“POLDARK” Series One (2015): Episodes Five to Eight

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“POLDARK” SERIES ONE (2015): EPISODES FIVE TO EIGHT

Within the past year, I had developed a major interest in author Winston Graham’s 1945-2002 “POLDARK” literary saga and the two television adaptations of it. Series One of the second adaptation produced by Debbie Horsfield, premiered on the BBC (in Great Britain) and PBS (in the United States) last year. Consisting of eight episodes, Series One of “POLDARK” was an adaptation of 1945’s “Ross Poldark – A Novel of Cornwall, 1783-1787” and “Demelza – A Novel of Cornwall, 1788-1790”. Whereas Episodes One to Four adapted the 1945 novel, Episodes Five to Eight adapted the 1946 novel. 

Episode Four left off with the death of Ross Poldark’s uncle, Charles; leaving Trenwith, the family’s premiere estate, in the hands of his cousin Francis. Ross’ former kitchen maid and new bride, Demelza Carne Poldark, formed a friendship with Francis’ sister Verity and accompanied Ross to a rather tense Christmas celebration at Trenwith, which was further marred by an unexpected appearance of the noveau-riche Warleggan family and friends. Ross also learned that copper had been discovered inside his mine and that Demelza had become pregnant with their first child.

Episode Five began several months later with the arrival of a traveling theater company that includes a young actress named Keren, who attracts the attention of miner Mark Daniels. The episode also marked the arrival of two other players – Dwight Enys, a former British Army officer and doctor, who happens to be a former comrade of Ross’; and young Julia Poldark, whose birth interrupted her parents’ enjoyment of the traveling theater company’s performance. The four episodes featured a good number of events and changes in Ross Poldark’s life. Julia’s birth led to a riotous christening in which he and Demelza had to deal with unexpected guests. Francis lost his fortune and his mine to George Warleggan’s cousin Matthew Sanson at a gaming party. Ross learned that his former employee Jim Carter was seriously ill at the Bodomin Jail and tried to rescue the latter with Dwight Enys’ help. The tragic consequences of their attempt led to Ross’ ill nature at the Warleggan’s ball. Dwight drifted into an affair with Keren Daniels, with tragic results.

Ross and several other mine owners created the Carnmore Copper Company in an effort to break the Warleggans’ stranglehold on the mineral smelting business, while Demelza plotted to resurrect her cousin-in-law Verity Poldark’s romance with Captain Andrew Blamey. The success of her efforts led to an estrangement between Ross and Frances. Demelza’s matchmaking also led to financial disaster for her husband’s new business venture. A Putrid’s Throat epidemic struck the neighborhood, affecting Francis, Elizabeth and their son Geoffrey Charles. Not long after Demelza had nursed them back to health, both she and Julia were stricken by disease. The season ended with a series of tragic and tumultuous events. Although Demelza recovered, Julia succumbed to Putrid’s Throat. The Warleggans’ merchant ship wrecked off the coast of Poldark land and Ross alerted locals like Jud and Prudie Paynter to salvage any goods that wash up on the shore. This “salvaging” led to violence between those on Poldark lands and neighboring miners and later, both against local military troops. One of the victims of the shipwreck turned out to be the Warleggans’ cousin, Matthew Sanson. After Ross insulted Sanson’s death in George Warleggan’s face, the season ended with the latter arranging for Ross’ arrest for inciting the riot.

I must admit that I liked these next four episodes a bit more than I did the first quartet. Do not get me wrong. I enjoyed those first episodes very much. But Episodes Five to Eight not only deepened the saga – naturally, considering a they were continuation of the first four – but also expanded the world of Ross Poldark.

One of the aspects of Series One’s second half that caught both my attention and my admiration was the production’s continuing portrayal of Britain’s declining economic situation during the late 18th century . . . especially for the working class. Both Episodes Five and Seven featured brief scenes that conveyed this situation. In Episode Five; Ross, Demelza and Verity encounter a starving family on the road to Turo, begging for food or money. A second brief scene in Episode Seven featured Demelza baking bread and later, dispersing it to the neighborhood’s starving poor. However, the series also featured bigger scenes that really drove home the dire economic situation. Upon reaching Truro in Episode Five, both Demelza and Verity witnessed a riot that broke out between working-class locals and the militia when the former tried to access the grain stored inside Matthew Sanson’s warehouse. I found the sequence well shot by director William McGregor. The latter also did an excellent job in the sequence that featured locals like the Paynters ransacking much needed food and other goods that washed ashore from the Warleggans’ wrecked ship. I was especially impressed by how the entire sequence segued from Ross wallowing in a state of grief over his daughter’s death before spotting the shipwreck to the militia’s violent attempt to put down the riot that had developed between the tenants and miners on Ross’ land and locals from other community.

