Recovery (film)
| TV movie | |
|---|---|
| Original title | Recovery |
| Country of production | United Kingdom |
| original language | English |
| Publishing year |
2007 First broadcast (UK): February 25, 2007 on BBC One |
| length | 88 minutes |
| Rod | |
| Director | Andy DeEmmony |
| script | Tony Marchant |
| production |
Rebecca de Souza and Tiger Aspect Productions (on behalf of the BBC ) |
| music |
Tristin Norwell , Nick Green |
| camera | Wojciech Szepel |
| cut | Stephen O'Connell |
| occupation | |
Recovery (dt. About recovery , recovery , recovery ) is a British TV movie with David Tennant and Sarah Parish in the lead roles. The BBC drama deals with the way a family of four deals with the father's traumatic brain injury. It was premiered in prime time (9pm) on Sunday 25 February 2007 on UK public television's first channel, BBC One .
action
Alan Hamilton, a happy family man and head of a construction company, runs into the street between two parked cars while trying to flag down a taxi for himself and his employee and friend Johnathan at night and is hit by a truck. He then lies in a coma for several days. His wife Tricia is carefully prepared by the treating neurologist, Mr Lockwood, for the drastic changes that a brain injury can cause.
When Alan finally woke up from the coma, he initially suffered (as expected) from a word-finding disorder, limitations in visual and auditory perception, ideatory apraxia and severe retrograde amnesia: at first he could not remember either his own identity or those around him (about 20 years of marriage with Tricia are like obliterated, even days later he only recognizes his parents). The nurse assures Tricia that this part of the amnesia is reversible. This is actually true, in the long term only memories of the accident and hospital stay are missing. As it soon turns out, the events and the impairment of the frontal lobe also result in strong behavioral and apparently personality changes, which are mainly expressed in a lack of impulse control: unchecked outbursts of anger, sudden discharges of emotions between euphoria and despair, extremely egocentric thinking and behavior as well as an absolutely inappropriate one Realized sexuality (public masturbation, abusive sexualized addressing, staring at and groping at family friends, policewomen, nurses and complete strangers, loveless, drive-controlled sex with Tricia) become part of everyday life for the family. In addition, there is a slight, presumably temporary form of anterograde amnesia: he has difficulties acquiring new knowledge and keeping everyday processes (opening the car door, making tea, showering, getting dressed, ...) in his short-term memory or working memory. This sometimes leads to a child's helplessness, even in the face of dangerous situations. Alan's older son is chosen to be his father's babysitter by his mother, who is now unexpectedly the main breadwinner of the family and is soon juggling several part-time jobs. The boy is overwhelmed with the sudden change of roles and the reversed relationship of responsibility, and his A-level school- leaving exams (cf. German Abitur or Austrian Matura ) and university applications are pending at the same time . His younger brother Joel perceives the severity of the father's injuries and the sad consequences (with a few exceptions) as not so dramatic and sees some (for the others shocking) behaviors as a fun game. Joel's childlike light-heartedness, which in a few moments suddenly finds himself at eye level with his father's thinking and behavior, ensures the few easy, even funny moments of the drama. However, he does register his mother's growing overstrain and despair.
Alan is gradually regaining his memory. However, since he still has no memory of the accident or the hospital stay, it is difficult for him to accept that he has a problem at all. In an unobserved moment he sets fire to the kitchen of the common house while trying to prepare a piece of toast. An attempt by Johnathans to reintegrate Alan into a less responsible position in his old job fails in a bad way. In the meantime the final exams have started for Dean, which is completely lost in the family chaos. When the problem of his behavior finally transpires to Alan, he withdraws and sinks into a deep depressive phase. The hope of compensation payments through the insurance of the accident driver bursts when it is confirmed that he drove completely sober and within the speed limit and that it was impossible to see Alan in time. Tricia is overwhelmed by her constant family and professional and financial stress situation, she seeks refuge with her friend Gwen and confesses to her that, due to Alan's continued need for help as a child and the complete lack of reciprocation, she now feels like a widow. Gwen makes it clear to her that her soul mate, old Alan, is unlikely to return and that it may be time to look ahead. To cheer her up, Gwen wants to go around the houses with her, in a club the already drunk Tricia tries to flirt with different men, but ends the conversation each time quickly by telling her sad story and ends up in bed with a man with whom she only danced briefly and from which she did not even find out the name. Purified, she returns to Gwen and admits that she no longer recognizes herself.
