"National Treasure" is about a famous and much loved British comic actor, one half of a double act, a Morecambe or a Wise, a Cannon or a Ball perhaps, who is accused of the rape of an underage girl. It handles a deeply contentious subject very sensitively and it allays any fears in the first episode that it might be exploitative or in poor taste. It's beautifully acted; Robbie Coltrane is the accused man, the 'National Treasure' of the title, (this may be the best thing he's done since the TV series "Cracker"), but the real 'national treasure' here, of course, is Julie Walters, recipient of more BAFTA's than most of us have had hot dinners. As Coltrane's long-suffering wife she is simply magnificent. As a comic actress Walters can sometimes go off at the deep end but she underplays superbly here. Her grief and her rage are tangible and I fully expect her to pick up another BAFTA, and perhaps an Emmy, for her collection. This is a drama I approached with caution; now I am very glad I approached it at all.
16 Reviews
A thought provoking series.
Sleepin_Dragon30 August 2022
Has Comedian and National Treasure Paul Cobley, done the unspeakable, is he a sex offender?
A story that was surely inspired by the shocking case of Jimmy Saville, this makes you contemplate whether or not someone that is nationally loved, could be guilty of that worse possible crimes.
I really did enjoy this, it's a thought provoking, well made and supremely well acted series. It does perhaps play out, and even conclude the way too expect it to, but the journey itself is worth going on, it's the impact not just on the accused and accusers, but those directly associated also.
It's very well made and presented, good production values, it looks quite arty.
The acting is the key strength, Coltrane and Walters shine through, as do the entire cast, Andrea Riseborough, Tim McInnerny and Susan Lynch all impressed.
Worth seeing, 7/10.
A story that was surely inspired by the shocking case of Jimmy Saville, this makes you contemplate whether or not someone that is nationally loved, could be guilty of that worse possible crimes.
I really did enjoy this, it's a thought provoking, well made and supremely well acted series. It does perhaps play out, and even conclude the way too expect it to, but the journey itself is worth going on, it's the impact not just on the accused and accusers, but those directly associated also.
It's very well made and presented, good production values, it looks quite arty.
The acting is the key strength, Coltrane and Walters shine through, as do the entire cast, Andrea Riseborough, Tim McInnerny and Susan Lynch all impressed.
Worth seeing, 7/10.
Great acting from Coltrane and Waters! But ultimately let down by a weak script writer.
susanna-saunders9 October 2021
Warning: Spoilers
I have to give due credit to the acting in this mini-series. Coltrane and Waters are especially brilliant in their respective roles! But the script writing seems to just not really be on the page. The series ends up being carried by two great performances rather than the underlying story, feeling empty and ultimately unsatisfactory. It's not the lack of real resolution to the series either. As a study of how a family is destroyed by adultery, rape and abuse of position, it works well enough. But I can only say this is 'watchable' (scoring 6) and only really because of the acting by Coltrane and Waters. The story seems too 'empty' to be worthy of more.
Effectively drama, which avoids preaching or barnstorming but instead unsettles
bob the moo21 February 2017
I had heard lots of positive reviews of this drama, and of course the timeliness of the narrative is obvious to all. A celebrity who had been at his peak in the 1970's is accused of sexual assault by multiple victims, leading to press and prosecution. The plot seems fairly straightforward in terms of what it does, and for sure the "ripped from the tabloids" content made me think it would be soapy, dramatic, and perhaps be hammed up for the sake of being cathartic. Instead the drama tends to avoid this totally and goes for a tone/content which I liked, even if I think it didn't totally work all the time.
This tone is one of creepy observation of the whole thing. In some ways it works because it seems to avoid cliché and expectation, leaving the viewer to go with it in a way perhaps they would not have done had it been so obviously one way or the other. It had its limits for me, simply because it was so very reminiscent of the Channel 4 show Utopia. This is for good reason since they share director, DOP, and composer at least; but the use of this package worked so well in the sci-fi that it made me feel it unsuited here. Perhaps to those coming to it for the first time there would be no such reservation due to the lack of association. It does work though, and the atmosphere it produces allows the performances to (ironically) feel more natural within a stylized presentation. Coltrane is great, but Walters is by far the standout in her gradual doubt on her way to clarity. Riseborough is also very strong. The younger versions of the cast are also very good, matching the "main" performances very well.
Overall it is an effective drama which is well balanced, allowing the viewer room to think. I wasn't totally sold on the style, but for sure it works.
