The ruler of England discovers the value of common friendship in this historical drama. After the death of her husband Prince Albert, Queen Victoria (Judi Dench) is despondent, and she remains in mourning for two years after Albert’s passing. When one of her servants suggests that a daily ride on horseback might be a tonic for the Queen’s health and spirits, a Scotsman named John Brown (Billy Connolly) is hired as her guide and groom. At first, the Queen shows no interest in riding, though Brown readies a horse for her each day; finally, after several days, Mr. Brown speaks frankly to the Queen, announcing, “Honest to God, I never thought I’d see you in such a state!” While her court is shocked, the Queen is refreshed that someone would speak to her so directly. Soon the Queen is riding with Mr. Brown every morning, and she discovers him to be a friend and confidante who will speak to her as a person and not as a potentate. However, many are shocked by their relationship, believing that the commoner Mr. Brown is using his friendship for political advantage — or worse, that he’s become her lover.
Dances from Period Dramas
Look at Colin Firth’s masterful dance steps. He never looks at this feet. He is sure of himself in that difficult dance.
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Mr Twinkler appeared in the doorway accompanied by a short, stocky woman of some fifty odd years old. She was wearing a frilly skirt of brightly coloured cotton, a white cotton shirt and a shawl of scarlet coloured wool. Over her long, curly brown hair she had knotted a scarf in the way that is custom with the gypsies. Her ears were pierced with thick golden rings and her arms jingled with a lot of golden bracelets from which many charm pendants hung.
“This ‘ere is Petite-Maman,” Mr Twinkler announced, mangling the name frightfully. “She don’t speak English ‘cos she’s a Frenchie. I ‘ad all the trouble in the world explaining what was goin’ on!”
“Bonjour, Madame Petite-Maman,” I smiled, “je suis Margaret Dashwood. Voici Monsieur Spencer. Il a été blessé par une balle à l’épaule. Il va falloir l’extraire. Pourriez-vous prendre soin de tout ça?”
“Bien sûr, Mademoiselle. Pourriez-vous me donner un coup de main, s’il-vous-plaît?”
Mr Twinkler’s eyes were round as teacups and he exclaimed in admiration.
“Blimey! Yer a lady for real, then, if ye speak that filthy jargon so well! Where d’ye learn that?”
“From reading and having conversations with my two sisters, Mr Twinkler, where else? Now, if you please, stand by. Petite-Maman might need you to assist her in caring for your master.”
Petite-Maman told me what she wanted to be done and I translated it for Mr Twinkler.
She asked for hot water and fresh towels and bandages. Mr Twinkler supplied two out of three, apologizing for the fact that bandages were not available in the house. I cut two towels into strips.
Mr Spencer had not interfered with any of this but his eyes had never left me while I was bustling about. When the gypsy woman began making preparations by laying out various, nasty looking instruments on a towel, his face took a slight expression of alarm.
“Miss Dashwood, what is this? Are you going to let her butcher me?”
His eyes were dancing with mischief and I could not help myself and laughed.
“Oh, come on, sir! You know as well as I do that the bullet must be removed. This woman claims she can do it so …”
“Yes, I heard her. You do understand French well, I presume?”
“Well enough, my lord. As do you.”
“I learned it on Jamaica where I spent the last ten years.”
Petite-Maman was now ready to begin her administrations and told me to tell the patient to lie very still while she worked.
“Oui, Madame, je comprends,” Mr Spencer said as he positioned himself on the bed.
The next ten minutes were very unpleasant and I had to take over Mr Twinkler’s task of holding his master down while Petite-Maman extracted the bullet from the wound. The young man suddenly turned white and fled to one of the room’s corners. At one point Mr Spencer grabbed hold of my hand and squeezed it rather forcefully as the gypsy pulled out the projectile by means of a long pincer. I could literally hear him grinding his teeth. I was feeling a bit queasy myself watching the procedure.
He nearly broke my hand a few seconds later, when Petite-Maman poured a dash of medicinal alcohol into the wound. A small rivulet of blood ran down his lips where he bit himself. I wiped the blood away.