Even the upper-classes have felt the pinch of economic decline, due to the closing and loses of mines across the region and being in debt to bankers like the Warleggans. Following the discovery of copper inside his family’s mine in Episode Four, Ross seemed destined to avoid such destitution. Not only was he able to afford a new gown and jewels for Demelza to wear at the Warleggan ball in Episode Six, he used his profits from the mine to create a smelting company – the Carnmore Copper Company – with the assistance of other shareholders in an effort to break the Warleggans’ monopoly on the local mining industry. One cannot say the same for his cousin Francis, who continued to skirt on the edge of debt, following his father’s death. Unfortunately, Francis wasted a good deal of his money on gambling and presents for the local prostitute named Margaret. In a scene that was not in the novel, but I found both enjoyable and very effective, he lost both his remaining fortune and his mine, Wheal Grambler, to the Warleggans’ cousin, Matthew Sanson, at a gaming party. But this was not the end of the sequence. Thanks to director William McGregor and Horsfield’s script. The sequence became even more fascinating once the Poldarks at Trenwith learned of Francis’ loss, especially Elizabeth. And it ended on a dramatic level with Francis being forced to officially close Wheal Grambler in front a crowd. I realize the sequence was not featured in Graham’s novel, but if I must be honest; I thought Horsfield’s changes really added a good deal of drama to this turn of events. Not only did McGregor shot this sequence rather well, I really have to give kudos to Kyle Soller, who did an excellent job in portraying Francis at his nadir in this situation; and Heida Reed, who did such a superb job conveying the end of Elizabeth’s patience with her wayward husband with a slight change in voice tone, body language and expression.

I was also impressed by other scenes in Series One’s second half. The christening for Ross and Demelza’s new daughter, Julia, provided some rather hilarious moments as their upper-crust neighbors met Demelza’s religious fanatic of a father and stepmother. Thanks to Harriet Ballard and Mark Frost’s performances, I especially enjoyed the confrontation between the snobbish Ruth Treneglos and the blunt Mark Carne. It was a blast. Ross and Dwight’s ill-fated rescue of a seriously ill Jim Carter from the Bodmin Jail was filled with both tension and tragedy. Tension also marked the tone in one scene which one of the Warleggans’ minions become aware of the newly formed Carnmore Copper Company during a bidding session. Another scene that caught my interest featured George Warleggan’s successful attempt at manipulating a very angry Francis into revealing the names of shareholders in Ross’ new cooperative . . . especially after the latter learned about his sister Verity’s elopement with Andrew Blamey. Both Soller and Jack Farthing gave excellent and subtle performances in this scene. Once again, McGregor displayed a talent for directing large scenes in his handling of the sequence that featured the wreck of the Warleggans’ ship, the Queen Charlotte, and both the looting and riot on the beach that followed. Series One ended on a dismal note with Ross and Demelza dealing with the aftermath of young Julia’s death and Ross’ arrest by the militia for leading the beach riot. Although I found the latter scene a bit of a throwaway, I was impressed by the scene featuring a grieving Ross and Demelza, thanks to the excellent performances from series leads, Aidan Turner and Elinor Tomlinson.

If there is one sequence that I really enjoyed in Series One of “POLDARK”, it was the Warleggan ball featured in Episode Six. Ironically, not many people enjoyed it. They seemed put out by Ross’ boorish behavior. I enjoyed it. Ross seemed in danger of becoming a Gary Stu by this point. I thought it was time that audiences saw how unpleasant he can be. And Turner did such an excellent job in conveying that aspect of Ross’ personality. He also got the chance to verbally cross swords with Robin Ellis’ Reverend Dr. Halse for the second time. Frankly, it was one of the most enjoyable moments in the series, so far. Both Turner and Ellis really should consider doing another project together. The segment ended with not only an argument between Ross and Demelza that I found enjoyable, but also a rather tense card game between “our hero” and the Warleggans’ cousin Matthew Sanson that seemed enriched by performances from both Turner and Jason Thorpe.