This tone is one of creepy observation of the whole thing. In some ways it works because it seems to avoid cliché and expectation, leaving the viewer to go with it in a way perhaps they would not have done had it been so obviously one way or the other. It had its limits for me, simply because it was so very reminiscent of the Channel 4 show Utopia. This is for good reason since they share director, DOP, and composer at least; but the use of this package worked so well in the sci-fi that it made me feel it unsuited here. Perhaps to those coming to it for the first time there would be no such reservation due to the lack of association. It does work though, and the atmosphere it produces allows the performances to (ironically) feel more natural within a stylized presentation. Coltrane is great, but Walters is by far the standout in her gradual doubt on her way to clarity. Riseborough is also very strong. The younger versions of the cast are also very good, matching the "main" performances very well.
Overall it is an effective drama which is well balanced, allowing the viewer room to think. I wasn't totally sold on the style, but for sure it works.
Andrea Riseborough is fantastic
M0vieL0ver22 April 2024
Watching Andrea Riseborough's character in this film is the real treasure. Fantastic job from years gone past. It's hard to tell who(m) this story is based on but it doesn't matter. The seediness, manipulation and deceit is true enough. This is a very dark film that is not for everyone. The method of slowly unraveling or diving into the depths of sick and/or greedy or self-absorbed humans is disturbing and will stay with you. I felt there were a few holes. Some stuff purposely left to your imagination, but some unresolved. It was well made, and again, worth watching Riseborough's performance as a younger actor.
A Profound and Brilliant Exploration of Narcissism and its Destructive Effects on People
l_rawjalaurence2 October 2016
Newspaper reviewers have predictably commented on the parallels between Jack Thorne's drama and the so-called "Operation Yewtree," in which major celebrities - the "national treasures" suggested by the title - were found to be serial abusers, or used their fame to exploit the vulnerable. The two central performances of Robbie Coltrane as Paul Finchley and Julie Walters as his wife have also received due recognition.
Yet Marc Munden's drama contains so many other brilliant aspects, that don't necessarily focus on the more salacious material but try to explore how and why Fınchley should behave as he did. What we understand from the celebrity and his wife is how narcissistic they are; despite their frequent protestations of love for one another, as well as for their daughter Dee (Andrea Riseborough), they are pathologically incapable of listening. Riseborough's characterization is profound; she does not speak much, but she has a way of looking at the ground, almost as if she cannot face the ordeal of communication, especially with her parents. There is one sequence in particular involving Marie and Dee that sums up the emotional disconnect between them; taking place in a bedroom during Dee's birthday party, Marie emphasizes quite vehemently that she wants her daughter to get better, without understanding in the least how she and her husband are the root cause of Dee's problems.
Munden's production is distinguished by memorable cinematography from Ole Bratt Birkeland. Birkeland is fond of long tracking shots, with the camera moving down lengthy corridors to discover the characters. As viewers, we feel we are eavesdropping on their private secrets - just like Peter and Marie, as they seek to find out what's "wrong" with Dee. Birkeland also uses lighting to reinforce the theme: during the birthday party Peter gives one of his windy speeches. As he does so, the camera tracks slowly to the left, revealing candles at the front of the frame, and after a few seconds settles on Dee, looking once again at the ground in embarrassment, her face obscured by yet more candled. Material things seem to matter more to Finchley - they can be easily controlled, and do not require him to empathize. The fact that Dee appears at the end of the shot emphasizes her insignificance.
Much of the action unfolds in a dream-like world of psychedelic greens, reds, and blues, drawing attention once more to the fantasy-world that Peter and Marie inhabit. Alternatively several sequences take place in darkened rooms, illumined by miserable spotlights; the perfect ambiance for anyone to behave inappropriately without fear of discovery.
Despite its pertinent subject-matter, NATIONAL TREASURE is not really about the abusive celebrity, but looks instead at the destructive ways in which parents - especially those who profess a blameless way of life - destroy their siblings, as well as others, through neglect, or by assuming that people will behave in certain preordained ways. The action unfolds slowly in a series of lengthy exchanges punctuated by occasional musical interludes (by Christobal Tapis de Veer, but remains compelling. This is one of the best dramas I have seen on any medium in the entire year.
Yet Marc Munden's drama contains so many other brilliant aspects, that don't necessarily focus on the more salacious material but try to explore how and why Fınchley should behave as he did. What we understand from the celebrity and his wife is how narcissistic they are; despite their frequent protestations of love for one another, as well as for their daughter Dee (Andrea Riseborough), they are pathologically incapable of listening. Riseborough's characterization is profound; she does not speak much, but she has a way of looking at the ground, almost as if she cannot face the ordeal of communication, especially with her parents. There is one sequence in particular involving Marie and Dee that sums up the emotional disconnect between them; taking place in a bedroom during Dee's birthday party, Marie emphasizes quite vehemently that she wants her daughter to get better, without understanding in the least how she and her husband are the root cause of Dee's problems.