“Miss Dashwood”, my patient said through clenched teeth as Petite-Maman bandaged the wound, “Mr Twinkler will bring you home in the curricle. Please accept my sincere thanks for your help.” His tone did not sound sincere, just hurtful.
I was stunned and also a trifle put out by the harshness of his tone because I had not expected him to dismiss me like he would have a servant! Nevertheless, I knew what prompted the remark. I had seen him weak and in pain and from what I observed of the marriages of my two sisters, it was not something a man would want a woman to witness.
“Dites-moi comment prendre soin de lui, s’il vous plait, Petite-Maman? Que dois-je faire en cas de fièvre?”
“What do you mean …? Miss Dashwood, curse it! Listen to me!”
I ignored Mister Spencer’s fervent interruptions and instead listened to the gypsy’s instructions. She said she did not think he would get feverish because he was young and strong but in case it did indeed happen, I was to call her. I thanked her and pressed a few coins into her hand; they were all the money I had in my purse. Petite-Maman seemed content with it.
“Twinkler!” a booming voice rang out.
Poor Jack nearly jumped out of his skin with his master’s outraged cry.
“Go harness the curricle and escort Miss Dashwood to Barton Cottage. Now!”
I nodded at Jack and his countenance cleared significantly.
“I will be with you in a minute,” I said to him and he and Petite-Maman left.
With as sweet a smile as I could muster – because I certainly was not in a sweet mood – I seated myself next to the bed again.
“Miss Dashwood, I must insist that you leave this house forthwith! For Heaven’s sake, why are you so cursed headstrong!”
I laid my hand on his arm to calm him when I noticed how he was working himself into a state of nervous rage.
“Mr Spencer, I will do as you requested but not before you answer this; why is it that you will not come into your title before the 22th of August? It is, after all, a very uncommon thing. You should have inherited the title right after your father’s death.”
To my surprise, he fell back onto his pillow with a hearty sigh and turned away his face. He seemed to be struggling with himself but eventually he yielded.
“Ten years ago …,” he began, then stopped.
“Yes?” I encouraged but to no avail.
“No, Miss Dashwood!”
He faced me once again, very sternly and brought forth all his defences.
“Please, leave. It is for the best.”
I had no choice but to obey.
As we were drove towards Barton Cottage, I interrogated Mr Twinkler about him and his master. Where had they been before coming back to England? These were the things I wanted to ask.
“Oh, I ‘aven’t bin anywhere but Lonnun, ma’am. Master found me starvin’ in a porch some months ago. Took me to ‘is ‘otel and fed me, then took me on as ‘is servant. Not that he’s paid me a single penny yet. I don’t mind! ‘E’s a good master and ‘e’s also fair and friendly. As long as ‘e feeds me, I’ll stay with ‘im.”
“But where has Mr Spencer been, do you know?”
“I think it was the Caribbean, ma’am. Dunno what he’s been doin’ there. Master doesn’t talk to me about ‘is personal affairs. Suits me fine. I’ll stay wi’im for the rest o’ me life, I am!”
“So you have no knowledge of what happened to him, ten years ago?”
“No, ma’am, not an inkling. Master’s from these parts of the country, that I do know. Watcombe Manor, that’s ‘is estate but ‘e ain’t no right of living there, that’s all I know.”
Watcombe Manor was unknown to me but I vowed to find out where it was. I had become very interested in Mr Spencer’s story.
“Do you not miss London, then, Mr Twinkler?”
“No, ma’am, why should I? I ‘ave no family left, they all died. I’m fifteen now and I’ve been on me own since I was ten. No, I’m stayin’ wi’ the master.”
“He calls you ‘his friend’, Mr Twinkler?”
Jack Twinkler’s narrow face lit with merriment.
“That’s why I’m stayin’ wi’ ‘im and always will, Ma’am, no matter what ‘appens.”
By that time we had reached Barton Cottage and I bid farewell to Mr Twinkler, who turned the curricle and rode away. Deep in thoughts, I climbed the shallow slope. I was deeply aware of some inner uproar in, even though I would not allow it to show outwardly. Douglas Spencer had indeed intrigued me from the very first moment because of a duality in his behaviour; a ravisher, he may have called himself but why then had he wished me away for fear about my reputation?
