Psychoville

Psychoville 1.4 Review

The fourth episode of Psychoville was an unmitigated treat on many levels. Joyous, clever, witty, intelligent and beautifully-honed black comedy. The acting, writing and staging of the episode was excellent, and the script delighted me with a clever twist halfway through.

Psychoville episode four: 'Give 'em enough rope'

A familiar face to League of Gentleman fans makes a return - with typically gruesome results - in an episode laden with Hitchcock references.

A completely different cup of tea this week. Instead of the usual rogues' gallery, we focus entirely on murderous (and hideous) mother-and-son duo the Sowerbutts (Reece Shearsmith and Steve Pemberton), who are bundling their latest victim into a chest as we meet them. But hang on, this looks different, too. Instead of the usual gothic style, we have a simple, stagey approach: one room, a single shot with no edits. Yes, what we have here is Psychoville's very own tribute to Alfred Hitchcock's Rope. It's an ambitious idea and it's slickly done, with the expected touches of the surreal. As they try to get over the unpleasantness of the murder, the pair put "the cheering-up tape" on - an upbeat aerobics workout to which they do a hopeless dance routine. But no sooner have they put the kettle on than there's a knock at the door and they're disturbed by a stranger in a belted mac and trilby, asking uncomfortable questions. He's played by a familiar face (especially to fans of Shearsmith and Pemberton's work), but the show begs us not to reveal his identity.

Alfred Hitchcock was a film-maker who could be relied upon to find the grotesque humour in any given situation. It's therefore appropriate that tonight's instalment of Psychoville, possibly TV's first gothic sitcom-cum-thriller, should pay homage to Alf. More surprisingly, Reece Shearsmith and Steve Pemberton choose to riff off Rope in an episode shot in two long takes, with the murderous David and Maureen at the centre of the mayhem. Prepare for a killing, a trunk, an unexpected caller, a sudden panic and a fixation with pyramid teabags.

Alfred Hitchcock appears to be one of the influences on this weirdly compelling comedy-thriller series. Here The League of Gentlemen's Reece Shearsmith and Steve Pemberton pay homage to his oft-overlooked film Rope, which in turn was inspired by the real-life murder of a young boy in 1924 by two college students. Tonight David (Steve Pemberton) and his mother Maureen (Reece Shearsmith) are mid-murder at their home when an unexpected visitor knocks on the door and throws them into a panic.

Of all the episodes in this strange series, this is the strangest and most fascinating to date. It is a homage to Alfred Hitchock's 1948 film Rope with James Stewart, which told the story of two young men who murdered a classmate, put his body in a wooden chest and invited the victim's friends and family round to dinner. It was a daring and experimental film, shot as though it were taking place in real time using long, unbroken takes. The same technique is used here, with a single location and only three characters - the comic killers (Reece Shearsmith and Steve Pemberton) and their unfortunate victim (Mark Gatiss) - shot in two long takes. The effect is theatrical, claustrophobic and totally mesmerising. One of the greatest pleasures of watching television is coming across a complete surprise; in the fast-forward world of snappy editing, tonight's episode has a shocking originality.

A trifle it may be in advancing the plot, but this central episode of the Pemberton-Shearsmith series is nonetheless a brilliant piece of pastiche, lovingly assembled and technically remarkable. We join the action in a Hammersmith flat, as David and Maureen strangle their next witness and stuff him into a trunk. Then make a cup of tea, of course, while Bernard Hermmann plays in the background.

Everything's going swimmingly until an unexpected guest arrives and the uneasy alliance begins to crumble under a volley of chin stroking accusations resembling those of James Stewart in Rope.

Which is, of course, exactly what this three-hander celebrates, with two guilty parties and one smart cookie with a secret dancing around as much as the cameras must have been: the whole thing was filmed in only two takes.

Logistical achievements aside, the script is ingenious (but still grotty - David's stools are the colour of banoffee pie, apparently) and the physical comedy inspired. Hitchcock scholars will find much to recognise and enjoy, but not knowing the film certainly doesn't impair the enjoyment of three pros playing off each other for all they're worth.

Reece Shearsmith and Steve Pemberton's macabre comedy pays homage to Alfred Hitchcock's Rope tonight. The entire episode (apart from the 'previously...' bit and the exterior shot) is filmed as one long, continuous take on a single set.

Just as in Rope, two murderers - in this case, Maureen and David Sowerbutts - have hidden the body of their latest victim inside an antique wooden chest when there's an unexpected knock on the door.

Their visitor is a detective - who could have stepped straight out of a 40s movie - and the pair panic at the possibility their killing spree will be rumbled.

Don't underestimate the huge pressure that cast and crew would have been under trying to achieve an entirely perfect run at this (like a stage play only with cameras and microphones).

But this daring departure from the series' usual template is also one of the funniest episodes yet. And does Maureen remind anyone else of Brian's mum from The Life Of Brian?

Sigmund Freud himself would be so disturbed by the relationship of mother and son murder team David and Maureen, he'd race straight round to his shrink's house to lie down on his couch and talk about his mother. If you can stop clawing at your eyes as this pair plot more bloodshed, you'll notice that tonight's episode was shot in just two takes. Inspired stuff.

Reece Shearsmith introduces a special episode

Hello again. Episode Four of Psychoville looms upon us - and a very exciting episode it is too. We wrote the fourth episode like a mini Play for Today (as if you remember what they were), and when it came to filming it we decided to try and capture the whole thing in one continuous take.