Munden's production is distinguished by memorable cinematography from Ole Bratt Birkeland. Birkeland is fond of long tracking shots, with the camera moving down lengthy corridors to discover the characters. As viewers, we feel we are eavesdropping on their private secrets - just like Peter and Marie, as they seek to find out what's "wrong" with Dee. Birkeland also uses lighting to reinforce the theme: during the birthday party Peter gives one of his windy speeches. As he does so, the camera tracks slowly to the left, revealing candles at the front of the frame, and after a few seconds settles on Dee, looking once again at the ground in embarrassment, her face obscured by yet more candled. Material things seem to matter more to Finchley - they can be easily controlled, and do not require him to empathize. The fact that Dee appears at the end of the shot emphasizes her insignificance.
Much of the action unfolds in a dream-like world of psychedelic greens, reds, and blues, drawing attention once more to the fantasy-world that Peter and Marie inhabit. Alternatively several sequences take place in darkened rooms, illumined by miserable spotlights; the perfect ambiance for anyone to behave inappropriately without fear of discovery.
Despite its pertinent subject-matter, NATIONAL TREASURE is not really about the abusive celebrity, but looks instead at the destructive ways in which parents - especially those who profess a blameless way of life - destroy their siblings, as well as others, through neglect, or by assuming that people will behave in certain preordained ways. The action unfolds slowly in a series of lengthy exchanges punctuated by occasional musical interludes (by Christobal Tapis de Veer, but remains compelling. This is one of the best dramas I have seen on any medium in the entire year.
Inspired, relevant and engrossing TV drama
wellthatswhatithinkanyway14 June 2017
STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning
In his heyday, Paul Finchley (Robbie Coltraine) was one half of a comedy double act with his partner Karl (Tim McInnery) who were adored throughout the land, but today rests in the side lines, dealing with his troubled addict daughter Dee (Andrea Riseborough) and emotionally distant wife Marie (Julie Walters.) But this all changes when he finds himself arrested over an historical allegation of sexual abuse by a former baby sitter of his daughter, and sinks further and further into an ever wider hole when more women come forward and the allegations mount up. As the stress of the impending trial takes over, and his private life slips further into turmoil, Paul is forced to examine himself over the years, and the actions and behaviours that may have led to his predicament.
In the immediate aftermath of the revelations about Jimmy Savile, Operation Yewtree was launched by the Metropolitan police, in an attempt to save face by investigating historical allegations about other, still living former big name stars from the 70s/80s, some of which resulted in convictions. National Treasure, however, seems to be modelling itself on cases such as that of comedian Jim Davidson, who was arrested at an airport upon return from a holiday on the basis of one allegation, which escalated into a witch-hunt where many more women came forward, only for no charges to be brought, in spite of what many could already have claimed was a trial by media. If you follow the news, it's certainly not hard to see the foundations from which this drama drew inspiration, and it certainly comes off in a believable and thought provoking way.
The first episode certainly dispenses with its fair share of celebrity cameos, from stars including Alan Carr and Frank Skinner, but it never feels tacky or gratuitous. The most important star is the main one, in the shape of Coltraine, a performer who seems to have been out the limelight for a little bit now, but who makes a revelatory return to form here. As the former icon turned pariah, he fits the skin and bones of the role down to a tee, and it's tough to think of anyone who could have been better suited. The always reliable Walters compliments him perfectly as his understanding, extremely forgiving wife. More than being a riveting courtroom thriller, it works more as a character study and examination of the past and present and how they may have shaped each other.
It works on pretty much all the levels it sets out to, and it's an inspired piece in terms of everything that tears a subject from recent headlines and does it proud. ****
In his heyday, Paul Finchley (Robbie Coltraine) was one half of a comedy double act with his partner Karl (Tim McInnery) who were adored throughout the land, but today rests in the side lines, dealing with his troubled addict daughter Dee (Andrea Riseborough) and emotionally distant wife Marie (Julie Walters.) But this all changes when he finds himself arrested over an historical allegation of sexual abuse by a former baby sitter of his daughter, and sinks further and further into an ever wider hole when more women come forward and the allegations mount up. As the stress of the impending trial takes over, and his private life slips further into turmoil, Paul is forced to examine himself over the years, and the actions and behaviours that may have led to his predicament.
