If you don't like this, we can't be friends.

I'll tell you why so serious

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

I was born any a couple of months after the great train robbery, back in 1963. And I have always been fascinated by it. My dream would be to go on the actual place where it occurred, the Bridego Bridge. I possess nearly every document about it, footage archive and fiction material. The most memorable, of course, remains Peter Yates's ROBBERY, back in 1967, and the other movie starring the actor starring Derrick - sorry I don't remember his name. Some viewers said on IMDb that this feature was not flawless, concerning details specified to UK, for instances trains and cars from this very era. Well, I have never lived in UK, so...But concerning this film, the only thing that annoyed me was the BOAC company heist, at the beginning. These guys are supposed to be professional robbers with a criminal record as thick as a phone book, and they pull the heist without any gloves !!!! Because finger prints, see? Rubbish. For the rest, it is a terrific piece of work, and the character description is absolutely outstanding. I loved the very ending when Bruce Reynolds tells the hard boiled inspector from SY, who chased them in such a raging way all over the years, that he did not do this for money but for "camaraderie" as he actually said, using a french word meaning companionship, brotherhood among friends. An outstanding face to face between those two adversaries. An authentic masterpiece. But it could have shown the several escapes from jail of some of the great train robbers.

Part One was mildly interesting. One is always curious to learn how a particularly complicated operation is carried out. As to the solving of the crime in Part Two, I was expecting Tommy Butler to be a detective. He wasn't. He was basically a dour, obsessive project manager who had little or no special insight into who the perps might be. He simply put together a team of men who had a lot of connections in the underworld plus one competent forensic expert, and flogged them until they brought him the names of the gang members. Then Butler would drive somewhere in his special car, arrest the unlucky chump and remove one more photo from the board. I suppose that's how the investigation was in fact carried out, but there was something unsatisfying about the whole episode. Strip out the period clothing, cars and music and what you're left with is a fairly bland and uninteresting narrative.

Broadcast in two parts - "The Robber's Tale" and "The Copper's Tale" - THE GREAT TRAIN ROBBERY retells the famous events of August 1963 when over £2m. was stolen from a mail train traveling from Glasgow to London. The events have been extensively retold elsewhere, notably in Peter Yates' fictionalized version ROBBERY (1967) with Stanley Baker, or BUSTER (1988) a comedy-drama with Phil Collins as robber Buster Edwards. "The Robber's Tale" (dir. Julian Jarrold) focuses specifically on Bruce Reynolds (Luke Evans) as the brains behind the whole operation; the more celebrated crook Ronald Biggs (Jack Gordon) - who passed away the night the program received its first broadcast - receives scant attention. "The Copper's Tale" looks at the painstaking ways in which Tommy Butler (Jim Broadbent) went about investigating the case and bringing the criminals to justice. Stylistically speaking the production is very much in keeping with current British television costume dramas, with low-key, almost washed-out lighting, lots of period detail (for example, the obligatory London bus from the mid-Sixties) passing across the back of the frame, or a couple of young mothers pushing their prams round the park) and plenty of focus on character through shot/reverse shot sequences. The style is diffuse, with the emphasis placed on ambiance as much as plot. "The Robber's Tale" actually proves something of a disappointment; not a lot happens in terms of action, while some of the (predominantly youthful) cast simply do not seem convincing as mid- Sixties London hoodlums. Perhaps they might have done more research into the behavior, mannerisms and (most significantly) the argot of that period. "The Copper's Tale" is a lot better, not least because of the interplay - or should that be rivalry - between Butler and his immediate subordinate Frank Williams (Robert Glenister). Although ostensibly on the same side, they seem unable to form a united front, at least professionally. Butler might be a good cop, but he certainly lacks any management abilities.

The dramatic elements of this production were not to bad but it was spoilt by the lack of attention to period detail right from the start. We are shown a robbery in November 1962 at a fairly unconvincing London Airport (complete with CGI piston engined airliner taking off, most airlines were using jets by that time). Unfortunately, both getaway cars have "A" suffix registration plates, not introduced until January 1963. Scenes in London show Ford Zephyrs being used as police cars whereas the Met used Wolseley 6/110s almost exclusively. A senior Detecive Chief Superintendent would not be driven around in an old Mk.1 Jaguar, more likely to have had a Humber Super Snipe. When Reynolds is arrested at the end of part 2, he is taken away in a white Jaguar Mk.2 which has a Webasto sun roof, hardly likely on a police car! The railway aspects of the production are particularly poor. For a start, the locomotive used is a Class 37, not a class 40 (painting the correct number on the side does not make it a convincing stand in). The production was clearly using a preserved railway which obviously could not provide the correct four track main line (let alone electrification masts and catenary which had been installed but were not yet in use in 1963). The train is shown on what appears to be a two track railway, but is running on the wrong track, in Britain trains run on the left hand line. The ground level signal shown is a shunting signal and would not be found out on the main line. The station sign at "Glasgow" should read Glasgow Central as there were at the time three other Glasgow Termini (St. Enoch, Buchanan Street and Queen Street).No doubt others might be able to add to the list.