An Oxford Student’s review of Anatomy of a Scandal

Sometimes the whole world tips sideways and we can’t help but search for firmer ground, the truth amongst the lies. Somehow in moments like this we both discover what we are made of and how to fall apart. It is thus with the characters of Anatomy of a Scandal. This series throws us into the depths of a scandal which is multi-layered and spans years – tying the House of Commons to the City of Spires. It tells the story of spiralling dreams as much as it does how privilege is often a ‘get out of jail free’ card. Of course, few of the public who consume Netflix content will have been to Oxford, experienced the lifestyle of a world so different to any that seems real.

It is, in fact, from this ancient city that I write this. We are reaching the end of 0th week and with the arrival of the freshers came too the slowly creeping symptoms of ‘freshers flu’. Therefore, while some may say I am behind the curve to only be watching this now, the reason that I have is due to spending the day in bed with cough syrup, honey and an ignored mounting to-do list. Those who know Oxford will be familiar with that to-do just as they will with what my family dub ‘the Oxford bubble’. What this series falls just short of capturing is the intoxication of the Oxford lifestyle, the way you are swept along in a heady rush of wild social life and crazy academic schedule. Anatomy of a Scandal shows a good insight into the first year English course and that social life (although we do not study Gawain until the second year). The writers are clearly familiar with Oxford, yet there is a certain distaste in their depiction. Yes, bad behaviour can sometimes be the result of privilege colliding in this small city, but that does not mean that the university ought always to be scorned. Where are the Oxford success stories? Why do the characters have to look back with such bitterness – let’s face it, friends falling off buildings isn’t exactly a normal Oxford experience. And neither is the geography of Tom and James’ escape from the scene of said crime! How one goes from the bridge of sighs and into Radcliffe Square to running out of The Old Bod and past the rad cam and down Brasenose Lane to reach New is quite beyond me. I appreciate that the landmarks of Oxford are great backdrops, but the inaccuracy can lead to a breaking in the suspension in belief for those who know the city.

To prevent this turning into a rant about the perpetually negative depictions of Oxford and privilege I will now move swiftly on to the filmmaking itself. To use of slanted camera angles and blending of past and present can be a risky move that does not always pay off. However, this series pulls it off spectacularly. There is a beauty in these trippy camera angles that works perfectly with the emotions of the characters. Each shot has clearly been very thoroughly thought through and is the perfect measure of unusual to reflect the inner turmoil of the episode; the anatomy of the scandal as it were. While the plot is a little predictable, it does not detract from the immersion into the story in the slightest. We know who the lawyer is before the characters place her and the elephant in the room is certainly a sense of dramatic irony – the truth is perfectly clear throughout. All of this makes the story somehow more, rather than less, thrilling and hooking. After all, the reason for this is to enable the audience to observe the reactions of the characters rather than placing too much focus on unravelling the intricacies of the plot. Like all great dramas, it’s about the people.

These people are mainly Oxford educated and privileged – even the victims of the case. They range from members of a fictionalised Bullingdon Club the ‘Libertines’ to a raped Oxford drop-out turned successful prosecution lawyer. Each has their own story, all of which seem to be explored, yet it is the three (perhaps four) key players within the case who are developed fully. We meet the accused, James Whitehouse, his wife Sophie, the prosecuting lawyer Kate (or Holly Berry) and the prime minister Tom. It is the three foremost characters around which the action takes place – and, of course, the initially introduced victim Olivia Lytton. We are drawn through the tangle of marital politics, an affair and the past ultimately not in search of truth but for Sophie to figure out who she truly is and what she believes. The drama could easily have ended with James walking away and Sophie accepting that, yet instead she is an icon of female strength and reminder of the power of silent observers. With one phone call she is able to do what a five month affair or prolonged trial could not – she made two people accountable for their mistakes. It could be argued that this is a series as much about gender as it is that infamous Oxford privilege and on that account I am in full support. Both lead female characters, as well as the more minor roles, are empowered and outspoken (even if it takes them a while to stand up).

Therefore, this tale is about truth told through a dark palette. Many shots take place at night or in locations with muted tones, which adds a beauty to the filmography. The colours used are both classy and highlight the message of the series and I could easily discuss the skill poured into the piece for far more words than you would ever be willing to read! At the end of the day, the skill across the board was superb! The actors deserve praise as much as the crew, for the performances were flawless, emotional and instantly reached out to connect with the audience. From the first likeable meeting with Sophie Whitehouse to her final conversation with Holly, we held her hand and felt as though we were going through the case with her. Likewise, James’ character was undoubtedly in need of being held accountable and yet equally not wholly unrelatable. Yet, it was Michele Dockery’s outstanding performance of Holly/Kate that stood out – certainly the best performance of her career! What these actors accomplished was incredible and it was an honour to watch their ability played out across the screen for just a few short hours.

Therefore, there is no denying of the skill of this series from all who were involved – both in front of the camera and behind. It was the best thing I have watched in a long time and if you have not yet sat down to watch it, please do take the time to get lost in this courtroom drama. You will be swept along in the magnitude of its brilliance, of that I have no doubt. However, I will not deny that I am still waiting for cinema to reflect upon the Oxford experience without contempt – the heady world of colleges and union balls deserves to be depicted in a more positive light.