the truth about the Birling family through patient, insistent questioning. Thewlis's expression remains impassive throughout - even if he despises the Birlings' superciliousness, he will never let his emotions get the better of him.
In the central moments of the drama, as the truth about the family was gradually revealed, Walsh used repeated close-ups to focus on the protagonists' changing expressions: Arthur's look of quiet confidence was transformed into an expression of utter despair as he ran his hands through his hair; his wife Sheila (Miranda Richardson) tried her best to retain an impassive exterior, but the tell-tale movements of her cheek and neck-bones betrayed her emotions. Her stoicism in the face of the inevitable truth-revelation was contrasted with Eric's expressions - at first he looked guiltily at everyone in full knowledge that he had been in some way responsible for Eva's death, but as the drama unfolded he acquired a strength of character as he tried to come to terms with his past.
Brilliantly performed and suggestively directed; this was a thoroughly televisual version of the play that reminded us of the persistence of social inequalities today.
Eva Smith does not appear in the Priestley text; in this version she is transformed into a hard-working girl who is not backward about coming forward. Hence she becomes an object of affection for factory-owner Arthur Birling (Ken Stott), his son Eric (Finn Cole), and Gerald Croft (Kyle Soller), the son of a rival factory-owner who is due to be affianced to Arthur's daughter Sheila (Chloe Pirrie). Yet it soon becomes clear that all of them treat her as an object to be picked up and cast aside at will; it's a tribute to Eva's strength of character that she manages to sustain her integrity throughout, until she gives up the ghost and commits suicide.
At the end of the film the floorboards shot is explained, as Eva describes herself as "a crack in the floorboards" - a member of the underclass who is allowed to fall through in a crassly unequal society. No one, it seems, is willing to treat her on her own terms as a human being.
Walsh's version also represents the Inspector (David Thewlis) as a mysterious figure moving slowly in the darkness towards the Birling residence, walking along a narrow slum in shadow, his bowler hat and long coat silhouetted, and visiting the dying Eva in hospital. We are left unsure as to whether he exists at all - especially at the end when he mysteriously disappears. But the question of his being isn't really important: what matters more is his ability to uncover the truth about the Birling family through patient, insistent questioning. Thewlis's expression remains impassive throughout - even if he despises the Birlings' superciliousness, he will never let his emotions get the better of him.
In the central moments of the drama, as the truth about the family was gradually revealed, Walsh used repeated close-ups to focus on the protagonists' changing expressions: Arthur's look of quiet confidence was transformed into an expression of utter despair as he ran his hands through his hair; his wife Sheila (Miranda Richardson) tried her best to retain an impassive exterior, but the tell-tale movements of her cheek and neck-bones betrayed her emotions. Her stoicism in the face of the inevitable truth-revelation was contrasted with Eric's expressions - at first he looked guiltily at everyone in full knowledge that he had been in some way responsible for Eva's death, but as the drama unfolded he acquired a strength of character as he tried to come to terms with his past.
Brilliantly performed and suggestively directed; this was a thoroughly televisual version of the play that reminded us of the persistence of social inequalities today.
A masterpiece of cinematography, acting and a truly brilliant story
dagallop22 September 2019
Initially I thought this would be a Christie type thriller, honestly, from the brief synopsis of this piece of dramatic brilliance you would be forgiven for watching under that pretense, but this so far beyond that.
The acting is so good that, while many of the cast have seen some notoriety at various levels in the past, each and every one deserves awards for this. The sets are simple, limited and ample for the story, the flow is perfect the mood is defined to absolute perfection.
The BBC can deliver drama better than any other studio. This is one that I personally would place head and shoulders above anything I have seen out of the BBC before. It is a masterpiece drama.
Without giving anything away, as I highly recommend this, the sting in the tale is delivered so well that you are left wondering what you would have done under the circumstances.
Set a moment aside, take the time to listen and watch with great care, don't miss a moment or a word, it is worth it.
The acting is so good that, while many of the cast have seen some notoriety at various levels in the past, each and every one deserves awards for this. The sets are simple, limited and ample for the story, the flow is perfect the mood is defined to absolute perfection.
The BBC can deliver drama better than any other studio. This is one that I personally would place head and shoulders above anything I have seen out of the BBC before. It is a masterpiece drama.
Without giving anything away, as I highly recommend this, the sting in the tale is delivered so well that you are left wondering what you would have done under the circumstances.
Set a moment aside, take the time to listen and watch with great care, don't miss a moment or a word, it is worth it.
A death is announced
Prismark1013 September 2015
JB Priestley's play An Inspector Calls from 1946 is a celebrated theatrical play that depicts the Birling family cruel treatment of Eva Smith a former factory employee, shop girl and then a fallen woman. In each case contact with the Birlings piles on further misfortune.