Concerned that Alan might have killed himself or have already taken his own life, Johnathan breaks down Alan's door that same night at Dean's request and confronts him with his responsibility to make the best of his situation for himself and his family. The next day, Dean confronts his mother at her workplace and urges her to take on her responsibility, especially towards Joel, and to come home immediately. Tricia then struggles to return to her children and is welcomed at home by the always reproachful in-laws. She makes it clear that despite her love for Alan, she no longer has the strength to take care of the man in her bedroom, who has become a complete stranger to her, around the clock, along with all her other duties. When they return, Alan leaves his room for the first time in days, overhears the conversation and promises to do his best from now on and fight with all his remaining strength to improve his condition and save his marriage. Since he can no longer return to his job, the family (despite several part-time jobs from Tricia) can no longer afford their own house. When the building society starts to pressure, Johnathan helps Tricia with the urgent search for a smaller home. He asks her not to wait and hope for old Alan any longer, but to finally come to terms with the fact that her husband has become a different person as a result of the accident - and can still be the love of her life. Since Alan is now ready to do his part to cope with the new situation, Tricia can finally accept this bitter fact for herself. With the help of his wife, sons, Dr Lockwood, a nurse and Headway volunteer Duncan, Alan is slowly regaining some control over his emotions and impulses for action. In the end he can - with some embarrassing dropouts for Dean but without major disasters - accompany his eldest when moving to the new student flat share. The family grows together again, but since Trish has almost given up hope of a mutual love relationship and has almost accepted her life as a mere carer and surrogate mother of Alans, Alan is finally the one who has to (and can) show her that he is actually back on is interested in a real love affair with her.
background
The development shown in the film represents one of many possible courses of illness after a severe TBI with injuries and the like. a. of the OFC (orbitofrontal cortex) . In such a brain injury, besides the (temporary) retrograde memory loss , word finding and perception disorders shown here, the more or less pronounced personality changes as in the disinhibitory syndrome shown are not unusual. At the very beginning of the film, screenwriter Marchant lets the neurologist make it clear that every brain injury has a different effect and that the consequences and chances of recovery sometimes only become clear after a while. The debate taken up by the film also includes the fundamental philosophical and scientific question of whether a person is (exclusively) defined by the function and structure of his brain (son Dean summarizes his concern with the sentence: “How can there be more to him than his brain? We are our brains! ").
The BBC received film production support from the St George's Healthcare NHS Trust (now St George's University Hospitals NHS Foundation Trust ). The entire film production from the planning phase was also accompanied by the Headway charity, the leading British organization that supports adults and children with brain injuries and their families. In addition to support and extensive information material, Headway also provides a large number of courses and discussion groups as well as a free care service for patients with recently suffered traumatic brain injuries. She helped screenwriter Tony Marchant with information and experience reports on the possible course of the disease, the institutions involved, effects of the brain injuries on families and the professional life of those affected and further specialist knowledge / wealth of experience. The foundation's local office, Headway Essex , was also the direct point of contact for lead actor David Tennant, who, in preparation for the film, familiarized himself not only with the state of neuroscientific research but also with the personal stories of patients. Through Headway Essex, he was able to get to know some patients, relatives and caregivers personally and take part in various aid programs, exercises and discussion groups for acute and long-term patients. In the same year he took over the patronage of Headway Essex, which he has held since then.
The BBC's senior producers at the time of shooting were Frith Tiplady and Joanna Gueritz. Rebecca de Souza ( Prisoners' Wives ) was hired to produce recovery , and Jacquie Glanville ( Secret Diary of a Call Girl ) was chosen as line producer . The management ( executive producers ) took over Kate Anthony and Greg Brenman (also Secret Diary of a Call Girl and Prisoners' Wives ). Rachel Freck was the casting director , with John Hughes in charge of the sound engineering . Sarah Grundy was responsible for the mask and Howard Burden for the costumes. Wojciech Szepel was won over as DP (Director of Photography - in addition to the camera work, also responsible for the entire lighting technology) . The conception of the production design comes from David Roger.
The title music was commissioned by Nick Green and Tristin Norwell ( Norwell & Green ), who also composed the score . The soundtrack also consists of some older songs, including Paul Weller's You Do Something to Me , which also plays a not insignificant role in the course of the plot.
