Red Riding: The Year of Our Lord 1980

The second part of the RED RIDING trilogy takes up the storyline three years later. The eventual capture of the Yorkshire Ripper, Peter Sutcliffe, serves to muddy the waters of investigation but a new detective aims to get to the bottom of the conspiracy.

It's like the first film, but not. This is more of a police procedural, which may well be because of the detective lead (Considine gives a solid performance here). Once again, police corruption is the order of the day as we finally learn just how deep it goes.

It suffers a little from being the middle film in a trilogy - thus only a few loose ends are tied up here - but makes up for that with an ultra-frightening performance from Sean Harris (ISOLATION) as one of the most disturbed coppers you'll ever see on screen.

I'm assuming you have watched "Red Riding 1974" before you watch this movie or read this review. I'm saying this, because I will talk about the first part of the trilogy as if you've seen it. So while Garfields character is "gone", we get a new main character played by Paddy Considine. And while many might know him playing comedies, he definitely is up to the task at hand here.

This one feels quite a bit different tonally then the first one. While the characters remain appalling (new ones and the known ones from part one), it still has a dark appeal to those who get involved in it. But through all that, I still felt that it wasn't as good as the first one. I thought the first one was more to the point, whereas this one tries to connect and tell a new story. Still very good and if you have seen the first one, you surely have to see this one too. And as another reviewer said, if you like movies like Zodiac (Finchers one), than you will love this one.

At last, some intelligent, challenging, original drama. Difficult at times? Yes, but that makes it stay with you. Channel 4 have become known for reality TV like Big Brother and way too many 'lifestyle' shows, they never brought 'The Wire', they've lost their way. But this is such a step in the right direction, David Peace is the outstanding British crime writer of his generation, prior to Red Riding being screened, I'd read '1974', 'GB84' and 'The Damned United'. Now I'm reading the one from the 'Red Riding' Trilogy not adapted, '1977'.

So I at least knew any adaptation would not be your conventional cop show, despite this, all these three films screened set a benchmark. The acting is superb, though it's fiction intertwined with fact, they pull it off.

At the start of this film, Warren Clarke as senior cop Molloy, monologues to camera, almost it seems in a trance, reasoning, appealing to the Yorkshire Ripper, trying to understand and almost plead with him. Like a star shell in my head, I recalled the senior policeman in the real Ripper investigation, George Oldfield, doing something not that different on national TV, 30 years ago. He was being broken by his failure after years and with bodies piling up, to catch the Ripper, he would stake everything of the tape and letters from the 'Ripper' taunting him.

They were hoaxes, the completely different accent on the tape caused the Police to let the real Ripper slip through their fingers at least once. A couple of years ago, DNA advances caught the Hoaxer over 25 years on-from samples on an envelope he licked to seal in 1978, he was a hopeless alcoholic on the DNA database for minor disorder offences.

The above sounds an unlikely story, so although Red Riding has plots that to many may seem outlandish, real life can be too. There was a culture of corruption, fitting people up and worse, in some British police forces in the 1970's. There was corruption with developers and politicians. David Peace has taken these, added his own touches, to construct what he has called 'Occult Histories', including as in GB84, the 1984/85 miners strike. 'Occult' as in alternative, rather black magic/Satan etc.

What the three films in this trilogy have done, is take the writers vision off the page and onto film in a stunning, memorable and accomplished fashion. A heap of BAFTA's surely await?

And get that DVD out!

"Red Riding: 1980" follows more or less the same formula as the first installment: an illicit sexual relationship complicates an investigation--and provides a disturbing commentary on, a series of grisly crimes against women. "Red Riding: 1980" introduces a new main character: Peter Hunter (Paddy Considine), a "clean" Manchester cop being brought in to investigate the local police force's handling of the high-profile "Yorkshire Ripper" case. To date, 13 women have been killed by what is presumed to be one person, but there have been no arrests and little progress. (Events in this movie are loosely based on an infamous real-life case.) Peter's hand- picked team includes two past associates: the businesslike John Nolan (Tony Pitts) and Helen Marshall (Maxine Peake), with whom he previously had an affair. Hunter gets little help but plunges ahead, discovering that one of the 13 victims may have a different killer.