I wish I had nothing further to say about Episodes to Eight of Series One. I really do. But . . . well, the episodes featured a good number of things to complain about. One, there were two sequences in which Horsfield and McGregor tried to utilize two scenes by showing them simultaneously. Episode Seven featured a segment in which both Demelza and Elizabeth tried to prevent a quarrel between two men in separate scenes – at the same time. And Episode Eight featured a segment in which both Ross and Demelza tried to explain the circumstances of their financial downfall (the destruction of the Carnmore Copper Company and Verity Poldark’s elopement) to each other via flashbacks . . . and at the same time. Either Horsfield was trying to be artistic or economic with the running time she had available. I do not know. However, I do feel that both sequences were clumsily handled and I hope that no such narrative device will be utilized in Series Two.

I have another minor quibble and it has to do with makeup for both Eleanor Tomlinson and Heida Reed. In Episode Eight, the characters for both actresses – Demelza Poldark and Elizabeth Poldark – had been stricken by Putrid’s Throat. Both characters came within an inch of death. Yet . . . for the likes of me, I found the production’s different handling of the makeup for both women upon their recovery from Putrid’s Throat rather odd. Whereas Elizabeth looked as if she had recently recovered from a serious illness or death (extreme paleness and dark circles under the eyes), the slight reddish tints on Demelza’s face made her looked as if she had recently recovered from a cold. Winston Graham’s portrayal of Demelza has always struck me as a bit too idealized. In fact, she tends to come off as a borderline Mary Sue. And both the 1970s series and this recent production are just as guilty in their handling of Demelza’s character. But this determination to make Demelza look beautiful – even while recovering from a near fatal illness – strikes me as completely ridiculous.

If there is one aspect of this second group of Series One’s episodes that really troubled me, it was the portrayal of traveling actress Keren Smith Daniels and her affair with Dr. Dwight Enys. After viewing Debbie Horsfield’s portrayal of the Keren Daniels character, I found myself wondering it Debbie Horsfield harbored some kind of whore/Madonna mentality. Why on earth did she portray Keren in such an unflattering and one-dimensional manner? Instead of delving into Keren’s unsatisfaction as Mark Daniels’ wife and treating her as a complex woman, Horsfield ended up portraying her as some one-dimensional hussy/adultress who saw Dwight as a stepping stone up the social ladder. Only in the final seconds of Keren’s death was actress Sabrina Barlett able to convey the character’s frustration with her life as a miner’s wife. Worse, Horsfield changed the nature of Keren’s death, by having Mark accidentally squeeze her to death during an altercation, instead of deliberately murdering her. Many had accused Horsfield of portraing Keren in this manner in order to justify Mark’s killing of her, along with Ross and Demelza’s decision to help him evade the law. Frankly, I agree. I find it distasteful that the portrayal of a character – especially a female character – was compromised to enrich the heroic image of the two leads – especially the leading man. Will this be the only instance of a supporting character being compromised for the sake of the leading character? Or was Horsfield’s portrayal of Keren Daniels the first of such other unnecessary changes to come?

Despite my disppointment with the portrayal of the Keren Daniels character and her affair with Dwigh Enys and a few other aspects of the production, I had no problems with Episode Five to Eight of Series One for “POLDARK”. If I must be honest, I enjoyed it slightly more than I did the first four episodes. With the adaptation of “Demelza – A Novel of Cornwall, 1788-1790” complete, I am curious to see how Debbie Horsfield and her production staff handle the adaptation of Winston Graham’s next two novels in his literary series.

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“THE HOBBIT: AN UNEXPECTED JOURNEY” (2012) Review

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“THE HOBBIT: AN UNEXPECTED JOURNEY” (2012) Review

I had nothing against the news of New Line Cinema’s attempt to adapt J.R.R. Tolkien’s 1937 novel, “The Hobbit” for the screen. But I had no idea that the studio, along with Metro-Goldwyn-Mayer and Warner Brothers would end up stringing out the adaptation into three movies. Three. That seemed a lot for a 300-page novel. The first chapter in this three-page adaptation turned out to be the 2012 release, “THE HOBBIT: AN UNEXPECTED JOURNEY”

Peter Jackson, who had directed the adaptation of Tolkien’s “Lord of the Rings” trilogy over a decade ago, returned to direct an earlier chapter of the author’s tales about Middle Earth. He nearly did not make it to the director’s chair. Guillermo del Toro was the first choice as director. However, del Toro Del left the project in May 2010 working with Jackson and the latter’s production team, due to delays caused in part by financial problems at Metro-Goldwyn-Mayer. He did remain with the project long enough to co-write the movie’s screenplay with Jackson, Fran Walsh, and Philippa Boyens. To my utter amazement, the efforts of the four screenwriters and Jackson’s direction has produced a good number of negative backlash against the film. Ironically, most of the film’s backlash has been directed at Jackson and cinematographer Andrew Lesnie’s use of high frame rate for the film’s look. Others have simply complained about the movie’s length and its inability to match the quality of the “LORD OF THE RINGS” Trilogy released between 2001 and 2003.

