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Interj�k - Tom Stoppard, Benedict, Rebecca Hall, Adelaide Clemens		2013.06.14. 17:37
I may add that, and I take some pride in this, Benedict Cumberbatch was my idea, you know, long before we had a show. And one day I was visiting Steven Spielberg’s set, one of the locations for War Horse, and there was Benedict, whom I’d never met. And obviously he was in uniform as he was playing an officer. And it was absolutely horrible because as far as I was concerned I was meeting Christopher Tietjens. But of course, he didn’t know anything about it. Then a year later he was doing it. So in a way, I feel we were blessed. Tom Stoppard   "I have such a huge affection for Christopher, more so than almost any other character I've ever played. I sympathise with his care, sense of duty and virtue, his intelligence in the face of hypocritical, self serving mediocrity, his appreciation of quality and his love for his country. He mourns a way of life that is being eroded by money, schemers and politicians, ineffectual military boobies and the carelessness of man's industrialised progress. He is a noble if accidental hero fighting for relevance, a man out of time who is struggling with political and economic injustice. That's what makes him relevant in what could be dismissed as 'merely another Toff in a period drama'. Benedict Cumberbatch   "The thing I felt about Sylvia immediately is that she’s one of these women who is incredibly, instinctively intelligent. She’s emotionally intelligent. She’s bright. She’s whip smart, quick witted but she’s utterly uneducated, and she’s bored. So, in a sense, all of that brain power goes into manipulating people. And she doesn’t have the capacity to analyse herself or think analytically so she can’t understand why she does it or even, really, notice that she is doing it. And beyond that it’s her method of survival and also her method of entertainment. Rebecca Hall   "Valentine is this forward thinking, vibrant, brilliant-minded and really free willed girl with an amazing amount of integrity. It's almost like she's developed her own set of morals which are not influenced by society at the time or her mother or father in any specific way, it's just what she considers right or wrong. Adelaide Clemens
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Parade's End prom�ci�s k�pek + tov�bbi kritik�k		2013.06.14. 17:06
Am�g nem t�ltj�k fel �ket valamilyen m�don a gal�ri�ba, itt vannak a sorozatot rekl�moz� k�pek, ugyanezen az oldalon r�szletes kritika olvashat�, r�szenk�nt: els� m�sodik harmadik �s negyedik �t�dik
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Kritik�k a tov�bbi r�szekr�l		2013.06.14. 16:50
If the first episode of Parade’s End was Christopher’s episode, the second was Sylvia’s. Serena Davies - The Telegraph   It's Cumberbatch playing Christopher Tietjens in a huge, perplexing love triangle being jolly confused about it and staring into thin air for hours. Oh, the staring. Not since BBC1's Birdsong have posh, emotionally numb people been filmed staring until their retinas become crispy while a viola plays a lot of minor chords to denote the unbearable state of being.  Grace Dent - The Independent   “The war has turned decent people into beasts,” said Valentine Wannop at the beginning of this third episode. The phrase was later repeated by Sylvia, and by the end, Christopher confirmed: “We are all barbarians now”. Ben Lawrence - The Telegraph   Cumberbatch manages to be both awkward and self-assured, vulnerable and yet totally oblivious to the world around him in a way that seems not only striking but also convincing (an important attribute, given the fact that some of his character's behaviour belongs to not just another age but another planet). Ben Dowell - The Guardian   Louisa Mellor kiritik�ja valamennyi r�szr�l a denofgeek.com oldal�r�l
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Kritik�k az els� r�szr�l		2013.06.14. 16:31
"We've seen Cumberbatch enthral before with fast-gab brilliance, but this is him simply acting with his face. I don't know why this hasn't struck me before, but there's something of the Alan Rickman about him; one drowsy droop of an eyelid, one slip of the planes of his face, can convey either wry honest amusement or withering contempt." Euan Ferguson - The Guardian   "Playing Christopher, Benedict Cumberbatch proves particularly good at conveying suppressed pain — which, given how much pain he has to suppress, is just as well. Christopher is fully aware of his wife’s infidelities: after all, one of her few strongly held beliefs is that “there’s no point in a fling if one’s husband doesn’t notice”. Meanwhile, his political ideas are coming under severe examination, too." James Walton - The Telegraph   "Tietjens, the self-proclaimed "last Tory", whose world, according to Sylvia, "ended long ago … in the 18th century", is not easy to warm to, and you can understand why Stoppard wooed Cumberbatch so assiduously. Perhaps no other actor of his generation is quite so capable of suggesting the tumult beneath a crusty, seemingly inert surface." Gerard Gilbert - The Independent   "For a gentleman, there is such a thing as parade, there is such a thing as monogamy and chastity." Tom Stoppard's script gleefully lobbed zingers such as these in Cumberbatch's direction, and he duly belted them into touch, with that aristocratic thousand-yard stare he has made his own.   Mike Higgins - The Independent
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