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It's remarkably theatrical, is Neverwhere. Watching it is very like watching a stage play, which makes me wonder if it could be adapted to the stage. Switch the SFX for some clever lighting FX, and I think it could work nicely. Part of that vibe comes from the old-fashioned nature of the TV serial; it's almost like a piece from the seventies. Suits the story, though. The serial itself is a little otherwordly, somehow, like London Below itself.
We get properly into London Below in episodes two and three. Richard sets out to follow Door and the Marquis, helped on his way by the Rat Speakers. The rats have some kind of exulted status in the underworld, and the Rat Speakers are a cult or a tribe of sorts who serve them. One such Speaker, Anathaesia, accompanies Richard on his search, leading him to the Floating Market, where Door is searching for a bodyguard. Their journey takes them to Richard's first encounter with London Below's echoes of the world above - familiar placenames, but not familiar places. In this instance, Knightsbridge has become Night's Bridge, a dangerous crossing which kills Anathaesia. Since the show has no real budget to speak of, much of this is realised by means of quick cuts and showy dream sequences, which does seem a bit odd watching in 2008. Nowadays there'd be gaping CGI chasms, probably. Usually I tend to prefer the less showy old shows, but I have to confess, it would have been nice if this had had a bit more money thrown at it. Reunited with Door and the Marquis, now with bodyguard Hunter in tow, Richard is dragged along with them more or less as an unwanted afterthought. There's more mirrors of the world above in store - Earl's Court, for instance, which in London Below is just that - a small, ramshackle court, in an old underground carriage, complete with batty old earl. Unwelcome in the court, the Marquis departs on a mission that he keeps to himself, leaving Richard and Door to travel on alone with the entertainingly over-dramatic Hunter. They have to find the Angel Islington, an old friend of Door's father who may be able to help Door defeat Croup and Vandemar; but there is a traitor in their midst, they are warned, just as the Marquis swaggers into Croup and Vandemar's lair, looking very much at home. Well golly.
These episodes are sometimes best watched in pairs. Half an hour isn't really long enough, and it was a very odd choice at the time to use that format. The story is told rather quickly, and I think might be better in four or five hour long episodes, rather than six half hours. The greater depth that the book was able to give to the story adds a lot to the tale, and it would certainly benefit from another adaptation. Apparently a film is on the cards, though, and that'll be shorter still. *sigh* Bet the new Marquis won't be half as good as the old one, either...
Anathaesia. Sweet but doomed.
A rat. But then you probably knew that.
The Marquis practices his lurking.
Hunter. An excellent warrior, but rather inclined to waffle.
The Angel Islington.
Croup and Vandemar. Just 'cause I like them, basically.
Richard and Door arrive at the Angel's place.
Happily, candles light themselves in his presence. Otherwise he'd be there all day.
We get properly into London Below in episodes two and three. Richard sets out to follow Door and the Marquis, helped on his way by the Rat Speakers. The rats have some kind of exulted status in the underworld, and the Rat Speakers are a cult or a tribe of sorts who serve them. One such Speaker, Anathaesia, accompanies Richard on his search, leading him to the Floating Market, where Door is searching for a bodyguard. Their journey takes them to Richard's first encounter with London Below's echoes of the world above - familiar placenames, but not familiar places. In this instance, Knightsbridge has become Night's Bridge, a dangerous crossing which kills Anathaesia. Since the show has no real budget to speak of, much of this is realised by means of quick cuts and showy dream sequences, which does seem a bit odd watching in 2008. Nowadays there'd be gaping CGI chasms, probably. Usually I tend to prefer the less showy old shows, but I have to confess, it would have been nice if this had had a bit more money thrown at it. Reunited with Door and the Marquis, now with bodyguard Hunter in tow, Richard is dragged along with them more or less as an unwanted afterthought. There's more mirrors of the world above in store - Earl's Court, for instance, which in London Below is just that - a small, ramshackle court, in an old underground carriage, complete with batty old earl. Unwelcome in the court, the Marquis departs on a mission that he keeps to himself, leaving Richard and Door to travel on alone with the entertainingly over-dramatic Hunter. They have to find the Angel Islington, an old friend of Door's father who may be able to help Door defeat Croup and Vandemar; but there is a traitor in their midst, they are warned, just as the Marquis swaggers into Croup and Vandemar's lair, looking very much at home. Well golly.
These episodes are sometimes best watched in pairs. Half an hour isn't really long enough, and it was a very odd choice at the time to use that format. The story is told rather quickly, and I think might be better in four or five hour long episodes, rather than six half hours. The greater depth that the book was able to give to the story adds a lot to the tale, and it would certainly benefit from another adaptation. Apparently a film is on the cards, though, and that'll be shorter still. *sigh* Bet the new Marquis won't be half as good as the old one, either...
Anathaesia. Sweet but doomed.
A rat. But then you probably knew that.
The Marquis practices his lurking.
Hunter. An excellent warrior, but rather inclined to waffle.
The Angel Islington.
Croup and Vandemar. Just 'cause I like them, basically.
Richard and Door arrive at the Angel's place.
Happily, candles light themselves in his presence. Otherwise he'd be there all day.
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