Funny Woman Review: The ’60s Are Alive via Winsome Lead Performance Despite Clichés

Pull up a groovy chair, dear reader, because we’re time-traveling back to the fab 1960s to check out Sky Max’s newest retro delight, Funny Woman! This six-part comedy-drama throws open the doors to London’s wild entertainment scene during one of the most radical, transformative decades ever. But who’s our leading lady throwing some Northern charm into the mix? That’s beauty queen-turned-aspiring comedienne Barbara Parker, played to perfection by the luminous Gemma Arterton.

Leaving her hometown of Blackpool behind, Barbara sets out to achieve superstardom on her own terms. It’s no easy task for a working-class lass with big dreams, especially with London’s boys club slamming doors left and right. But armed with some serious talent and killer instincts, Barbara starts climbing the ladder one laugh at a time. She’s got plenty of mishaps in store, sure, but it’s all part of the wild ride.

So is Funny Woman worth tuning into? Well, doll, critics are calling it a total gas! Thanks to Arterton’s top-notch performance, this groovy period piece already promises to be a smash hit. There’s just an infectious spirit about the whole affair. To borrow Barbara’s catchphrase, it seems life’s got something wonderful in store, after all! Stroll through the decade with me, and I’ll give you the full scoop!

Barbara’s Journey From Beauty Queen to Comedy Queen

When we first meet Barbara Parker, she’s rolling sticks of rock in a Blackpool factory, fresh off her crowning as 1964’s Miss Blackpool Belle. But this beauty queen’s got a rebel spark in her spirit, especially when she realizes that her title comes with little more than ribbon-cuttings and camera-flashing. “I am here if you want to ask me anything,” she tells a reporter, though he brushes her off to get the real scoop from her dad. Can you dig it? Even in the fab 60s, birds still can’t catch a break!

Well, Barbara soon shakes the sand off her heels and sets sail for London, hoping to take a crack at showbiz like her idol, America’s red-headed comedy queen, Lucille Ball. But climbing to the top means starting from the bottom rung. Barbara struggles through thankless retail gigs and dances on smoky club stages, battling sexism and scorn over her class and accent at every turn. She can’t even land a gig hawking products because she refuses to fib about what she really thinks!

Luckily, fate brings Barbara under the wing of Brian Debenham (Rupert Everett), a past-his-prime agent willing to take a chance on “blond bombshells.” With a swift name change to Sophie Straw, Barbara seizes her first big break, blagging her way into an audition with London’s hot new comedy group. And what do you know? Despite being neither petite nor posh, Barbara wows them with her Northern charm! Before you can say “flower power!”, she’s part of the writing team, pitching wacky sketches for their new sitcom pilot.

Of course, it’s not all fun and games for our Barbara as she tries making headway in a man’s world. She’s got some far-out romances to navigate and tough choices between career and love. Not to mention seriously unhip creeps trying to dim this funny woman’s shine at every scene! But you just know a smart cookie like Miss Sophie can out-wind any snakes that cross her path. The real question is—how high can this northern comedy queen climb before the 60s sign off for good?

Groovy London Gets a Northern Infusion

At its heart, Funny Woman is a cheerful, feel-good comedy about going after your dreams no matter what obstacles life throws your way. And in the role of our plucky heroine Barbara, Gemma Arterton brings the perfect mix of wit, charm, beauty and talent to capture 60s era London.

This show throws it back to a transitional period when old societal norms still reigned, yet revolutionary new ideas were bursting onto the scene. Traditionalists looked down on ambitious, outspoken women, especially working-class outsiders like Northern gal Barbara. Yet she barrels through barriers of sexism and classism to carve her own path. How’s that for girl power, Austin Powers style?

Beyond Barbara’s journey, the show nostalgically immerses us into London’s 1960s entertainment scene. We get a behind-the-scenes look at the golden era of television comedy through the fictional show Barbara writes for. With all the gag pitching, script polishing and blooper reels, it seems like quite a smashing, non-stop party! And when Barbara takes the stage to audition with silly dances or impressions, we witness the good old variety show format that’s all but disappeared today.

The theater also gets spotlight through Barbara’s foot-in-mouth theater job and Agent Brian’s piano lounge connections. It’s a totally fab peek into old school showbiz before computers and CGI took over.

And of course, what would the 60s be without some musical pizzazz and mod fashion? The catchy soundtrack sprinkles hits from Petula Clark, Dusty Springfield and other icons to set the groovy mood. Far out threads like crimped hair, go-go boots and psychedelic prints make you feel like you’re time-warping straight into Carnaby Street’s hippest boutiques.

Some references do break the illusion of 1960s purity. Several characters feel suspiciously modern in attitudes compared to reality back then. But overall, Funny Woman charmingly serves up a highlight reel capturing London’s magical entertainment sphere when it was on the cusp of its seminal cultural revolution. A real fab gear treat for retro history lovers!

A Winning Ensemble Led by Comedic Gem Arterton

Any showbiz story lives or dies by the strength of its cast. And in Funny Woman, a breakout lead performance by Gemma Arterton sets the perfect foundation. As small-town beauty queen turned comedy writer Barbara Parker, Arterton simply sparkles. Critics widely praise her star-making turn for good reason. Boasting serious talents way beyond just comedy, Arterton carries the whole production with charismatic ease.