The film is set in 1912, a time where social change is threatened and there are rumblings of war in Europe. The Birlings are a well to do provincial family in Yorkshire. Their daughter is due to marry a suitable suitor and Arthur Birling (Ken Stott) is looking forward to receive an offer of a knighthood.
However an Inspector Goole (David Thewlis) arrives to spoil the celebration that a young woman has tragically killed herself and each person in the room shares some responsibility.
This television film is a more sombre affair than the Alistair Sim version and maybe appears a tad heavy handed with its moralising which still has relevance today (Priestley was a socialist). I think the ending worked better in the Sim film but I felt this was the better film as some of the hard edged Birlings (Stott and Miranda Richardson) revert to type as soon as the Inspector leaves unaware that a counter punch is yet to be delivered.
The film is set in 1912, a time where social change is threatened and there are rumblings of war in Europe. The Birlings are a well to do provincial family in Yorkshire. Their daughter is due to marry a suitable suitor and Arthur Birling (Ken Stott) is looking forward to receive an offer of a knighthood.
However an Inspector Goole (David Thewlis) arrives to spoil the celebration that a young woman has tragically killed herself and each person in the room shares some responsibility.
This television film is a more sombre affair than the Alistair Sim version and maybe appears a tad heavy handed with its moralising which still has relevance today (Priestley was a socialist). I think the ending worked better in the Sim film but I felt this was the better film as some of the hard edged Birlings (Stott and Miranda Richardson) revert to type as soon as the Inspector leaves unaware that a counter punch is yet to be delivered.
A chain of events involving a family.
Reno-Rangan4 August 2016
Just a month ago I saw 'Maigret Sets a Trap', and this is another terrific BBC film. Based on the JB Priestley's play of the same name made for television. I never saw other versions nor I knew the story, so that's the reason I loved it. I don't know the difference, the changes between this and the original material, but I think a screenplay like this should have been a big screen product. Surely one of the best films of the year with a great suspense and twists.
I expected a crime solving drama, like a detective use his brainpower to nab a suspect in a style, but this was complete an unexpected narration with various angles of briefing involving a family and their individual link to a woman. This is a story about the chain of events that could happen for us in real life. But what this film's specialty is that makes realise for its characters that how their part influenced a woman's life.
It's the year 1912, during a wealthy Birling family celebrating their daughter's engagement, a mysterious inspector interrupts them to question on a woman who committed suicide on that evening. In the hours long interview, some unexpected truth comes out and corners the family from their celebration. With the outcome of a surprise encounter with the inspector, how the family outcome from it is what the rest of the film was focused on.
"We don't live alone upon this earth. We are responsible for each other."
I don't know the most of the actors, but their performances were simply outstanding. Not just leaned on one or two, but everyone had their turn fairly equal. The character played by David Thewlis as Goole was effortless, but very important among others in the film, so it is impossible moving away without praising his contribution. Among all, the young woman role as well very impressive. Alongside JB Priestley, this screenwriter, as well as the director must be appreciated for their incredible job.
The film was a one night based narration, but due to the quick flashbacks, the layers formed, hence creates a lot of curiosity for the viewers. Being a detective film, it had those special moments, but with its own style. It reminds me a couple of films, but I can't name them, because of the spoiler alert. Even though this is a very unique from its similar films.
Obviously it leaves many questions regarding the last 10-15 minutes of the film. But the reasons are very clear, and you might get it in the second viewing, or maybe from the discussion boards on the online platforms. I strongly suggest that you to learn more about it on its hidden stuffs rather simply finished watching it and forgetting it forever. Like always, the BBC did not disappoint me or maybe I always chose the better ones. Either way I benefited and I recommend this for those who are interested in murder mysteries, though it is not a homicide theme. I hope you will love it as I did.
8.5/10
I expected a crime solving drama, like a detective use his brainpower to nab a suspect in a style, but this was complete an unexpected narration with various angles of briefing involving a family and their individual link to a woman. This is a story about the chain of events that could happen for us in real life. But what this film's specialty is that makes realise for its characters that how their part influenced a woman's life.
It's the year 1912, during a wealthy Birling family celebrating their daughter's engagement, a mysterious inspector interrupts them to question on a woman who committed suicide on that evening. In the hours long interview, some unexpected truth comes out and corners the family from their celebration. With the outcome of a surprise encounter with the inspector, how the family outcome from it is what the rest of the film was focused on.
"We don't live alone upon this earth. We are responsible for each other."
I don't know the most of the actors, but their performances were simply outstanding. Not just leaned on one or two, but everyone had their turn fairly equal. The character played by David Thewlis as Goole was effortless, but very important among others in the film, so it is impossible moving away without praising his contribution. Among all, the young woman role as well very impressive. Alongside JB Priestley, this screenwriter, as well as the director must be appreciated for their incredible job.