“THE HOBBIT: AN UNEXPECTED JOURNEY” began on the elderly Bilbo Baggins’ 111th birthday (shown in the 2001 movie), when he decides to recount the full story of an adventure he had experienced 60 years ago, for his nephew Frodo. Bilbo first reveals how the Dwarf kingdom of Erebor was taken over by a gold-loving dragon named Smaug. The Erebor Dwarves are scattered throughout Middle Earth. The Dwarf King Thrór was killed by an Orc, when he tried to settle his people in Moria. His son, Thráin II, was driven mad from one of the Rings handed over to his ancestor by Sauron before dying. Thráin II’s son, Thorin Oakenshield, became determined to not only recover Erebor from Smaug, but also recover their treasure. At Gandalf the Gray’s suggestion, Thorin and his followers traveled to the Shire to recruit Bilbo’s help in achieving their goals (they need the Hobbit to act as a burglar in order to get their Arkenstone back). At first, Bilbo was reluctant to join their quest. But he caved in at the idea of an adventure and eventually joined the Dwarves and Gandalf. Their adventures led them to an encounter with three Trolls; pursuing Orcs who want Thorin’s head for cutting off the arm of their war chief, Azog; a respite at Rivendell, due to the hospitality of Lord Elrond; and deadly encounters within the Misty Mountains with Goblins and for Bilbo, the current Ring bearer Gollum. The movie ended on the slopes of the Misty Mountains with a deadly encounter with Azog and his orcs.

How do I feel about “THE HOBBIT: AN UNEXPECTED JOURNEY”? Well for one thing, I still believe it was unnecessary for a three-movie adaptation of Tolkien’s 1937 novel. It is simply not big enough, despite the fact that this first film is shorter than the three “LORD OF THE RINGS” movie. I really do not see how Jackson would be able to stretch an adaptation of the novel into three movies, each with an average running time of 160-170 minutes. Judging from the movie’s first 30 minutes, I see that Jackson is going to stretch it as much as he can. Many people have commented on the new high frame rate that Jackson and Lesnie used for the film. Yes, the movie has a sharper and more colorful look. In fact, the film’s visual look reminded me of the use of Blu-Ray DVDs. Do I care? No. Hollywood critics and moviegoers have a tradition of ranting against any new film innovation – sound, color, digital cameras, CGI . . . you get the point. It has been ten years since George Lucas first used digital cameras for “STAR WARS: EPISODE II-ATTACK OF THE CLONES” and people are still bitching about it. Did I have a few problems with “THE HOBBIT: AN UNEXPECTED JOURNEY”? Sure. Although many people have problems with the movie’s first 20 to 30 minutes, claiming that the Shire sequence seemed to stretch forever. I only agree with that criticism to a certain extent. I had no problems with Bilbo’s humorous first encounter with the Dwarves. But I thought Jackson lingered unnecessarily too long on the sequence featuring the elderly Bilbo and Frodo. And although I enjoyed the mind game between the younger Bilbo and Gollum, I have yet to develop any fondness for the latter character. And if I have to be brutally honest, I found Howard Shore’s score for this movie less memorable than his work for the “LORD OF THE RING” films.

Despite the conflict over using three movies to adapt Tolkien’s novel and Jackson’s use of a new high frame rate, I have to say that I enjoyed “THE HOBBIT: AN UNDISCOVERED JOURNEY” very much. In fact, I enjoyed it more than I did the second and third movies from the “LORD OF THE RINGS” trilogy. Like 2001’s “LORD OF THE RINGS: FELLOWSHIP OF THE RING”, this new movie is basically a tale about a road trip. And there is nothing more dear to my heart than a road trip. Because Tolkien’s 1937 tale was basically a children’s story, “THE HOBBIT: AN UNEXPECTED JOURNEY” featured a good deal of more humor than was found in the “LORD OF THE RINGS” films. A great deal of that humor came from twelve of the thirteen Dwarves, whom Bilbo and Gandalf accompanied. Four of the funniest sequences turned out to be the Dwarves’ arrival at an increasingly irritated Bilbo’s home in the Shire, the traveling party’s encounter with three Trolls obsessed with their stomachs, the Dwarves’ reactions to Elvish food in Rivendell and Bilbo’s mental duel with Gollum. Like the “LORD OF THE RINGS” movies,“THE HOBBIT: AN UNEXPECTED JOURNEY” also featured some outstanding action sequences – especially the flashbacks about the downfall of the Erebor Dwarves; the traveling party’s efforts to evade the Orc hunting party with the assistance of a wizard named Radagast the Brown; and their battles with both the Goblins, and Azog and the Orcs.