I was not allowed to dwell upon these disturbing reflections for my mother’s shrill voice greeted me from the sitting room as soon as I entered the cottage.
“Meg? Is that you? Where have you been, girl? Not only is it not suitable for a young lady to go dashing about the countryside on her own but it is also very ruinous for her complexion! Do you want to have the looks of a peasant girl? Do you want to look all weathered and knocked about, your beautiful skin all red or spotted with freckles?”
“Mama, Mama, calm yourself. Nothing of the sort has happened. I just took a long walk and got lost. That is why I am so late and I beg you to understand that it was not my intention when I set off this morning. Lord, but I am hungry! Is breakfast ready?”
With those last remarks I hoped to distract my mother from the fact that I was quite dishevelled and a little dirty. Yet my heart lurched within me as I suddenly discovered a large spot of red on the bodice of my dress!
“I am coming, Mama! I must wash first!”
Then I dashed up the stairs to my small bedroom under the eaves of the attic and closed the door behind me. That had been close! My mother would have had a fit if she had seen that blood!
Spencer’s blood … immediately his handsome face sprang to my mind … those fierce blue eyes, those sensual lips … Oh, stop it! Margaret Dashwood, you are being silly and shallow! Put that man out of your thoughts. He is not for you. My thoughts raced. Not for me? Why not? Because he is not suitable and way too old for you. I battled with propriety and my desires – point, counterpoint. He is also poor and you know very well how that affects one’s life, don’t you, Margaret? He is also a rake as he proclaimed himself so very well to you.
Do you not remember what that rascal Willoughby did to poor Marianne? He nearly destroyed her and that is exactly what Spencer will do if you let him come too near!
All that was true. The sensible, realistic part of me acknowledged it all too well but my foolish, romantic heart did not. My poor, love-starved heart only remembered the feeling of his warm, hard body against mine when he clung to me, so wounded and helpless.
By NANCY TARTAGLIONE, International Editor | April 2014 07:01 UKTags: BBC One, Ridley Scott, Steven Knight, Taboo, Tom Hardy
Tom Hardy is reuniting with his Locke director and screenwriter Steven Knight, and his Child 44 producer Ridley Scott for eight-part period series Taboo. Knight created the drama based on an original story by Hardy and his father, Chips Hardy. Tom Hardy will star as an early 19th century adventurer battling the East India Company during a time in British history “when the rising power of the Empire seeped into every dark corner,” says exec producer Scott. This is the actor’s latest foray into British television after recently coming on board the second season of BBC Two drama Peaky Blinders, which Knight also created. Scott Free London and Hardy Son & Baker are producing Taboo for BBC One and Sonar Entertainment. Shooting will start in the UK in January 2015.
Set in 1813, Taboo follows Hardy’s James Keziah Delaney who returns from Africa with 14 ill-gotten diamonds and seeking to avenge his father’s death. Refusing to sell the family business to the East India Company, he sets out to build his own trade and shipping empire and finds himself playing a dangerous game with two warring nations, Britain and America.
Tom Hardy calls it a “flagship British drama for this generation.” It’s a “hybrid of orthodox and unconventional storytelling, packed with darkness and spirited characters.” Knight adds that the lead character is “a deeply flawed and deeply troubled human being. His greatest struggle will be against the East India Company which, throughout the nineteenth century, was the equivalent of the CIA, the NSA and the biggest, baddest multi-national corporation on Earth, all rolled into one self-righteous, religiously motivated monolith.”
Sonar is distributing outside the UK. Executive producers are Scott, Liza Marshall and Kate Crowe for Scott Free, Tom Hardy and Dean Baker for Hardy Baker, and Knight. Chips Hardy is serving as consulting producer. Tom Hardy is repped by Jack Whigham and Mick Sullivan at CAA and Lindy King at United Agents.
Actor Tom Hardy is joining forces with Sir Ridley Scott for a BBC One period drama about the East India Company.
The eight-part series, Taboo, will star Hardy as a rogue adventurer who sets out to build a shipping empire, pitting him against the East India Company.
Inception star Hardy, who wrote the original story with his father Chips, called it “a flagship British drama for this generation”.