In the immediate aftermath of the revelations about Jimmy Savile, Operation Yewtree was launched by the Metropolitan police, in an attempt to save face by investigating historical allegations about other, still living former big name stars from the 70s/80s, some of which resulted in convictions. National Treasure, however, seems to be modelling itself on cases such as that of comedian Jim Davidson, who was arrested at an airport upon return from a holiday on the basis of one allegation, which escalated into a witch-hunt where many more women came forward, only for no charges to be brought, in spite of what many could already have claimed was a trial by media. If you follow the news, it's certainly not hard to see the foundations from which this drama drew inspiration, and it certainly comes off in a believable and thought provoking way.
The first episode certainly dispenses with its fair share of celebrity cameos, from stars including Alan Carr and Frank Skinner, but it never feels tacky or gratuitous. The most important star is the main one, in the shape of Coltraine, a performer who seems to have been out the limelight for a little bit now, but who makes a revelatory return to form here. As the former icon turned pariah, he fits the skin and bones of the role down to a tee, and it's tough to think of anyone who could have been better suited. The always reliable Walters compliments him perfectly as his understanding, extremely forgiving wife. More than being a riveting courtroom thriller, it works more as a character study and examination of the past and present and how they may have shaped each other.
It works on pretty much all the levels it sets out to, and it's an inspired piece in terms of everything that tears a subject from recent headlines and does it proud. ****
Hulu Pulls Off A Great Show
contactjasonkohl16 March 2018
National Treasure goes deep into the routes of sexual abuse and rape. Everything from the fighting to a simple tear that was shed had detail. Senses were focused on, the anxiety, the suspense, the craziness can all be felt in this show. The acting was well staged, it felt real and you could feel the pain of each actor. It's also before it's time. This was before the #MeToo movement but it gave insight to what life is like when elite men are accused of sexual misbehavior.
Loved Julie Walters
bluebruen31 March 2017
I loved Julie Walter's performance in this movie...the best thing about the movie. You can see her struggling with herself to not only understand her husband's character but her own. She is forced to examine her life and relationships with family and friends. 4 Episodes. Well worth the time to watch.
Dangerous??
antide-423764 October 2021
Warning: Spoilers
This is an OK drama but struggles at times to stretch out into four episodes. The acting is solid from Robbie Coltrane & Julie Walters although her Scottish accent is all over the place. I suppose you are left to make your own mind up over whether Paul was guilty or not although the implication is that he was. This leaves a very bad taste in the mouth as it shows the victims to be liars. I wonder how many women would watch this who were in the same boat and decide not to go ahead with reporting someone of an assault from several years ago. An over the top reaction? Perhaps but TV can be a very powerful force.
Smart Script; Fantastic Performances
gsandra-2687630 December 2019
Magnetic performances in a story about a charismatic performer with a complicated family life (to put it mildly). The two lead actors were mesmerizing in their interaction a a long-married couple with secrets and lies aplenty.
The script is smart and compelling -- addressing issues of man/woman relationships in serious situations involving control and secrecy. It's heart-wrenching at times and infuriating in others. Still, a magnificent collaboration between screenwriter, director, and actors. Highly recommend this for the discerning viewer.
The script is smart and compelling -- addressing issues of man/woman relationships in serious situations involving control and secrecy. It's heart-wrenching at times and infuriating in others. Still, a magnificent collaboration between screenwriter, director, and actors. Highly recommend this for the discerning viewer.
Starts out well, but it gets uglier and uglier. Not necessarily in a good way.
funnyfaceking1 March 2017
I've seen two episodes so far. The characters are very likable in the beginning, but they get more and more ugly as the series goes on. The characters in the flashbacks seem like completely different persons. It's very unpleasant and less and less believable. The Jimmy Savile scandal is an important subject, but this film ultimately feels exploitative in its own way. Not sure if I want to finish it.
Exceptional.
W011y4m53 July 2022
Doing a re-watch of visionary Marc Munden's filmography & "National Treasure" is still one of the most technically impressive shows Channel 4's ever made in its entire history; genuinely insane how high the production values look for a series which would've been nowhere near as expensive as it appears on screen. Boasts truly exceptional filmmaking & acts as an astonishing achievement for all the cast & crew involved.
Writer & creator Jack Thorne turns out some of his strongest scripts & the direction (coupled with Ole Bratt Birkeland's stunning cinematography) elevates them even further. Each & every episode's edited to perfection, scored beautifully by Cristobal Tapia De Veer & the performances are outstanding - especially from Julie Walters, who truly shines here. Aged like fine wine.
