Neverwhere (1996)

Neverwhere (1996)

Dir. Dewi Humphreys | 6 episodes, approx 30 minutes each.

Richard Mayhew (Gary Bakewell) is a nice-guy Scotsman who lives and works in London. His fiancée is an asshole. His friends are assholes. If Richard could meet the criteria that he believes constitutes success, then in time he'd become just another city asshole, too.

But instead he meets Door (Laura Fraser), a young woman in need of the kind of help that he in his privileged position is able to offer.

Richard becomes aware of London Below, an underworld with its own laws, both societal and physical, that coexist with the London Above.

The two worlds can interact from time to time, but must inevitably return to their own individual aspects. If Richard is to help himself, then he must continue to help Door, and that means stepping into an unknown world of underground passageways, weird happenings, and (not very menacing) cut-throat assassins.

It required a believable, fantastical aura to be effective, something like Jim Henson's Labyrinth (1986) has, but it ended up looking more like Eastenders. The reason being that all footage was shot on video with a subsequent 'filmisation' process planned. The lighting needed to allow for that process, and so it did, but when the filmisation didn't happen, the resultant footage was released as is, and it looks bad. It's easy to imagine the morose ghost of Arthur Fowler lingering behind a market stall someplace, which doesn't do it any favours. I've gotten used to it over the years and can easily ignore that aspect, but newcomers might be less forgiving.

What drew me to the series initially was that it was written by the author Neil Gaiman. I was a fan of his storytelling style back then, which was influenced by classic literature. It's watered down by oceans and time, but there's an unmistakable element of it beneath the surface, giving it life. Richard is a kind of modern Aeneas; he's an Argonaut; he's Theseus walking toward a confrontation with the Minotaur. He isn't consciously aware of any of that, but the workings of fate exist and direct him in the same orchestrated manner.

History has shown that even the Greeks viewed their myths as mutable, adaptive to the times and the teller, so, at its most basic level, it's really only the setting that is changed.