The film was a one night based narration, but due to the quick flashbacks, the layers formed, hence creates a lot of curiosity for the viewers. Being a detective film, it had those special moments, but with its own style. It reminds me a couple of films, but I can't name them, because of the spoiler alert. Even though this is a very unique from its similar films.
Obviously it leaves many questions regarding the last 10-15 minutes of the film. But the reasons are very clear, and you might get it in the second viewing, or maybe from the discussion boards on the online platforms. I strongly suggest that you to learn more about it on its hidden stuffs rather simply finished watching it and forgetting it forever. Like always, the BBC did not disappoint me or maybe I always chose the better ones. Either way I benefited and I recommend this for those who are interested in murder mysteries, though it is not a homicide theme. I hope you will love it as I did.
8.5/10
Good detective movie..!
kamalbeeee14 January 2021
Heartbreaking adaptation
Rafailia9225 May 2022
I saw the 1954 version and although I liked it very much I didn't cry. I saw this version and I just couldn't stop crying. The ending was utterly heartbreaking and although I usually disagree with changing the endings of well known books, plays etc (for example Agatha Christie's works that on the newest adaptations it's some kind of a "norm" to change the endings) I hoped down to the last second of the movie for the ending to change. An amazing adaptation. One I will never forget.
Amazing
shadowbender62621 November 2020
It's a Decent bit of Viewing
emryse23 April 2021
Based on J. B. Priestley's 1945 play this adaptation is filled with some great acting and good cinematography, what strikes me about it though is how the film seems to be somewhat more insistent on who is to blame for the death of Eva Smith and make's some characters seem more to blame than others compared to the play which I feel left it much more up to interpretation on whose fault it is. I've never seen the play performed but have read the script and I feel that the original version is more interesting in some regards, however, I would say that this film is well made and well acted and definitely worth a watch if you're a fan of murder mysteries, even if this may not fit the usual mould for films of this genre.
Splendid stuff
TheLittleSongbird5 January 2017
Definitely a highlight of 2015 television, and has made me interested in checking out the earlier versions highly recommended by several viewers.
There's not much to add to what's already been said. A very well-made, brilliantly acted and gripping drama. Two of 'An Inspector Calls' strongest elements are the production values and the acting. It's filmed with class and atmosphere and the production and costume design are evocative and beautiful to look at.
Faring best of the cast are David Thewlis, Ken Stott and Miranda Richardson. Thewlis gives an understated but quite brilliant performance that tells so much in the facial expressions while doing little but still making it interesting, it enhances the character's ambiguity very well. Stott is commanding and suitably gruff, while Richardson portrays her character's coldness flawlessly. The rest of the cast also impress, if not quite up the level of Thewlis, Stott and Richardson.
Writing is similarly very strong and thought-provoking, a lot is covered and talked about but done in a way that never comes over as confusing. The emphasis on the psychological elements give a lot of complexity, help make the characters interesting and show their flaws without making us hate them.
'An Inspector Calls' storytelling is gripping from start to finish. While taking its time to tell the story it does not drag and the ending, while a bit confusing on first watch, is very clever and unexpected.
Overall, splendid stuff and a 2015 television highlight. 10/10 Bethany Cox
There's not much to add to what's already been said. A very well-made, brilliantly acted and gripping drama. Two of 'An Inspector Calls' strongest elements are the production values and the acting. It's filmed with class and atmosphere and the production and costume design are evocative and beautiful to look at.
Faring best of the cast are David Thewlis, Ken Stott and Miranda Richardson. Thewlis gives an understated but quite brilliant performance that tells so much in the facial expressions while doing little but still making it interesting, it enhances the character's ambiguity very well. Stott is commanding and suitably gruff, while Richardson portrays her character's coldness flawlessly. The rest of the cast also impress, if not quite up the level of Thewlis, Stott and Richardson.
Writing is similarly very strong and thought-provoking, a lot is covered and talked about but done in a way that never comes over as confusing. The emphasis on the psychological elements give a lot of complexity, help make the characters interesting and show their flaws without making us hate them.
'An Inspector Calls' storytelling is gripping from start to finish. While taking its time to tell the story it does not drag and the ending, while a bit confusing on first watch, is very clever and unexpected.
Overall, splendid stuff and a 2015 television highlight. 10/10 Bethany Cox
An Inspector Calls
JoBloTheMovieCritic20 July 2019
Disappointing and Predictable
jamalking158 June 2018
Too predictable and followed an all-too-popular modern script of framing a historical story in modern terms.
Very preachy and almost made you sympatic to the anti-heroes.
Any number of better endings could have worked, but this failed.
David Thewlis was the only redeeming actor in the film, and he tried hard to make his character believable, but I think he also felt the story lacked reality and it showed.
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