The movie featured some solid performances from the cast. It was good to see Cate Blanchett and Hugo Weaving as Lady Galadriel and her son-in-law Lord Elrond again. Although I am not a fan of the Gollum character, I must admit that Andy Serkis gave another memorable performance of the malignant changeling. However, I am a little confused by his portrayal of Gollum with a split personality, since the character’s moral compass was not challenged by any acts of kindness in this film. Ian McKellen was commanding as ever as the wizard Gandalf the Gray. And it was also nice to see Ian Holm and Elijah Wood as the elderly Bilbo Baggins and Frodo Baggins again. I was a little taken aback by the presence of Christopher Lee reprising his role of the wizard Saruman, but merely as a supporting character and not as a villain. But I have to give kudos to Lee for revealing certain aspects of Saruman’s personality that made his eventual corruption in the “LORD OF THE RINGS” saga.

But there were four performances that really impressed me. I really enjoyed Martin Freeman’s portrayal of Bilbo Baggins. He did an exceptional job of projecting the character’s emotional development from a self-satisfied homebody to the adventurer who wins the respect of the Dwarves with his heroic actions by the end of the movie. I first noticed Richard Armitage in the 2004 television miniseries, “NORTH AND SOUTH” and have been impressed with this actor ever since. I realized that his character Thorin Oakenshield is being compared to the Aragon character from “LORD OF THE RINGS”. I would not bother. Thorin is a more complicated character. And Jackson chose the right actor – namely Armitage – to portray this heroic, yet prickly and hot tempered Dwarf. Thanks to Armitage’s superb performance, it was not hard to understand Gandalf’s frustrations over the character. If I must be honest, my memories of the twelve other Dwarves is a bit shaky. But there were two of them that stood out for me. Ken Stott was very effective as the elderly Balin, who provided a great deal of wisdom in the story. And I really enjoyed James Nesbitt as Bofur, who injected a great deal of charm and liveliness not only in his role, but also in the story.

I realize that “THE HOBBIT: AN UNDISCOVERED JOURNEY” has been receiving mixed reviews from critics. And honestly, I do not care. Mind you, it is not perfect and I see no need for a three-movie adaptation of Tolkien’s 1937 novel. But I really enjoyed watching the movie. It reminded me of the joy I had experienced in watching the first “LORD OF THE RINGS” movie,“Fellowship of the Rings”. And I believe that Peter Jackson and a first-rate cast led by Ian McKellen, Martin Freeman and Richard Armitage did an excellent job in adapting part of Tolkien’s novel.

 

“POLDARK” Series One (2015): Episodes One to Four

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“POLDARK” SERIES ONE (2015): EPISODES ONE TO FOUR

In the years between 2010 and 2015, I have not been able to stumble across a new British period drama that really impressed me. Five years. That is a hell of a long time for a nation with a sterling reputation for period dramas in both movies and television. Fortunately, the five-year dry spell finally came to an end (at least for me) with the arrival of “POLDARK”, the BBC’s new adaptation of Winston Graham’s literary series. 

I am certain that some people would point out that during this five-year period, the ITV network aired Julian Fellowes’ family drama, “DOWNTON ABBEY”. I must admit that I enjoyed the series’ first season. But Seasons Two to Six merely sunk to a level of mediocrity and questionable writing. I had never warmed to “RIPPER STREET” or “THE HOUR”. And I have yet to see either “PEAKY BLINDERS” or “INDIAN SUMMERS”.

