Television
During his career Richardson gave many memorable television performances. Though certainly not unknown before taking the part, his first major role was his appearance as Bill Haydon ("Tailor") in the BBC adaptation of Tinker, Tailor, Soldier, Spy (1979). In the 1980s he became well known as Major Neuheim in the award-winning Private Schulz, and more notably Sir Godber Evans in Channel 4's adaptation of Porterhouse Blue. He played Jawaharlal Nehru in the 1986 television serial, Lord Mountbatten: The Last Viceroy, and in 1988 he played Edward Spencer, the eccentric and oblivious English landowner in 1920s' Ireland in Troubles, from J. G. Farrell's award-winning novel.
Richardson's most acclaimed television role was as Machiavellian politician Francis Urquhart in the BBC adaptation of Michael Dobbs's House of Cards trilogy. He won the BAFTA Best Television Actor Award for his portrayal in the first series, House of Cards (1990), and was nominated for both of the sequels To Play the King (1993) and The Final Cut (1995). He also received another BAFTA film nomination for his role as Falkland Islands governor Sir Rex Hunt in the 1992 film An Ungentlemanly Act, and played another corrupt politician, Michael Spearpoint, British Director of the European Economic Community in the ambitious satirical series The Gravy Train and The Gravy Train Goes East. He narrated the 1996 BBC docudrama A Royal Scandal.
In 1999, he became known to a young audience as the titular character Stephen Tyler in both series of the family drama The Magician's House (1999–2000). Following this he played Lord Groan in the major BBC production Gormenghast (2000), and later that year he starred in the BBC production Murder Rooms: The Dark Beginnings of Sherlock Holmes (2000–2001) (also screened in PBS's Mystery! series in the US), playing Arthur Conan Doyle's mentor, Dr. Joseph Bell, a role he welcomed as an opportunity to play a character from his native Edinburgh. He had earlier played Sherlock Holmes in two 1980s television versions of The Hound of the Baskervilles and The Sign of Four. In 2003 he once more returned to fantasy in the recurring role of the villainous Canon Black in the short-lived BBC cult series Strange.
In 2005, he took on the role of a curiously detached Chancellor in the highly successful TV drama Bleak House. In that year he appeared in ITV's main Christmas drama The Booze Cruise 2, playing Marcus Foster, a slimy upper class businessman forced to spend time with "the lower classes". He returned to this role for a sequel the following Easter. In June 2006 he was made an honorary Doctor of the University of Stirling. The honour was conferred on him by the university's chancellor, fellow actor Dame Diana Rigg. In December 2006, Richardson starred in Sky One's two-part adaptation of the Terry Pratchett novel Hogfather. He voiced the main character of the novel, Death, who steps in to take over the role of the Father Christmas-like Hogfather. The DVD of that miniseries, released shortly after his death, opens with a dedication to his memory.
He was also familiar to American television viewers as the man in the Rolls-Royce who asks "Pardon me, would you have any Grey Poupon?" in commercials for this Dijon mustard. During the last fifteen years of his life Richardson appeared five times on television acting opposite his son, Miles Richardson, though this was usually with one or other in a minor role. In ITV's Marple, an uncredited Miles played Ian Richardson's son.
Read more about this topic: Ian Richardson
Famous quotes containing the word television:
“What is a television apparatus to man, who has only to shut his eyes to see the most inaccessible regions of the seen and the never seen, who has only to imagine in order to pierce through walls and cause all the planetary Baghdads of his dreams to rise from the dust.”
—Salvador Dali (19041989)
“Television ... helps blur the distinction between framed and unframed reality. Whereas going to the movies necessarily entails leaving ones ordinary surroundings, soap operas are in fact spatially inseparable from the rest of ones life. In homes where television is on most of the time, they are also temporally integrated into ones real life and, unlike the experience of going out in the evening to see a show, may not even interrupt its regular flow.”
—Eviatar Zerubavel, U.S. sociologist, educator. The Fine Line: Making Distinctions in Everyday Life, ch. 5, University of Chicago Press (1991)
“All television ever did was shrink the demand for ordinary movies. The demand for extraordinary movies increased. If any one thing is wrong with the movie industry today, it is the unrelenting effort to astonish.”
—Clive James (b. 1939)