Leading actors David Tennant and Sarah Parish worked together for the third time for the film. They first faced each other in 2004 in the miniseries Blackpool , in which Tennant played the detective inspector (DI) Peter Carlisle, who falls in love with the unhappy wife (Parish) of his mafia-like prime suspect ( David Morrissey ). In 2006 they met again as antagonists in the Doctor Who Christmas special The Runaway Bride - Tennant in his role as The Doctor , Parish as Empress of the Racnoss .
As is usual for BBC productions with complex medical-psychological topics, at the end of the broadcast (in addition to the indented credits ) the BBC Action Line is referred to in writing and verbally, a free information and pastoral hotline that gives callers 16.5 hours Provides contact persons for the topics dealt with on a daily basis while ensuring anonymity.
While the British Broadcasting Corporation does not plan to commercially release the television production on DVD even after requests from viewers and leading actors, it does not, conversely, take action against the film being uploaded to free video platforms such as YouTube .
In Hungary, the film was broadcast under the title Felépülés (literal translation of the original title, German about recovery ). Before the official premiere on February 25, 2007, the film was shown to a small London audience as a BAFTA screening on February 14 . The film was presented and honored at the respective international film festivals in Banff ( Canada ) and Shanghai ( China ).
occupation
- David Tennant - Alan Hamilton
- Sarah Parish - Tricia "Trish" Hamilton
- Harry Treadaway - Dean Hamilton
- Jacob Théato - Joel Hamilton
- Jay Simpson - Johnathan
- Jo McInnes - Gwen
- Jim Carter - Mr Lockwood (Neurologist)
- Ron Donachie - Len Hamilton (Alan's father)
- Anne Kidd - Shirley Hamilton (Alan's mother)
- Jo Hartley - Vicky Nathan
- Charlotte Palmer - WPC
- Sarah Paul - OT
- Andy Wisher - neighbor
- Sue Elliot-Nicholls - neighbor
- Glen Davies - Duncan (Headway Volunteer)
- David Maybrick - firefighter
- Penelope Beaumont - reporter
- Pooky Quesnel - Homeowner
- Daniel Coonan - electrician
- Paul Thornley - Real Estate Agent
- Simon Kassianides - Man in the Bar
reception
Five million viewers saw the first broadcast on February 25, 2007. BBC One was able to secure an audience share of 20% despite stiff competition ( Bridget Jones on Channel 4 , The Conspiracy Files on BBC Two , Dangerous Surf on Channel 5, etc.). Only ITV with Lewis and 7.3 million viewers (31%) achieved a better rate .
The film reviews - aggregator Rotten Tomatoes calculated from 495 received public ratings outstanding approval rating of 90%, where the audience awarded on average 4.4 out of 5 stars.
The RTS (Royal Television Society) nominated lead actor David Tennant in 2008 for Best Actor of the previous television year (for his appearances in Recovery and Doctor Who ). As part of the Canadian international media festival in Banff (also in 2008), the film and those responsible for Marchant, De Souza and De Emmony were nominated for the Rockie Award for Best TV Film. The film was also shown at the Shanghai International TV Festival in 2007. There Tennant received another nomination (for the Magnolia Award presented there) for the best performance by an actor in a television film.
The film was received extremely positively by film critics and audiences alike, with all major national newspapers giving unreserved recommendations. In addition to Marchant's “moving” script, the “heartbreakingly convincing” performance (above all Tennant and Parish's “consistently believable” portrayal of the main characters) was praised. At the same time, several film reviewers and patient associations highlighted the “well researched”, “not embellished or even romanticized” and therefore “deeply shocking” handling of the tragic topic - also in comparison to the regular use of (temporary) memory loss as a stylistic device in Hollywood cinema Achievement of other objectives and a happy ending - and emphasized the "sensitive" and "touching", but "never over-sentimental" narrative style of the drama . The Times and Guardian reviewers also credited Tennant with the fact that, despite his "brilliant" performance, Tennant did not play himself in the foreground, do not try the role at the expense of the other actors for a one-man advertising “Star vehicle” à la “Give me a Bafta!” ( Give me a BAFTA ! ) To do. Instead, he gives Parish enough space to develop her “equally brilliant” portrayal of a loving wife at the end of her tether. The plot, carried out jointly by the two experienced main actors, and the already “excellent” script are only “all the more convincing” due to the certain reticence.