Gladiator director Sir Ridley said Hardy’s character “will become iconic”.
“This is a period in British history where the rising power of the Empire seeped into every dark corner,” said Sir Ridley, best known for cult films such as Alien and Blade Runner, who will produce the drama.Sir Ridley’s previous film The Counsellor failed to excite the critics
The drama, set in 1813, will reunite Hardy with screenwriter Steven Knight, with whom he worked on the forthcoming film Locke.
Knight is also the writer of BBC gangster drama Peaky Blinders, which Hardy is joining for its second series this autumn.
Knight described the lead character, James Delaney, as “a deeply flawed and deeply troubled human being”.
“His greatest struggle will be against the East India Company which, throughout the 19th Century, was the equivalent of the CIA, the NSA and the biggest, baddest multinational corporation on earth, all rolled into one self-righteous, religiously motivated monolith.”
Ben Stephenson, controller of BBC drama commissioning, said he was “thrilled” to see Hardy and Knight reunited on the series.
“This is a major and ambitious undertaking for the BBC, reinforcing our commitment to be the best home for creative talent.”
Tom Hardy’s company, Hardy Son & Baker, will co-produce the series with Scott’s Scott Free London. Shooting will begin in early 2015.
Hardy, who became a well-known name following his villainous turn as Bane in The Dark Knight Rises, can shortly be seen in James Gandolfini’s final film The Drop.
He is also lined up to play the lead in the forthcoming Mad Max reboot, as well as playing Elton John in the Rocketman biopic.
The actor is reported to be starring in the National Theatre’s film adaptation of London Road, alongside Broadchurch star Olivia Colman.
London Road was inspired by the murders committed by Ipswich serial killer Steve Wright, who was found guilty in February 2008 of murdering five women working as prostitutes.
Shooting starts January 2015
Jordan Smith (actor)
From Wikipedia, the free encyclopedia
Born Jordan Patrick Smith
1989 (age 24–25)
Smith was born in Fife, Scotland and moved with his family to Australia in 2003 when he was 14. The family holidayed in Australia in 2001 and fell in love with the country and so decided to emigrate. Whilst in Year 12 at his high school, Carmel Catholic College, drama became one of Smith’s favourite subjects. Smith currently resides with fellow Neighbours cast-member Chris Milligan, who plays Kyle Canning.
After finishing school, Smith took a number of acting courses and appeared in a few commercials. He has previously appeared in H2O: Just Add Water, in which he played a surfer. Smith has also had roles in Mortified and Home and Away.
Whilst between jobs, Smith worked as a labourer. In 2009, he was offered the role of Andrew Robinson in the hit soap opera Neighbours, but nearly had to turn it down because he was in hospital. He says, “I’d been doing some work as a labourer and I’d been lifting up concrete floors when some of the concrete flew up and smashed into my face. My nose got all swollen and became infected, so I was kept on a drip of antibiotics for a week. I got the call to say I got the part while I still in hospital on the Sunday night (in Queensland) and I had to be in Melbourne by 7am the next day.”
Smith has admitted that Neighbours had to change his character’s background story because of his Scottish accent. Andrew was initially meant to have been brought up in Brazil, but the strength of Smith’s accent meant that this had to be changed. He has also stated that he had to “refine” his accent in order to be understood by other cast members and the audience. Smith has admitted that if he was not playing the role of Andrew Robinson he would have liked to play the role of fellow Neighbours character Lucas Fitzgerald, played by his co-star Scott Major, instead.
On 26 November 2012, it was announced that Smith would be leaving Neighbours. He made his final screen appearance as Andrew on 29 March 2013. In October 2013, it was announced that Smith was in final talks to join the cast of Angelina Jolie’s Unbroken as Cliff, an Australian prisoner who is taken to a Japanese POW camp in World War II.
The setting: downtown New York in 1900, a tumultuous time of massive change and great progress. The series centers around the groundbreaking surgeons, nurses and staff at Knickerbocker Hospital, who are pushing the bounds of medicine in a time of astonishingly high mortality rates and zero antibiotics. (Source: CineMax)
No start date yet, but it must be soon, as there are a lot of teaser trailers.