A few years ago, I had tried a stab at the first episode of the 1975-1977 series, “POLDARK”, which starred Robin Ellis. After viewing ten minutes of theatrical acting and dated photography in Episode One on You Tube, I gave up. Last summer, I read all of the hullaballoo surrounding this new adaptation with Aidan Turner in the lead. Utilizing Netflix, I tried my luck again with the 1975 series and ended up enjoying the first four episodes (I have yet to watch any further episodes) and quite enjoyed it. Then I tried the first two episodes of the 2015 series and found it equally enjoyable. I enjoyed both versions so much that I took the trouble to purchase both the entire 1975-77 series and the first series of the new version. In fact, I have decided to watch both versions simultaneously. But I am here to discuss the first four episodes of the 2015 series.

Series One of “POLDARK” . . . well the 2015 version . . . is based upon Winston Graham’s first two novels in the saga – 1945’s “Ross Poldark: A Novel of Cornwall, 1783-1787” and 1946’s “Demelza: A Novel of Cornwall, 1788-1790”. Episodes One to Four seemed to be an adaptation of the 1945 novel. The series begins with a young Ross Poldark serving with the British Army in 1781 Virginia, during the American Revolution. During an attack by American troops, Ross is struck unconscious in the head by a rifle butt. The episode jumps two years later with Ross returning home to Cornwall by traveling coach. He learns from a fellow coach passenger and later, his Uncle Charles Poldark at the latter’s Trenwith estate that his father had died broke. More bad news follow with Ross’ discovery that his lady love, Elizabeth Chynoweth, became engaged to Charles’ son, his cousin Francis, after receiving news of his “death”. The only possessions Ross has left is his father’s estate, the smaller estate Nampara, which is now in ruins, two copper mines that had been closed for some time and two servants – the drunken Jud and Prudie Paynter – to help him work the estate. Even worse, a family named Warleggan, who had risen from being blacksmiths to bankers, were gaining financial control over the neighborhood. Not long after his decision to remain in Cornwall, Ross rescues a miner’s daughter named Demelza Carne from a mob trying to use her dog Garrick as part of a vicious dogfight. Taking pity on her, he decides to hire her as his new kitchen maid.

There have been a few complaints that this first season for the new “POLDARK” series had moved a bit too fast, in compared to the first one in 1975. After all, the latter spanned sixteen episodes in compare to the eight ones for this new first season. However, what many failed to consider is that the first series from 1975 had adapted four novels ranging from “Ross Poldark: A Novel of Cornwall, 1783-1787” to Graham’s fourth novel, 1953’s “Warleggan”. Granted, the Demelza Carne character was first introduced in this version’s first episode, whereas she was introduced in the second episode of the 1975 series. This did not bother me at all . . . in compare to some other viewers.

There were other changes that did not bother me. Many have commented on the warmer nature of Elizabeth Chynoweth Poldark, Ross’ former love and cousin-in-law. Frankly, I am glad that showrunner Debbie Horsfield had decided to go this route with Elizabeth. Unlike many, I have never considered Elizabeth’s character to be cold. Considering that Elizabeth was never a cold parent, I found it difficult to conceive her as a cold woman. I have always suspected that she was simply a very internalized character who kept her emotions close to her chest. Although actress Heida Reed portrayed Elizabeth as a reserved personality, the screenplay allowed more of her emotions to be revealed to the audience in compare to Winston Graham’s first four novels. Elizabeth’s erroneous decision to marry Francis and her personality flaws – namely her penchant for clinging to society’s rules – remained intact. But she was not portrayed as some walking icicle in a skirt, even though a good number of fans had a problem with this. I did not. I never saw the need to demand for this icy portrayal of Elizabeth in order to justify Ross’ love for Demelza. Apparently, neither did Horsfield. Some viewers have complained about Elizabeth’s husband, Francis Poldark, as well. He seemed too weak and hostile in compare to Graham’s portrayal of Francis in his novels. First of all, Francis never really struck me as a strong character to begin with. And thanks to the screenplay and Kyle Soller’s performance, Francis began the series as a rather nice young man who seemed genuinely relieved that Elizabeth had decided to continue with their wedding plans, despite Ross’ return from America. But it was easy to see how his character began its downward spiral, starting with the villainous George Warleggan’s poisonous insinuations that Ross and Elizabeth still had feelings for one another. And when you combine that with Charles Poldark’s equally negative comments regarding his nature, it was not difficult to see how Francis allowed his insecurities to eventually get the best of him.

