The television soundtracks of the first series of monologues by Alan Bennett - tales of loneliness and eccentricity characterized by the author's understatement, observation and knowing irony.
"synopsis" may belong to another edition of this title.
Alan Bennett's award-winning series of six television monologues, Talking Heads, may have been first aired in 1988, but over a decade later it is still impossible to read these deeply moving and affectionate scripts without hearing the voices of the actors who played them. Maggie Smith as the alcoholic vicar's wife finding a semblance of happiness in an affair with an Indian shop owner, Patricia Routledge as the poisonous neighbour, Julie Walters as the over-the-hill dolly bird auditioning for a porn film and of course Thora Hird as Doris, the old lady alone in her home having fallen and broken her hip. All great performances and all made possible by Bennett's wonderfully observant and poignant scripts. Bennett rightly notes in his introduction to the pieces that, maybe apart from Doris, his narrators are artless in that they "don't quite know what they are saying and are telling a story to the meaning of which they are not entirely privy". But through their artlessnes they reveal more about Britain today and the stresses and strains placed upon ordinary people, than any number of docu-soaps that now claim to show us real life. --Nick Wroe
"Bennett's genius is his ability to satirize humanely. [His] prose is like stained glass: if you stare at it, you see things you missed."
-- "The New York Times Book Review"
"In the hands of Alan Bennett, the tragic and painful are close bedfellow with the funny and the sexual....We laugh at the situations presented and then feel a twinge of guilt."
-- "Los Angeles Times"
"Few write sharper dialogue or probe more tellingly into the frailties and occasional strengths of the human psyche than Alan Bennett. No one knows more about getting each scene just right or as consistently."
-- William Trevor
"Bennett's genius is for the imploding situation in which a cleverly made house of cards shudders and comes down; the comments of his characters as they nimbly pick their way around the wreckage verge on aphorism."
-- "The New Yorker"
Few write sharper dialogue or probe more tellingly into the frailties and occasional strengths of the human psyche than Alan Bennett. No one knows more about getting each scene just right or as consistently.--William Trevor
Bennett's genius is his ability to satirize humanely. [His] prose is like stained glass: if you stare at it, you see things you missed. "The New York Times Book Review"
In the hands of Alan Bennett, the tragic and painful are close bedfellow with the funny and the sexual....We laugh at the situations presented and then feel a twinge of guilt. "Los Angeles Times"
Few write sharper dialogue or probe more tellingly into the frailties and occasional strengths of the human psyche than Alan Bennett. No one knows more about getting each scene just right or as consistently. William Trevor
Bennett's genius is for the imploding situation in which a cleverly made house of cards shudders and comes down; the comments of his characters as they nimbly pick their way around the wreckage verge on aphorism. "The New Yorker""
"Bennett's genius is his ability to satirize humanely. [His] prose is like stained glass: if you stare at it, you see things you missed." --The New York Times Book Review
"In the hands of Alan Bennett, the tragic and painful are close bedfellow with the funny and the sexual....We laugh at the situations presented and then feel a twinge of guilt." --Los Angeles Times
"Few write sharper dialogue or probe more tellingly into the frailties and occasional strengths of the human psyche than Alan Bennett. No one knows more about getting each scene just right or as consistently." --William Trevor
"Bennett's genius is for the imploding situation in which a cleverly made house of cards shudders and comes down; the comments of his characters as they nimbly pick their way around the wreckage verge on aphorism." --The New Yorker
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