Cold Feet - this sobering revival favoured poignancy over nostalgia
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| Friends reunited: John Thomson and James Nesbitt in Cold Feet Credit: Ben Blackall/ITV/Ben Blackall/ITV |
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| Underused: Robert Bathurst and Hermione Norris in Cold Feet Credit: Joseph Scanlon/Big Talk |
The central characters had
successful, aspirational careers – advertising, events planning,
publishing – and enviable kitchens, where they drank from outsized
coffee cups or designer wine glasses, while earnestly discussing their
commitment angst. But there were hard-hitting storylines, too
–infidelity, infertility, abortion and alcoholism were among the
subjects tackled over the years.
It’s been 13 years since Cold Feet’s credits last rolled, during which time the thirtysomethings had turned into fiftysomethings. Their cute toddlers were now hormonal teenagers. Could the old magic be recaptured with this heavily hyped comeback? Largely, yes. Cue sighs of relief from fans who feared their memories would be tarnished (for many of us, the BBC’s dreadful 10th anniversary of Nineties hit drama "This Life" still lingers).
It’s been 13 years since Cold Feet’s credits last rolled, during which time the thirtysomethings had turned into fiftysomethings. Their cute toddlers were now hormonal teenagers. Could the old magic be recaptured with this heavily hyped comeback? Largely, yes. Cue sighs of relief from fans who feared their memories would be tarnished (for many of us, the BBC’s dreadful 10th anniversary of Nineties hit drama "This Life" still lingers).
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We were skilfully reintroduced to the characters when Adam, now
working in Singapore (which looked so inviting – the tourist board must
be delighted), returned to Manchester to announce his engagement to a
woman 18 years his junior. Not everyone was as thrilled as Adam was,
especially his public schoolboy son Matthew (promising talent Ceallach
Spellman, who resembled a younger version of Downton footman Thomas
Barrow).
Nesbitt’s had a hair transplant
since the original series, which was referenced with a knowing wink when
his best friend Pete (John Thomson) asked: “Have you got more hair?”
“Nope… maybe.” Indeed, the script was liberally sprinkled with
21st-century references (Tinder, prosecco, Airbnb, Skype, nitrous oxide)
to remind us this wasn’t a repeat.
Apart from the show’s logo font, which has dated horribly, the styling had been smartly updated. A just-cool-enough soundtrack included Beck and Elbow. Manchester was photographed like London in The Apprentice, all shiny glass and slate-grey steel. Oh, and the kitchens – with their Farrow & Ball paintwork and salvaged wood – were still enviable.
The story somewhat sagged in the middle, with sitcom-style plot contrivances and a repetitive airport taxi gag. There was some clichéd, broad strokes characterisation – men discuss football over lager, women discuss emotions over wine – but things picked up again for the final act, which saw Adam’s fiancée arrive in London for a hastily arranged, albeit preposterously chic, wedding.
Apart from the show’s logo font, which has dated horribly, the styling had been smartly updated. A just-cool-enough soundtrack included Beck and Elbow. Manchester was photographed like London in The Apprentice, all shiny glass and slate-grey steel. Oh, and the kitchens – with their Farrow & Ball paintwork and salvaged wood – were still enviable.
The story somewhat sagged in the middle, with sitcom-style plot contrivances and a repetitive airport taxi gag. There was some clichéd, broad strokes characterisation – men discuss football over lager, women discuss emotions over wine – but things picked up again for the final act, which saw Adam’s fiancée arrive in London for a hastily arranged, albeit preposterously chic, wedding.
Jen (the excellent Fay Ripley),
who has long harboured a crush on Adam, tried to talk some sense into
him. Despite his friends’ doubts, Adam went through with the ceremony –
although his flirtation with his landlady (a lovely, sharp-tongued turn
from Line of Duty’s Leanne Best) promised complications to come.
One issue was that the well-heeled David (bumbling Robert Bathurst) and Karen (icy Hermione Norris) weren’t given much to do, bar some tedious business about air miles. Mainly, though, it was a delight to be back among old friends, as playful dialogue pinged between characters who still had palpable chemistry.
This was witty, well-made drama – no longer as fresh or original, perhaps, but still compelling and warm. It worked because it wasn’t purely wallowing in nostalgia or trading on past glories, offering something more sobering and poignant. Cold Feet had become Old Feet – less about commitment issues, more about navigating the mid-life minefield. “Maybe in middle age, fleeting glimpses of happiness is the best we can hope for,” said David wistfully. Oh dear. Someone pass me the prosecco.