Horsfield certainly stayed true to the story arc regarding the romance between Francis’ sister Verity Poldark and a hot-tempered sea captain named Captain Blamey. I must be honest . . . I have slightly mixed feelings about the whole matter. A part of me recognized Verity’s loneliness and the fact that her family seemed willing to use her spinster state as an excuse to nearly regulate her to the status of a housekeeper. My problem with this story arc is Captain Blamey. Why oh why did Graham made a character who had killed his wife in a fit of alcoholic rage during a domestic quarrel? When I first learned about his background, I could easily see why Charles and Francis Poldark were so against the idea of Verity becoming romantically involved in this guy. Yes, I realize that people need a second chance in life. Yes, I realized that Blamey was honest about his alcoholism and the details surrounding his wife’s death. But he became the first sympathetically portrayed male character who ends up committing an act of violence against a woman. The first of . . . how many? Two? Three? Frankly, I find this rather disturbing coming from a politically liberal writer like Graham, let alone any other writer.

But if there is one aspect of Graham’s saga that I wish Horsfield had not so faithfully adapted, it was the series of circumstances that led to Ross’ wedding to his kitchen maid, Demelza. By the beginning of Episode Three, audiences became aware of Demelza’s unrequited love for Ross. Audiences also became aware of Ross’ growing dependence of her presence in his household. I find this understandable, considering that both Jud and Prudie proved to be questionable servants. However, two things happened. First of all, one of Ross’ field hands, Jim Carter, got arrested for poaching on the property belonging to another landowner named Sir Hugh Bodrugan. Ross tried to prevent Jim from being sent to prison. Unfortunately, his temper got the best of him at Jim’s trial and he ended up in a heated debate with the narrow-minded judge, Reverend Halse. Meanwhile, Demelza received word from her abusive and newly religious father that he wanted her back in his home after hearing rumors that she and Ross were having an affair. So what happened? Demelza decided to spend her last day appreciating the finer household goods at Nampara . . . while wearing a gown that once belonged to Ross’ late mother. A drunken Ross returns home, finds her in his mother’s gown, chastises her before she seduces him into having sex. A day or so later, Ross decides to marry her in a private wedding ceremony with only Jud and Prudie as witnesses.

What on earth was Winston Graham thinking? What was he thinking? I have never come across anything so unrealistic in my life. What led Ross to marry Demelza in the first place? Many fans have tried to put a romantic sheen over the incident, claiming that subconsciously, Ross had already fallen in love with Demelza. Yeah . . . right. I knew better. I knew that Ross did not fall in love with her, until sometime after the wedding. So, why did he marry her? Someone named Tim Vicaryposted a theory that Ross, drunk and still angry over Jim Carter being imprisoned, had married Demelza as a way of thumbing his nose at the upper-classes, whom he blamed for Jim’s fate. To me, this sounds like Ross had entered matrimony, while having a suppressed temper tantrum. Hmmm . . . this sounds like him. But despite Mr. Vicary’s theory, I still have a problem with the circumstances surrounding Ross and Demelza’s nuptials. Why? Let me put it this way . . . if I had returned home and found my servant roaming around the house wearing the clothes of my dead parent, I would fire that person. Pronto. The only way this sequence could have worked for me was if Ross had fallen in love with Demelza by Episode Three. Ross may have been fond of his kitchen maid and grown used to her presence. But he was not in love with her . . . not at this stage.

I really do not have many other complaints about these first four episodes. Well . . . I have two other complaints. Minor complaints . . . really. There was a scene in Episode Two in which Ross and a prostitute named Margaret discussed Elizabeth’s marriage to Francis. Margaret cheerfully consoled Ross with the prediction that he would find someone who will make him forget Elizabeth. The next scene shifted to Demelza strolling across Nampara with her dog Garrick closely at her heels. Talk about heavy-handed foreshadowing. And if there is nothing I dislike more it is ham-fisted storytelling . . . especially when it promises to be misleading. My other complaint centered around the Ruth Teague character and her mother. I could understand why Ruth would be interested in marrying Ross. He is young, extremely attractive, a member of the upper-class and the owner of his own estate – no matter how dilapidated. But why on earth would Mrs. Teague support her daughter’s desire to become Mrs. Ross Poldark? Despite Ross’ status as a member of the landed gentry and a landowner, he has no fortune. Thanks to his late father, he found himself financially ruined upon his return to Cornwall. Why would Mrs. Teague want someone impoverished as her future son-in-law? Especially when she seemed to be just as ambitious for her daughter as Mrs. Chynoweth was for Elizabeth?

