At the Royal Academy of Motion Picture Arts a host panel of judges, which is made of judges who make up different sectors of the film industry gather to vote on who will win best actress award. Presided over by Giles Grindley-Orme, the panel consists of feisty Hollywood star Paula, TV critic June, veteran actor Rupert, producer Gordon, second-rate writer Clive and Jackie who has been specially selected as a member of the general public. Their combined refusal to decide upon who should win the coveted award inevitably descends in to in-fighting and a clash of egos and an accusation of in-objectivity. Eventually a winner is chosen thanks to their superb performance.
After taking something of a poignant and to an extent cynical look at the world of show business with; Bernie Clifton's Dressing Room three weeks previously, Messrs Shearsmith and Pemberton interestingly once again set their sights on the entertainment industry once more. This time taking a satirical bite at the motion picture industry; And the Winner is... takes a less affectionate swipe at a business which is renowned for it's potential shallowness, back-biting and self absorbed personalities. Maintaining that minimalist self contained feel that some of the series best episodes have utilized to sublime effect with stories like; Sardines and Zanzibar, this outing predominantly takes place within Room number 9 of the Academy. It's a less claustrophobic setting than both aforementioned episodes but it no less makes for a powder-keg of heated emotions. Sure this does mean that the series show-runners inevitably resort to caricatured stereotypes as they essentially parade each of their dramatis personae who each represent a division of the motion picture industry.
It is with this mind however that it's to each of the casts individual talents that they manage to bring each of their characters to life. Glaringly exaggerated for comedic effect with Zoe Wanamaker's arguably the most blatant stereotype as the quintessential parody of the glamorous, brassy, ageing Hollywood star. Struggling somewhat with a somewhat stilted U. S. accent she still manages to still be effectively waspish value as the amusingly embittered and apathetic Paula. Noel Clarke, best known for his former semi-regular role as Mickey Smith in; Doctor Who (which is slyly referenced by himself early on) makes for ideal casting as Television director Gordon given his past credentials in the field, with Kenneth Cranham on fine acerbic, crusty form as jaded veteran actor; Rupert. Fenella Woolgar provides further spiteful support as the unexpectedly woebegone TV critic and journalistic "nobody" June, with Phoebe Sparrow rounding up the guest cast, offering something of a contrast to the motley members of the judging panel as the, bubbly, sweet-natured Jackie. A young woman who is essentially the odd one out being a member of the general public.
Regulars and showruuners; Shearsmith and Permberton of course make up the entirety of the list of thespianic talent, and are on dependable top form as brown-nosing screen-writing hack; Clive and the ever jaunty and diplomatic Giles who is lumbered with the unenviable task of being the chairperson to the panel.
As a satirical stab at the motion picture awards judging process, ...And the Winner is efficient in tearing lumps out of it's discernible targets who for the main collectively make for a range of pretentious, puffed up has-been and wannabe egos who aren't averse to verbally ripping chunks out of one another. Having really no genuine vested interest in selecting a winner, their overall indifference is explicitly felt. It's with the character of Jackie that we get one seemingly unassuming who although naive and almost eternally chipper eventually cuts through the mire of turgid rationalisations given by her fellow panellists with non-confrontational grace and humility. It invariably leads to the stories inexorable final twist which I have to confess that I partially saw coming, and therefore comes across as a punchline to a joke that being predictable dulls it's impact. Given what is the general macabre tone of the series; like previous episodes that include; The Last Gasp, Nana's Party this is mild fare despite the biting satire.
Equalling; To Have and To Hold as the weakest of what has been thus far the to my mind the strongest series to date; and which could have potentially benefited from being more of a molasses black comedy with a darker, more nihilistic edge to it. That's not to say it's not skewering enough in it's critique of the motion picture awards industry and it's members but it feels like something that should have been slightly greater than the sum of it's parts. It ultimately however manages to be more rewarding viewing than the aforementioned; The Last Gasp and Nana's Party.
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