One issue was that the well-heeled David (bumbling Robert Bathurst) and Karen (icy Hermione Norris) weren’t given much to do, bar some tedious business about air miles. Mainly, though, it was a delight to be back among old friends, as playful dialogue pinged between characters who still had palpable chemistry.
This was witty, well-made drama – no longer as fresh or original, perhaps, but still compelling and warm. It worked because it wasn’t purely wallowing in nostalgia or trading on past glories, offering something more sobering and poignant. Cold Feet had become Old Feet – less about commitment issues, more about navigating the mid-life minefield. “Maybe in middle age, fleeting glimpses of happiness is the best we can hope for,” said David wistfully. Oh dear. Someone pass me the prosecco.
Nesbitt’s had a hair transplant
since the original series, which was referenced with a knowing wink when
his best friend Pete (John Thomson) asked: “Have you got more hair?”
“Nope… maybe.” Indeed, the script was liberally sprinkled with
21st-century references (Tinder, prosecco, Airbnb, Skype, nitrous oxide)
to remind us this wasn’t a repeat.
Apart from the show’s logo font, which has dated horribly, the styling had been smartly updated. A just-cool-enough soundtrack included Beck and Elbow. Manchester was photographed like London in The Apprentice, all shiny glass and slate-grey steel. Oh, and the kitchens – with their Farrow & Ball paintwork and salvaged wood – were still enviable.
The story somewhat sagged in the middle, with sitcom-style plot contrivances and a repetitive airport taxi gag. There was some clichéd, broad strokes characterisation – men discuss football over lager, women discuss emotions over wine – but things picked up again for the final act, which saw Adam’s fiancée arrive in London for a hastily arranged, albeit preposterously chic, wedding.
Apart from the show’s logo font, which has dated horribly, the styling had been smartly updated. A just-cool-enough soundtrack included Beck and Elbow. Manchester was photographed like London in The Apprentice, all shiny glass and slate-grey steel. Oh, and the kitchens – with their Farrow & Ball paintwork and salvaged wood – were still enviable.
The story somewhat sagged in the middle, with sitcom-style plot contrivances and a repetitive airport taxi gag. There was some clichéd, broad strokes characterisation – men discuss football over lager, women discuss emotions over wine – but things picked up again for the final act, which saw Adam’s fiancée arrive in London for a hastily arranged, albeit preposterously chic, wedding.
Jen (the excellent Fay Ripley),
who has long harboured a crush on Adam, tried to talk some sense into
him. Despite his friends’ doubts, Adam went through with the ceremony –
although his flirtation with his landlady (a lovely, sharp-tongued turn
from Line of Duty’s Leanne Best) promised complications to come.
One issue was that the well-heeled David (bumbling Robert Bathurst) and Karen (icy Hermione Norris) weren’t given much to do, bar some tedious business about air miles. Mainly, though, it was a delight to be back among old friends, as playful dialogue pinged between characters who still had palpable chemistry.
This was witty, well-made drama – no longer as fresh or original, perhaps, but still compelling and warm. It worked because it wasn’t purely wallowing in nostalgia or trading on past glories, offering something more sobering and poignant. Cold Feet had become Old Feet – less about commitment issues, more about navigating the mid-life minefield. “Maybe in middle age, fleeting glimpses of happiness is the best we can hope for,” said David wistfully. Oh dear. Someone pass me the prosecco.
One issue was that the well-heeled David (bumbling Robert Bathurst) and Karen (icy Hermione Norris) weren’t given much to do, bar some tedious business about air miles. Mainly, though, it was a delight to be back among old friends, as playful dialogue pinged between characters who still had palpable chemistry.
This was witty, well-made drama – no longer as fresh or original, perhaps, but still compelling and warm. It worked because it wasn’t purely wallowing in nostalgia or trading on past glories, offering something more sobering and poignant. Cold Feet had become Old Feet – less about commitment issues, more about navigating the mid-life minefield. “Maybe in middle age, fleeting glimpses of happiness is the best we can hope for,” said David wistfully. Oh dear. Someone pass me the prosecco.
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| Cold Feet writers and actors |
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