Seriously, does anyone do topical stuff better than Marc Munden? Can't think of one single superior alternative. Time after time, he tackles potentially controversial subject matter in such an audacious & unflinching way, without being exploitative / triggering. Strikes a phenomenal balance & remains respectful whilst doing justice to the horror of the subject matter featured. Remarkable.
Writer & creator Jack Thorne turns out some of his strongest scripts & the direction (coupled with Ole Bratt Birkeland's stunning cinematography) elevates them even further. Each & every episode's edited to perfection, scored beautifully by Cristobal Tapia De Veer & the performances are outstanding - especially from Julie Walters, who truly shines here. Aged like fine wine.
Seriously, does anyone do topical stuff better than Marc Munden? Can't think of one single superior alternative. Time after time, he tackles potentially controversial subject matter in such an audacious & unflinching way, without being exploitative / triggering. Strikes a phenomenal balance & remains respectful whilst doing justice to the horror of the subject matter featured. Remarkable.
spoiler - lots of spoilers.
watcher41011 November 2017
Warning: Spoilers
This was a great series. Here is a question: Why didn't Karl come clean in his testimony? It seems like Paul's wife wanted him to testify in way that would confirm the raped woman's version. Did Karl decide that he didn't like her after having spent all those years wishing she could be his?
Your Honor, I object! On the grounds that this made for TV four (4) part mini-series is dull viewing
Ed-Shullivan25 March 2018
Warning: Spoilers
A has been celebrity straight man from a successful comedy team is accused of a rape (by his daughter's former babysitter) that had occurred decades earlier. Subsequently a few other women come forward and also charge Paul with sexual misconduct so Paul (Robbie Coltrane) hires an expensive cracker jack law firm and a private detective to dig into these accusers past and one by one their accusations are proven without merit, except for the (former) babysitter's accusation.
Paul's wife, a devout Catholic, named Marie (Julie Walters) and an ardent supporter of her pig of a husband Paul, they have come to an agreement that as long as Paul always tells her about his extra marital affairs the next day she can tolerate his infidelities. Their daughter Dee (Andrea Riseborough) is a mother of two, divorced from her husband and is undergoing treatment for a severe drug dependency as well as emotional scars from her childhood living with her parents unconventional lifestyle.
The interactions between mother/wife Marie, husband/father Paul, and their daughter Dee, are constant dialogues of dribble that quite frankly belong more in a daytime soap opera than in an evening dramatic courtroom tv mini-series. By episode 3 I was hoping for some twists and turns but they just never materialized. By the series ending 4 episode I honestly did not care if Paul was guilty or not but after investing 3 hours into the program already Mrs. Shullivan and I took a break, watched a hockey game (our Toronto Maple Leafs won their franchise winning 13th straight game at home) and then returned to watch the lat episode. Guilty or not guilty? I won't spoil it for anybody because as far as I am concerned the whole four (4) episodes were non-descript pieces of light melodrama that were not worth watching in the first place.
I give the series a 4 out of 10 rating.
Paul's wife, a devout Catholic, named Marie (Julie Walters) and an ardent supporter of her pig of a husband Paul, they have come to an agreement that as long as Paul always tells her about his extra marital affairs the next day she can tolerate his infidelities. Their daughter Dee (Andrea Riseborough) is a mother of two, divorced from her husband and is undergoing treatment for a severe drug dependency as well as emotional scars from her childhood living with her parents unconventional lifestyle.
The interactions between mother/wife Marie, husband/father Paul, and their daughter Dee, are constant dialogues of dribble that quite frankly belong more in a daytime soap opera than in an evening dramatic courtroom tv mini-series. By episode 3 I was hoping for some twists and turns but they just never materialized. By the series ending 4 episode I honestly did not care if Paul was guilty or not but after investing 3 hours into the program already Mrs. Shullivan and I took a break, watched a hockey game (our Toronto Maple Leafs won their franchise winning 13th straight game at home) and then returned to watch the lat episode. Guilty or not guilty? I won't spoil it for anybody because as far as I am concerned the whole four (4) episodes were non-descript pieces of light melodrama that were not worth watching in the first place.
I give the series a 4 out of 10 rating.
Bury this treasure and lose the map!
gurumaggie7 May 2021
Warning: Spoilers
An all star cast controversial theme why is it so bad?
1) Andrea Riseborough her Mockney accent is dreadful she overacts dreadfully.
2) Julie Walters I love you, but your Scottish accent is dreadful.
3) Robbie Coletrane what were you thinking, the script is rubbish.
1) Andrea Riseborough her Mockney accent is dreadful she overacts dreadfully.
2) Julie Walters I love you, but your Scottish accent is dreadful.
3) Robbie Coletrane what were you thinking, the script is rubbish.
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