We instantly warm to Barbara as the down-to-earth Northern lass chasing big city dreams. Even as she stumbles through London’s rocky social terrain, Arterton brings such earnest appeal. Her comedic instincts impress most in classic variety show bits involving physical humor and impressions. Yet equal moments shine spotlighting Barbara’s intelligence, sensitivity and courage facing off slimy suits dismissing her worth. Ultimately, Arterton’s portrait of Barbara fills a layered, complex woman we can’t help but cheer on.

Backing up our leading lady, Rupert EverettIndeed hammed it up big-time as Barbara’s sordid agent Brian Debenham. Buried under mounds of makup and costuming looking like a tatty teddy bear, Everett played Brian just shy of full pantomime mode. Though we could’ve done with more Brian and less costume wizardry!

Some critique that Funny Woman’s supporting players come off relatively thinly written compared to barbara’s fuller arc. For example, though devilishly handsome as Barbara’s actor crush Clive, Tom Bateman got stuck rather playing a romantic prop versus complex figure. Nevertheless, Bateman and David Threlfall as Barbara’s staunch father lent charming presences true to the era.

Where the ensemble dynamic clearly clicked was pairing Arterton against her comedy co-stars. Watching Barbara, the novice Northerner, hold her own riffing opposite posh boy writers tickled the funniest bones. Arterton’s command of timing and physicality played off their disbelief that beauty could match wit. These clashes capture society’s limiting mindset while revealing Barbara’s true essence.

Altogether, Funny Woman fires on all cylinders entertainment-wise between its art direction and music. But its cast engine boasts a Ferrari class lead performance from Gemma Arterton outshining all. She alone makes the show worthy viewing for followers of Britain’s ongoing actress dynasty!

A Mixed Bag of Laughs and Drama

As a comedy, Funny Woman surely sets some high hopes. Especially with Barbara constantly fawning over the genius of icons like Lucille Ball. Yet when it comes down to it, this show splits closer to dramedy lane in style and substance both. The humor relies more on vibe and charm versus razor sharp writing or set pieces leaving audiences in stitches.

Much of the laughs aimed towards Barbara’s Northern personality, leaning on her accent and culture clashes for easy punchlines. The silly faces and physical schticks she’s asked to perform also tend towards slapsticky versus clever. It’s no fault of Gemma Arterton, who oozes humor through her very essence. But we get told more often how hilarious Barbara is versus actually seeing genius comedy flow from her own mouth or actions.

Where the writing pops brightest is actually mining somber issues like sexism, racism and Barbara carving space as a progressive woman. While the show keeps things breezy as a whole, commentary on relevant social matters comes across very smart and incisive in contrast. However, some call out that certain characters lean a bit too modern in their values for 60s Britain. Sparks clearly come from friction between eras and attitudes.

When it comes to relationships and drama amongst the characters, Funny Woman finds surer footing over attempting intricate comedy setups. The soapy elements exploring Barbara’s romances and showbiz climbing carry natural intrigue and authentic evolution. We invest more in her personal arcs than any big punchlines landed.

At the end of the day, this remains Gemma Arterton’s star vehicle to work her magic. There’s enough comedic sparks amongst the dramedy to not dampen the fun retro vibes permeating the series. But for devoted Laughter lovers, best keep expectations in line. Funny Woman offers stronger invitation to ride the tonal waves versus anticipating constant belly holding.

A Groovy, Feel-Good Retro Romp

When it comes to recreating the sights and sounds of the 1960s, Funny Woman delivers as a glossy, aesthetically pleasing period production. The set design and costuming convincingly capture the vintage styles from era icons like Twiggy and Brigitte Bardot. And the soundtrack sprinkles in hits from Petula Clark, Tom Jones and other staples almost like its own oldies radio station.

The writing also shows glimpses of promise, especially for a debut series. However, an uneven balance emerges between breezy humor and addressing serious themes like gender barriers in comedy. Certain attempts to tackle racism and homophobia also miss the mark tonally. And layers to secondary characters fail to emerge past serving the Barbara Show. Sublots involving Barbara’s roomate or even Rupert Everett’s seedy agent Brian clearly deserved deeper attention than afforded.

Nevertheless, none of these shortcomings manage to dampen the sheer nostalgic fun steadily building across six episodes. Though modern TV viewers may yearn for bolder innovation and complexity, Funny Girl delivers exactly what its core demographic desires. From boisterous period dialogue to outlandish 60’s fashions and attitudes, everything about the show brims with retro escapism.

And centering this trip back in time, Gemma Arterton simply outdoes any slight flaws that emerge elsewhere. She lends Barbara such sympathetic magnetism that it’s impossible not root for her wildest Cinderella dreams. That good-natured spirit both drives the narrative and works magic like a tonic against any cynicism taking hold.

So for those seeking some feel-good frolics through London’s yesteryear entertainment scene, Funny Woman should tickle one’s fancy just fine. It likely won’t enter any competitive Emmy races soon, especially up against more complex fair like The Crown. Yet as comfort television, this sweet spirited and superbly cast comedy-drama makes for some splendidly amusing– and moving– viewing through rose-tinted retro glasses. Audiences seeking a fun, familiar flavor of nostalgia can ride along happily with Barbara and Gemma Arterton’s star turn into the rising sunlight.

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