- An initial two-hander between Davies as a crime location cleaner and Helena Bonham Carter as a killer sends out an odd vibe.
- Yet their quality and desire pretty much make all the difference.
Greg Davies as Paul ‘Wicky’ Wickstead in The Cleaner.
The Cleaner (BBC One) is an abnormal creation, and – while captivating – it might end up being a mixed bag. Approximately roused by the German satire series Der Tatortreiniger (Crime Scene Cleaner), it is composed by Greg Davies, who likewise stars like Paul “Wicky” Wickstead, a cleaner shipped off mop up the wrecks abandoned after grim killings and awkward passings. (The title and arrangement somewhat ruin the primary joke, where he shows up as though he is a criminal investigator, just to smack down his plate of solvents and fabrics.) Each week, Wicky visits an alternate house; every week he manages an alternate “customer”, to put business-address deservedly horrifying use.
In this initial scene, he is entrusted with making a rural kitchen look ordinary again after a homicide, instead of how it looks as he shows up, which is as though somebody has pushed a cow in a blender and utilized the outcomes as backdrop glue. He before long ends up occupied with a mental contest with “the Widow”, played by Helena Bonham Carter, who is sensationally watchable in pretty much all that she does, including this. Here, she is at top HBC – rumpled, going after franticness, and in a beautifully curiously large coat. The Widow cut her significant other multiple times. “You just need five cuts,” Wicky protests. “Whatever else is showing off.”
What follows is a dramatic pride that does a ton with a negligible cast. There is a meddling neighbour who thinks cleaning to be a lady’s work – until Wicky thumps her back with a couple of compound equations and a gloat concerning how he can get beetroot out of anything – however, this is a two-hander among Davies and Bonham Carter. She gets back to the location of the crime and holds him, prisoner, inside an initial couple of moments of the scene, which forgets about its remainder to play as a reflection on fatigue, home life and what drives a lady to such lengths.