The fact that the film only has a hopefully open ending and no real ending, let alone a happy ending , was both a highly praised decision and one of the few strong criticisms of Marchant's work. The reviewer of the Telegraph, for example, undecidedly weighed up whether it was more important in a BBC One Sunday evening drama to adequately portray the living situation of many victims of severe brain trauma, or to comply with the viewer's need for a cinematic conclusion. The Herald put the spotlight on and praised the collaboration with Headway and the resulting obvious criticism of the British healthcare system: the neurologist, ward nurse and nurse are competent, patient, friendly and sensitive listeners and contacts during Alan's hospital stay, but his discharge weighs heavily on him All of a sudden, responsibility rests on Tricia's shoulders, and only at the end of her tether does she seek contact with the volunteers (!) At Headway. The newspaper also combined its film review with an urgent appeal for donations in favor of the charity, regardless of whether its readers had already seen the film or missed it.
"At the start of Recovery (BBC 1), Alan and Tricia Hamilton were dancing and laughing together in their kitchen. Last night's drama, though, didn't stay so carefree for long. Soon afterwards, Alan (David Tennant) was run over while hailing a cab. By the time he came out of his coma, the doctors had diagnosed a brain injury. What they didn't know - mainly because it's unknowable - is how this would affect his personality. Tricia (Sarah Parish) was warned that he'd probably be different, but at this stage seemed optimistic that, given enough love from her, all would be well. "My husband," she declared grandly, "is more than a neural pathway." The rest of the program concerned her growing realization that she might be wrong on both counts. Alan's individual symptoms could certainly be alarming: a tendency to grope women's bottoms, to scream at the children, and to set fire to the kitchen when making toast. Yet, the real agony for Tricia wasn't that her Alan was doing strange things - but that he wasn't her Alan any more. Instead, she was pouring out all this care and support on a stranger. Except, needless to say that the situation was even worse than that. Not only did this stranger look like Alan, but he had occasional flashes of lucidity which confirmed that the man she'd loved since she was 16 was still in there somewhere. Tricia also sensed the black irony that loneliness and distress were in danger of changing her personality too.
As you'd expect, the two lead actors did full justice to Tony Marchant's powerful but carefully observed script. David Tennant performed the more extravagantly bonkers stuff with great aplomb. He was better still at those terrible quieter moments when Alan suddenly recognized what he'd become. In capturing Tricia's constant alternation between determination and despair, Sarah Parish made both elements equally understandable. Of course, perhaps the biggest problem with a drama like this is how to end it, and Marchant didn't quite solve that. On the one hand, he clearly wanted to show that brain injury is not something that's liable to reach a happy ending - or in fact an ending of any kind. On the other, a drama (especially on BBC 1) does need some sort of resolution. In the event, he seemed to try out a few possible outcomes, before plumping for a scene of the couple dancing again. "What if I can't make you happy?" said Alan. "What if I can't come back?" “Well, I'll just take what you've got,” Tricia replied. After all we'd seen, this calm acceptance of her lot felt a bit too easy - although, in Marchant's defense, I can't imagine many viewers wanting it any other way. "
"It was the kind of show-every-emotion part that actors kill for, but Tennant didn't turn it into a" Give me a Bafta! " turn. This was no star vehicle, since the story was as much about the emotional journey of Alan's wife, Tricia. [...] A clearer sense of what Alan had been like before the accident would have helped to amplify Tricia's frustration. But Sarah Parish made up for it with a superb portrayal of shifting feelings, whether portraying Tricia's initially flinty determination to see things through or the shell-shocked regret of a one-night-stand. Marchant likes to give us subjects to chew over, whether it's debt ( Never Never ), prescription drugs and hyperactivity ( Kid in the Corner ) or fertility treatment ( The Family Man ). [...] Tennant and Parish made it affecting viewing and Marchant scored in charting Tricia's eventual realization that she had to learn to accept Alan as a different person. This also thankfully avoided the Hollywood trend to use memory loss as a gateway to deeper healing, a little miracle to help us forget our mean adult selves and learn to be innocent again. Marchant's drama ended on an optimistic note, but it was by no means the end of Alan and Tricia's journey. Recovery hadn't turned into Recovered. "
“There was nothing remotely funny about Recovery (Sunday, BBC1), Tony Marchant's moving drama about a family dealing with the aftermath of a horrible accident. It seems to be something a serious actor has to do - play someone with up-there problems. Hoffman ’s done it, DiCaprio … as have lots of other major movie stars […] Here, on a smaller scale, our own David Tennant (taking a break from the Tardis ) is playing Alan, who's been left with severe brain damage after being run over. He's is extremely good at it, totally convincing as the husk of his former self. And Sarah Parish is also brilliant as his broken wife. It wasn't over-sentimental, just believable. And much more powerful for that. Anyone who says they didn't have a lump in their throats is either an unfeeling brute or a liar. "
