Faire basculer le velours

I am getting obsessed by it, playing the DVD over and over. And it is not because of the lesbian love story, nor because of the physical relationship neither. It's about the tenderness and care with which the whole thing is done. You obviously can notice that in the script itself, even in the rawer moments there's certain hope. But also in the music (the melodies are so sweet), the photography (all this wine like and golden tones for indoor scenes), the so fine decoration and set design (theatres and back stages), those little sounds added (hoses running, opera voices ..), those visual metaphors (burning fondue for Kitty's jealousy, empty oyster shells swirling in the waves as Nan meets life ..) …etc..

To me the most beautiful concept is the protagonist personal and sentimental growth, how she becomes an adult by finding love and life. About this, an outstanding detail is Nan's expression and tone of voice. There's one scene in first episode: Kitty and Nan are in Nan's room at Nan's parents, Nan takes the rose Kitty gave to her in the theatre from a drawer and says: 'Remember when you gave me this?' .. The tone in which the sentence is said is so wonderful, it express so much thrill, admiration, delight and most of all innocence. This is what the first episode is about, Nan and her innocence and childhood lost… something left in the sea waves of her home town shore where she was an oyster. But in the second and third episodes she looses this purity in her voice, as she's becoming an adult in all senses. She sounds stronger and more secure... the oyster opens.

This leads me to talk about Rachael's awesome work, all these details are not only shown in her voice but in her acting. And what is more, she not only acts great all the way long but also she sings lovely! The rest of the actresses are wonderful too .. Anna Chancellor's Diana still scares me ;) What to say about magnetic Kitty (whoah Keeley!) and also Jhodi May builds a so very nice good home-loving girl. The actors are quite good too, including baby Cyril ;-)

Another good feature to point out is the rhythm of the episodes development. We can see Kitty and Nan's debut on stage at the same time that all their previous rehearsals, and also Nan's cooking and cleaning at Flo's at the same time that she recovers emotionally from wandering the streets. All this action together prevents the episodes from slow down and from loosing the attention.

But of course this story is a tale, in which the protagonist suffers but at the end wins, there is no point in looking for resemblances with real life as life is much more complicated than a tale. She even triumphs at speaking in the socialist rally saving Flo's brother from stage fright. And I think choosing one girl instead of the other pretended to be a happy end … personally I would definitively have chosen the other, no doubt at all ;-D

I've found a soundtrack at amazon.co.uk but it doesn't include the songs the girls sing at stage .. anyone know where to find them?

Thanks for reading

I saw the series - all three episodes back to back - when it was re-broadcast by the BBC just before Christmas, and it held me spellbound. Since then I've watched the DVD at least half a dozen times. A subject that could so easily have drifted into melodrama has become an enchanting classic . The direction oozes class, particularly in the scenes of Nan and Kitty's stage rehearsals, the music has a haunting charm, and the acting is mostly glorious (Alexei Sayle was clearly only in it to show how good the rest of the cast was),. It's Andrew Davies's masterpiece.

I never knew this DVD existed, had I not been checking out lesbian films in Amazon.com. On description alone, I purchased it. That was 3 weeks ago. I have watched the DVD almost every night. My 17 yr. old. step-daughter, every time she catches me says, "Not again?" I say, automatically, "Sorry, kid, yes, again." It's not just the theme, it's everything. The time and place, the screen writing, the music, the acting, the tone, the lighting, the challenge of pushing the envelope. (I doubt very much we would see a production such as this here in the United States.) For me, this is absolutely the best lesbian presentation I have seen. It is so satisfying on every level. I, too, had my heart broken by my first love...and eventually found my life partner, so I related very much to the story to some degree. I applaud and thank everyone involved in this presentation. And of course, accolades to the author.

Tipping the Velvet has just three weeks ago been released in the UK and already I watch as countless letters flood to the national papers and TV guides, claiming that it possesses a thin plot, weak performances and an even weaker script.

You find me incensed. This is heresy.

I would really like to dispel all doubt by first congratulating Andrew Davies on enabling Geoffrey Sax to create this wonderful dramatization of Sarah Waters' novel by cushioning him with such a fantastic script. Kudos. But I fear I must now change tack.

I saw one of the premiere TV guides here in the UK (which shall remain nameless) relentlessly describing Tipping the Velvet as a "lesbian love story". If they are, and I assume they are, trying to promote interest in the film, then this is completely the wrong way to go about it (aside from the phrase being a disappointingly inaccurate description). By saying such a thing, they are either a) turning away those who would instinctively be repelled by "that" subject matter or b) attracting a class of people who will only watch to see some "serious girl-on-girl action". Buy a video! Through this display of serious inconsideration, this and other magazines are cheapening what is a brilliant adaptation of one of recent literature's greatest works. Tipping the Velvet is a story of love, of passion, of moving on, of loss, and of heartbreak. It's not a lesbian love story. No siree.

The end result is a stylish affair, with excellent performances all round (particularly from Stirling, Hawes, Chancellor and May). Direction-wise, it's intoxicating and immersive - sometimes, fast-paced, sometimes not - but it never ceases to be anything less than compelling. As a whole, it's polished and well delivered, the sex is undertaken with tenderness and delicacy - and although many will not class it as a real "film", it will remain among my favourites for some time to come.

Labeling this film a "lesbian love story" is about as accurate as calling Pride & Prejudice a "straight love story." There's just so much more to it than that.

Yes, the main character is a lesbian, but her story is classic bildungsroman, a journey from childhood to adulthood, from sexual innocence into maturity, from personal blindness to self- discovery. There is a stylistic element of camp to the film's direction, but it is not a hindrance; rather it serves to underscore the staged and dramatic parts of the main character's life.

Those who know Anna Chancellor from the BBC version of Pride and Prejudice will certainly be amazed with her here. Rachael Stirling is stellar as the main character Nan, and Keeley Hawes is all wide-eyed goodness as her lover Kitty Butler. Chancellor might have the stand out role, that is aside from Sally Hawkins who plays Zena Butler. This film is not for the faint of heart, but it's not a piece of pro-gay advertising either. It's a real story, with real comedy and drama, an engaging story with compelling characters, and well worth watching.