Hunter begins to the investigation, thinking it has something to do with his previous visit to Yorkshire in 1974, when he rubbed the local authorities the wrong way while investigating a shooting. As Detective Hunter delves deeper into the case, it becomes increasingly obvious that incompetence isn't likely to blame for the lack of progress made by Yorkshire police.

The acting in "Red Riding: 1980" is improved from it's predecessor. Paddy Considine is an established, respected actor and it shows in his performance. The members of the supporting cast, with the exception of Maxine Peake, are solid. Warren Clarke is very good at being an utterly despicable villain despite limited screen time. This second film, directed by "Man on Wire" James Marsh, was shot in 35mm widescreen. The more polished look however, does nothing to diminish the ominous atmosphere- -or the sense of oppression accompanying the setting. In all three films,

Though the films--each by a different director--share some of the same characters, there's no epic build from one episode to the next. Rather, after each part concludes, the next more or less begins from a standing start. "Red Riding: 1980" is the movie in which the trilogy comes into its own. Gone is the uneven pacing associated with the first film. The film itself is sturdier than it's predecessor especially as its pace tightens with Marsh displaying a palpable mastery of tension. This production starts at a high level and proceeds on a clear and strong trajectory. It tells its own story while at the same time expanding the canvas of the overall tale. The ending completes the individual arc--but leaves the viewer yearning for more. It's hard to imagine anyone watching this film not seeking the time and opportunity to see the final volume of the trilogy.

A binge watching of RED RIDING TRILOGY, three TV movies adapted from David Peace's RED RIDING QUARTET, where its second chapter 1977 is skipped. Directed by three different directors in three different formats: 1974 by Julian Jarrold in 16mm film, 1980 by James Marsh in 35mm film and 1983 by Anand Tucked with Red One digital camera, the trilogy forebodingly trawls into the organized crimes and police corruption in West Yorkshire through the prisms of three different protagonists while they are wrestling with a series of murder cases, and overall, it inspires to achieve a vérité similitude of the bleak milieu while sometimes being mired with its own navel- gazing, such as narrative banality (1974), over-calculated formality (1980) and poorly indicated flashback sequences (1983).

The police corruption which disclosed in 1974 turns out to be just a tip of a humongous iceberg, in 1980, after the inaction of the current head Bill Molloy (Clarke), our protagonist is Assistant Chief Constable Peter Hunter (Considine, in an atypical clean-cut appearance), who takes up the gauntlet to investigate the notorious Yorkshire Ripper case (inspired by the real events), which has already claimed a dozen lives, mainly female prostitutes. But soon he will meet more resistance and pressure from within the police department when he is tipped that one of the victims might not be the ripper's work. The tension retains in a high-strung tenor when we see a diligent Peter being taunted by the reprobates on a daily base, in particular from officer Bob Craven (Harris, reprised his role from 1974, and he is so delectably sinister through and through), the lowest scum of the earth. There are some gnawing hitches mined in the narrative, a key confessor is timely dispatched when he refuses to divulge the information on the phone but also has no intention to meet Peter in the hotel where he stays, instead, he asks Peter to come to his home in the witching hour, only to a sorry outcome. Also, it is unwarranted for Peter to appoint Helen Marshall (Peake), his former adulteress, into his team, to further complicate his scrape, plus a superfluous subplot of his broody effort is ironically dismissed by Helen's unsolicited abortion. After finally revealing the bloody picture of that singular murder (not done by the ripper), which connects to the finale of 1974, the story again, sets up a chilling twist to be brutally honest about to which rank extent the forces of law and order has been sullied.