"[Along with Sarah Parish's other distinguishing features] it is this earthy approachability that has helped secure the 38-year-old actor's reputation as the doyenne of laughter-through-the-tears versatility. Not that there is much to laugh about in her latest role. Written by Tony Marchant, the TV drama Recovery centers on Alan and Tricia Hamilton, a couple whose happiness is shattered when Alan (played brilliantly by David Tennant, replete with serious drama beard) emerges from a car accident-induced coma with a brain injury. It is an affecting piece of television, not least because the Bafta-winning Marchant refuses to muddy the drama's many ambiguities with sentimentality. Parish is heartbreakingly convincing as Tricia, a woman alternately grief-stricken, panicked and aggrieved by the realization that her husband is no longer the man she married. 'He's basically dead but he hasn't disappeared', says Parish. It is her finest performance to date, in my opinion, an observation that elicits a dismissive, hand-flapping, 'Pfffftttt!' [...] Despite her palpable lack of interest in the fabled 'celebrity lifestyle' ('Can't be bothered with any of it, really'), Parish is ambitious. She has set up a production company (Benny Productions) and directed her first drama. 'I've been very lucky. My scripts have got better over the years. Of course, 'she says,' I might find that when I hit my early 40s there'll be a bunch of 35-year-olds who are getting all the parts I used to get. ' And if that does happen? 'I'm sure I'll be fine. You go through dead patches, but you always come through them. Touch wood. Hah-hah! But really, I don't worry about things like that. It's more important to focus on your plans and keep a positive attitude. You've got to keep laughing, haven't you? '"
"David Tennant is such a fine actor that if he chose to read the phone book on prime time telly I'd probably tune in to watch. Fortunately the current Doctor Who was served with an idea and a script so good - and co stars to match - that his role of Alan Hamilton is perhaps the best thing he's ever done. Behind a beard and his natural Scottish accent he played a building site manager whose unspectacular but happy existence is torn apart when he is involved in a road accident. This one off drama followed his attempts to rebuild his life and identity through a fog of amnesia as a result of a brain injury. In turns comic and tragic, his behavior veers between anger and frustration at being unable to perform simple tasks such as getting dressed to vulnerable and child like as he slowly realizes that the man he was may never come back. "I used to have a full time job," he says at one point, "Now I've become one." This could have been bleak viewing but Tennant has a comic touch which managed to find the humor in the absurdity and sadness of a situation faced by more than 100,000 people every year. It was a tour de force performance, too, for Sarah Parish as wife Tricia struggling to come to terms with the fact that the man she loved may be gone forever. The power of the piece lay as much in her journey of learning to live with a near stranger as it did with Tennant's remarkable skill inhabiting a role none of us would wish to experience in real life. "
"Tennant plays a happily married family man who is run over by a lorry in a scene of shocking, sudden brutality. After languishing in a coma, […] he eventually recovers, albeit as a befuddled shadow of his former self, […] a vacant, childlike shell of a man prone to sudden bursts of rage and embarrassingly inappropriate sexual behavior. [...] Tennant is brilliant in the role, especially in the scenes in which he explodes into impotent, anguished fury. Initial reservations that he looks too boyish to convince as a father of two growing boys (despite having grown a beard to weather his saucer-eyed features) are vanquished as his powerful performance unfolds. Parish also puts in a strong turn as a woman struggling to cope with having a soulmate turn into a stranger. This is sobering, saddening stuff, a tragic portrait of a living hell which, if nothing else, should encourage you to be more vigilant the next time you cross the road. "
"The Most Harrowing TV Drama Ever. First things first: if you watched Recovery, I'm sure you'll be feeling inspired to make a donation to Headway, the charity that tries to help all those affected by brain injury, and which was also the organization that assisted Recovery's author, Tony Marchant, in his factual research for the drama. You can make your donation easily and near-instantly on-line at www.headway.org.uk If you didn't watch recovery, you can still donate to Headway. You just won't know that the play was one of TV's saddest, most harrowing dramas ever - and one that should, if there's any justice, produce bucketloads of awards for its two stars […], David Tennant, and Sarah Parish. Jolly entertainment, Recovery wasn't; heart-breakingly educative, it was. [...] Brain injury: it's most brutal and dehumanizing for those who have to try to deal with it at close-hand, in the home, 24/7. […] In this tragic, unending and near-superhuman day-to-day task, Tricia was given precious little practical help by the health care industry. When Alan was discharged from hospital, all Tricia received was a consultant's bland assurance that if she loved her husband then, by golly, she'd be unable to stop herself making him better. However, as the blameless Tricia later pointed out to the same consultant shortly before fleeing from her husband: 'You saved his life, but it's not worth living. You take them home, and all you see is the death of everything. He can't get better because he doesn't know there's anything wrong with him. ' Given the factual input that Tony Marchant received from Headway, Recovery seemed to imply that this hands-off medical non-intervention is all too common a mode of treatment. Likewise, Alan's one visit to a day-care and rehabilitation unit confronted us with a vision of nineteenth-century mental health provision, ie Bedlam. So show a bit of compassion in the easiest way possible, please. Your cash to Headway can make a difference. "
Web links
- Recovery in the Internet Movie Database (English)
- Official film site (BBC) (English)
- BBC Action Line (English)
- Internet site of Headway (English)
- Headway Essex website (English)
Individual evidence
- ↑ David Tennant in an interview with Sunday AM, broadcast on February 25, 2007. Uploaded to YouTube by Petrichorlefey on March 3, 2009. Retrieved May 29, 2018.
