Call the Midwife’s Christmas-special risk didn’t quite pay off

As someone who has grown up watching and loving “Call the Midwife”, I must say that this year’s double Christmas special was nothing short of exceptional. Having spent my formative years in London during the 1960s, I can relate to the struggles and triumphs depicted in the show.

Call the Midwife season 14 Christmas special spoilers follow.

For the initial time in the chronicles of “Call the Midwife”, the medical period series surprised viewers with an extra-full Christmas special: a pair of holiday episodes, richly laden with suspenseful plot twists, designed to keep us eager as we anticipate the upcoming break.

Although the ending left us eagerly anticipating the next installment, it’s hard not to think that a traditional 90-minute holiday special might have had a stronger emotional resonance instead.

We appreciate Heidi Thomas’s attempts to extend our stay in the charming world of Poplar, however, the first part of the double special seemed a bit slow-paced. It wasn’t flawed in any particular way: Poplar was getting ready for Christmas, new storylines unfolded, and there was much excitement about the arrival of the fair in town.

The initial segment was filled with joyous preludes, setting the stage for the major events in part two, however, it didn’t advance the plot at a fast enough pace.

The primary factor that kept us engaged was the captivating ensemble cast, who continued to charm without fail. A delightful mix of unique characters graced our screens, keeping things interesting. Despite having to wait for the plot to gather momentum, we found ourselves deeply involved with these characters, making the wait more bearable.

Fortunately, once “Call the Midwife” picked up pace, it moved forward at a swift rate. The plotlines sown in the initial part flourished and turned vibrant and appealing as the second half unfolded.

As a gamer, I was deeply immersed in the captivating narrative of “The Prisoner Breakout Story” during the holiday season. The character Jock (John Kazek), like a determined player in a game, chose some questionable paths to reach his goal – spending Christmas with his elderly mother.

A fresh, intricate version of the traditional holiday love tale unfolded, but it was the heart-rending narratives – one revolving around a struggling family’s plight and another surrounding the disappearance of Reggie (played by Daniel Laurie) that left viewers in tears. (Our analysis can be found here.)

Accolades, please, to Laurie, whose performance delivered minute-by-minute tension.

Even though logically fans believed (wished) that Reggie wouldn’t be hurt during a holiday special, it was still an anxious experience overall.

Throughout the storyline of “Call the Midwife,” Reggie, a character with Down’s Syndrome, has embarked on a journey towards self-reliance and skill development under the caring tutelage of Violet (played by Annabelle Apsion) and Fred Buckle (portrayed by Cliff Parisi). These characters have been instrumental in guiding Reggie’s progress.

For a brief instant, Fred’s absence at the station sparked a sense of self-reliance and accomplishment within him, as he decided to travel by bus independently during Christmas instead of waiting for a ride from Fred.

Initially, Reggie’s confidence prevailed, but soon it gave way to apprehension as he came to understand just how exposed and vulnerable he truly was – left on his own, out in the cold during the night, facing a world that can be unforgiving towards those who are differently abled.

Our belief that he would eventually be alright, having watched similar scenarios on TV before, didn’t lessen the distress we felt while watching him struggle through this frightening ordeal, uncertain about his fate in the short term.

As a devoted fan, I’d say that “Call the Midwife” once again showcased its unique prowess by weaving complex social and political themes seamlessly into a moving narrative. The tale of Reggie served as a poignant reminder of the struggles faced by individuals with disabilities, particularly when it comes to insufficient support systems. The callous policeman, who was ready to ignore Reggie’s plight and leave him out in the cold until morning, underscored this message powerfully.

In a bold move, Trixie (Helen George) confidently persuaded the officer to act justly by subtly reminding him of Lady Aylward and casually mentioning Violet’s mayoral position as additional support.

There is no joy greater than the one felt when Reggie came back home to loving hugs, for anyone who isn’t moved by such a scene, we question their emotions.

Another heart-tugging subplot revolved around the Shaughnessy family, who found themselves in dismal living quarters after being evicted from their home just before Christmas.

The narrative primarily revolved around the lives of three-time mom, Dilys (Madelyn Smedley), and her eldest daughter, Karen (Myla Park), as they navigated through the trials of Dilys’ ailing spouse, Pete (Peter Hannah).

After getting discharged from the hospital following a heart treatment involving a heart hole, Karen stepped up to care for her family due to her father being ill with pneumonia and her mother having the flu.

Karen’s exact age is unknown, yet it appears she was similar in age to the Turner children. Meanwhile, they were occupied with their Christmas shows and Blue Peter fundraisers. In stark contrast, she was struggling to obtain bread and candles to feed her siblings and provide light for her household.

It was truly a devastating watch, and it made gentle nods to the modern-day housing crisis through Violet and Shelagh’s (Laura Main) conversation about Shaughnessy’s application for housing.

I can’t help but feel hopeful as it seems we’re on the verge of 1970,” I mused, “with the widespread belief that squalor is fading away, and the world, in general, is progressing for the better.

Violet replied: “Regrettably, it’s true that the world is progressing, but a lot of individuals are getting left out in this development process.

A deep breath was taken, both behind and before the camera, as the year 1970 seemed to mirror the approaching 2025 in a strikingly introspective manner.

The Shaughnessy family experienced a brief respite, delighting in the festive season and the arrival of a new family member; however, their story did not end on a joyous note, reflecting the harsh truth faced by many families.

The encounter between Miss Higgins (Georgie Glen) and her grandson, following their reunion after years apart, sparked by meeting her son before he passed away in the previous season, was one of the most touching scenes that left a warm feeling long after the episode ended.

Without Max Macmillan’s Timothy, who was conspicuously missing, the Turner siblings – May (April Rae Hoang), Angela (Alice Brown), and Teddy (Edward Shaw) – radiated pure happiness and brightness. They had clearly been honing their comedic dynamics, and this was evident in the most charming manner possible.

All things considered, the two-part special of “Call the Midwife” during Christmas managed to maintain its charm despite a slow beginning. The heartfelt and engaging storylines ultimately made for a satisfying conclusion.

Call the Midwife airs on BBC One and streams on BBC iPlayer.

Read more Call the Midwife news on our dedicated homepage

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2024-12-27 00:49