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World War Two saw young women taking on many non-traditional roles. One was as musicians in dance bands, such as that led by Ivy Benson. This provides a natural subject for Alan Plater, whose passion for jazz is evident from highly individual works such as Misterioso (BBC, tx. 25/7/1991) and his Beiderbecke trilogy (ITV, 1985, 1987, 1988).
In Bombshells, swing music provides a powerful indicator of time, place and
emotion. It is the playing of Hoagy Carmichael's 'Stardust' that triggers
Elizabeth's wartime memories. Playing the jazz saxophone is liberating, and Duke
Ellington's 'It Don't Mean a Thing...', as performed by Gwen (Cleo Laine) in a
modern jazz club setting, is positively joyful. Period songs are also cleverly
used to evoke the past in the frequent 1940s flashbacks, as with the swing vocal
version of 'Loch Lomond' that accompanies Patrick's drive to Scotland.
With his emphasis on character and dialogue rather than plot, Plater needs to
be well served by actors, and here Judi Dench and Ian Holm excel. Bombshells is
enjoyable for its strength in casting, and as an affectionate tribute to British
actresses of a certain age (there is a wonderful valedictory performance from
Joan Sims). But other Bombshells are merely sketched in - Madeline is 'French
resistance'. We also learn from Patrick's history that you don't have to be a
girl to be a 'Blonde Bombshell' - this is a mere construct with the application
of a blonde wig, a pretty red frock and make-up.
The upbeat ending, with its 'inspirational' storyline (emerging as a Rocky
for the 3rd Age), is untypically Plater, and Olympia Dukakis, her Scottish
castle and bearded, kilted manservant (referencing Mrs Brown, d. John Madden,
1997) seem to be included for the US audience, suggesting the influence of HBO
on script development.
The 1940s nostalgia of Bombshells is mainstream, like the recent Mrs
Henderson Presents (d. Stephen Frears, 2005), and lacks the bold originality of
Dennis Potter's The Singing Detective (BBC, 1986). But while it appears
mainstream on the surface, Bombshells is also quietly subversive in its
treatment of gender roles, raising questions of how oldies 'should' behave
according to their offspring, and their sexual desires. As one Bombshell
observes, 'Old people are just young people who have been around a bit longer'.
At 70, you are too old to die young - which is not a bad philosophy of
life.
Roger Philip Mellor
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1. Grandma's little secret (3:08)