- ^ Headway Essex: Our Patron. Retrieved May 30, 2018.
- ^ A b Sarah Dempster: Scissor sister In: Guardian, February 21, 2007. Retrieved May 30, 2008. (“Recovery marks the third time that Parish has worked with Tennant (the first being the BBC's musical drama series Blackpool, in which she memorably tore off his trousers while singing in his face). 'We're like George and Mildred,' she hoots. 'In 20 years' time we'll probably be doing a ropey old sitcom in a terraced house in Preston .' Tennant had a hand in her involvement in last Christmas's Doctor Who special, the actress having asked him to speak to writer Russell T Davies and 'make sure he makes me a really horrible villain with some sort of ridiculous prosthetic costume'. Parish loved doing Doctor Who, even if her performance as a cackling arachnid villain did not have the effect she had hoped for on her four young nieces. 'I asked [them] if they'd been terrified. They said,' No. It was obviously you, Auntie Sarah, and it wasn't scary. It was funny. 'What can you do?' ”)
- ↑ Written note: “BBC Action Line - 08000 933 193 - Calls are free and confidential. Lines are open from 7.30am until midnight every day. " Spoken note: “If you have been affected by any of the issues in tonight's drama, and would like to talk to someone in confidence for further information and support, please call the BBC Action Line on 0 8000 9 33 193. The calls are free and confidential and lines are open from 7.30 am until midnight, every day. "
- ↑ Release information on the film page of the Internet Movie Database (IMDb). Retrieved May 30, 2018.
- ↑ Awards on the IMDb's film page . Retrieved May 30, 2018.
- ↑ Jason Deans: Overnights: ITV's Lewis tops Sunday night TV In: The Guardian, February 26, 2007. Retrieved May 30, 2018.
- ↑ Average audience rating for the film Recovery on RottenTomatoes.com ; accessed on May 29, 2018.
- ^ Program Award Winners 2008. In: Royal Television Society. 2008, accessed May 30, 2018 .
- ↑ Awards on the IMDb's film page . Retrieved May 30, 2018.
- ↑ James Walton: Last Night on Television In: The Telegraph, February 26, 2007. Retrieved May 30, 2018.
- ↑ Ian Johns: From Doctor Who to 'Doctor, who am I?' In: The Times, February 26, 2007. Retrieved May 30, 2018.
- ↑ Recovery In: The Guardian of February 26, 2007. Quoted from: david-tennant.com (compilation of film reviews on Recovery . Archived from the original on September 23, 2008. Retrieved on May 29, 2018.
- ↑ TV Picks: Recovery In: The Liverpool Echo of February 26, 2007. Quoted from: david-tennant.com (compilation of film reviews on Recovery ). Archived from the original on September 23, 2008. Retrieved May 29, 2018.
- ↑ Doctor Who? In: The Scotsman of February 24, 2007. Quoted from: david-tennant.com (compilation of film reviews on Recovery ). Archived from the original on September 23, 2008. Retrieved May 29, 2018.
- ↑ The Most Harrowing TV Drama Ever In: The Herald of February 26, 2007. Quoted from: david-tennant.com (compilation of film reviews on Recovery ). Archived from the original on September 23, 2008. Retrieved May 29, 2018.