DVD Review: Neil Gaiman’s Fantasy Miniseries ‘Neverwhere’ Holds Up Well

CHICAGO – Though British author Neil Gaiman’s six-part, three-hour miniseries “Neverwhere” first aired in 1996, it feels like a relic from a much earlier period in television’s past. Before digital technology enabled small-screen dramas to appear visually indiscernible from major film productions, in-camera effects and handcrafted sets were the norm. It’s inspiring to observe just how much can be achieved on a shoestring budget.

In light of the film’s subsequent books and stage versions, including Lifeline Theatre’s successful 2010 adaptation, it’s clear that Gaiman’s witty adventure series has struck a chord with audiences around the world. Seen fifteen years after its initial release, the show holds up remarkably well. It utilizes the London Underground’s transit system as the jumping off point for its parallel fantasy world (known as “London Below”), with various creatures and lands inspired by actual locations. For example, the angel Islington (played by Peter Capaldi in eerie black contact lenses) was named after the Angel district of Islington.

DVD Rating: 4.0/5.0

Gary Bakewell (a magnetic hybrid of Paul McCartney and James McAvoy) stars as Richard, a typical everyman who finds his mundane life engulfed by chaos after ditching his self-absorbed girlfriend Jessica (Elizabeth Marmur) to aid a bloodied young woman, Door (the lovely Laura Fraser), who he finds lying on the sidewalk. Richard assumes that Door is merely homeless, but she is in fact a literal door to the alternate dimension of “London Below,” where impoverished souls take the form of fantastical and historical creatures, such as the “dodgy” Marquis de Carabas (played splendidly by Paterson Joseph).

Once Richard is allowed into Door’s world, his identity is instantly erased from “London Above,” thus giving him no option other than to follow his pretty new companion on her epic quest for vengeance. Around every corner, they’re followed by the droll yet deadly duo of Mr. Croupe (Hywel Bennett) and Mr. Vandemaar (Clive Russell). Richard is also plagued by a series of repetitive nightmares foreshadowing an eventual battle with a beast, but the show’s budgetary constraints cause the sequence to fall flat. Yet the craftsmanship witnessed in production designer James Dillon’s deceptively minimalist aesthetic proves to be enormously effective, such as when Door finds herself literally surrounded by fragments of her memories, presenting images of her family before they were wiped out by her hated foes.

Laura Fraser, Tanya Moodie and Gary Bakewell star in Neverwhere.
Photo credit: BBC Warner

The script by Gaiman and Henry impeccably balances dark humor and whimsy with grisly horror and suspenseful set-pieces. There’s also a plethora of amusing dialogue typified by this exchange between Richard and an underworld inhabitant: “Do you like cat?”  “Yes.” “Leg or breast?” Yet what truly makes “Neverwhere” so resonant is its potent metaphor for the divide between homeless individuals and the privileged city folk who choose to blot them out. The very best sequence in the series takes place in the fourth episode (titled “Blackfriars”) where Richard must endure a test of his psyche and resist unnerving apparitions that cause him to question his own sanity. Bryan Oates’ editing is brilliantly inventive, as it splices together fleeting images from past episodes, while suggesting that Richard may in fact be little more than a schizophrenic man ranting to himself in a crowded subway. For fans of British TV classics like “Dr. Who,” “Neverwhere” is must-see programming. It’s addictive, haunting and a whole lot of fun.
 
The 15th anniversary edition of “Neverwhere” is presented in its enhanced 16:9 aspect ratio and includes a 10-minute intro that covers a lot of the basic ground explored in the new commentary by Gaiman, Henry and producer Clive Brill. It’s fun to hear the collaborators reminisce about working within BBC’s restrictions—none of which were ideal for the material. While competitors like “The X-Files” were granted 42 minutes per episode, “Neverwhere” was limited to the running time of a half hour sitcom. The footage had to be shot on video and was intended to undergo the “filmization” process (but never did). Since the program was lit for film but ended up remaining on raw video, various scenes appear overtly theatrical. The collaborators admit that they should’ve pushed for twice the budget, which would’ve allowed them to afford film stock, but their excitement caused them to plunge into production anyway.
 

Neverwhere was released on DVD on Nov. 15, 2011. Photo credit: BBC Warner

It was originally Henry’s idea to make a fantasy series about the homeless in London, but Gaiman was initially repelled the idea because he didn’t want to make homelessness appear “cool” to young viewers. On an archival 2003 commentary track, Gaiman reveals that he’s least happy with the first episode, where he literally attempted to condense an hour-long storyline (the pacing noticeably improves soon afterward). It’s highly enjoyable to hear Gaiman, Henry and Brill (on the new commentary track) openly poke fun at the sillier aspects of the show, such as Richard’s inexplicable Troll doll fetish, and Jessica’s penchant for keeping a picture of herself on her desk. Fun factoid: fans of the Cleese comedy “Fierce Creatures” may spot various props from the film strewn about Richard’s office.
 
In addition to the commentaries, this pristine disc also includes a photo gallery, character descriptions and a director biography, as well as a pull-out map of “London Below.” Yet the best extra remains a 23-minute interview with Gaiman recycled from past DVD editions. He praises Dillon for his uncanny ability to transform found locations into fantastical realms, such as the Down Street station that was used as the setting for a surrealistic dinner party. Gaiman recruited his frequent collaborator Dave McKean to create the magnificent opening title sequence, which he achieved with “a handheld light, an 8 mm camera and a Macintosh.” The most enlightening tidbits are Gaiman’s candid explanations of character origins, such as how 3M Reflective fabric served as the chief inspiration for the character of Islington. The entirety of episode four was written at Tori Amos’ house, which was built into the structure of a bridge near a canal. Gaimain claims that’s the reason why there’s so much water in the script. Since episode four is easily the best of the bunch, I suggest that Amos invite fantasy authors to her digs more often.

[14]	By MATT FAGERHOLM [15] Staff Writer HollywoodChicago.com matt@hollywoodchicago.com [14]