Despite the circumstances surrounding Ross and Demelza’s wedding and that ham-fisted moment in Episode Two, I enjoyed those first four episodes of “POLDARK”. Enormously. Watching them made me realize that Winston Graham had created a rich and entertaining saga about complex characters in a historical setting. I have to confess. My knowledge of Great Britain during the last two decades of the 18th century barely exists. So, watching “POLDARK” has allowed me to become a little more knowledgeable about this particular era in Britain’s history. One, I never knew that Britain’s conflict with and the loss of the American colonies had an economic impact upon the country . . . a negative one, as a matter of fact. I had heard of the United States and France’s economic struggles during this period, but I had no idea that Britain had struggled, as well. More importantly for Cornwall, the price of tin and copper had fallen during the 1770s and 1780s, thanks to this economic depression. This economic struggle contributed to the slow decline of the aristocracy and the landed gentry for Cornish families like the Poldarks and the Chynoweths. I read somewhere that this period also marked the increased rise of Methodism throughout the country. Although this phenomenon will play a bigger role later in the series, Episode Three revealed the first hint through Demelza’s ne’er do well father, who ended up becoming a fanatic Methodist after remarrying a widow with children.

But the heart and soul of this series is the drama that surrounds Ross Poldark and the other major characters in the saga. When I say all of the major characters, I meant it. I realize that many would regard both Ross and his kitchenmaid-turned-bride Demelza as the heart and soul of this saga. Well . . . yes, they are. But so are the other characters – including Francis, his father Charles, Verity, Jud, Prudie Cary Warleggan, Jim and Jinny Carter, Captain Blamey, Ruth Teague and especially George Warleggan and Elizabeth. I found them all fascinating. I especially enjoyed how their stories enriched Ross’ own personal arc.

More importantly, these first four episodes provided some very interesting moments and scenes that left a strong impression . . even now. I am certain that only a few would forget that moment when Ross experienced both joy and disbelief when he reunited with his family after three years. And at the same time, discovered that his lady love had moved past the reports of his death and became engaged to his cousin Francis. Wow, what a homecoming. Other memorable moments featured the first meeting between Ross and Demelza at the local street market and the first meeting between Verity and Captain Blamey at an assembly dance. Despite my feelings regarding the circumstances surrounding Ross and Demelza’s wedding, I must admit that I found her seduction of him rather sexy. The scene featuring Demelza and Verity’s growing friendship in early Season Four struck me as very charming and entertaining. I also enjoyed the Episode Threemontage that conveyed how Ross had grown accustomed to Demelza’s presence in his household and her ability to sense any of his particular needs. Another montage that I managed to enjoy, featured the community’s reaction to the couple’s wedding in early Episode Four, the poignant death of Charles Poldark in the same episode and the numerous conversations between Ross and George Warleggan that featured their growing enmity. But there were certain scenes – especially those that featured social gatherings – that stood out for me. They include:

*The assembly ball in Episode Two in which Verity met Captain Blamey for the first time. This scene also featured that very interesting and rather sexy dance between Ross and Elizabeth, which made it clear that the former lovers still harbored feelings for each . . . especially Ross. And this scene also marked the first time in which Francis became suspicious of those feelings, thanks to George’s poisonous insinuations.

*Charles and Francis’ confrontation with Ross regarding the latter’s support of Verity and Blamey’s courtship at Nampara. I found this scene to be very emotionally charged, due to the violent confrontation between Francis and Blamey that resulted in an ill-fated duel. It was capped by Elizabeth’s appearance at Nampara and her revelation that she was pregnant with Francis’ child.

*Ross tries to help his farm hand Jim Carter to avoid a prison sentence for poaching. This scene not only revealed Ross’ inability to control his temper and self-righteousness, but also featured a delicious confrontation between him and the judge, the Reverend Dr. Halse. And here is a lovely tidbit, the latter was portrayed by none other than Robin Ellis, who had portrayed Ross Poldark in the 1975-77.

*Episode Four also featured that marvelous Christmas at Trenwith sequence in which Ross and Demelza visit Francis and Elizabeth for the holidays. The entire cast involved in this sequence did a great job in infusing the tensions between the characters. I especially enjoyed the scene that featured the actual Christmas dinner.

Speaking of the cast, I have no complaints whatsoever. Everyone else have their favorites. But for me, the entire cast seemed to be giving it their all. Caroline Blakiston proved to be very witty as the elderly Aunt Agatha Poldark, who seemed bent upon making the other members of her family uncomfortable with her blunt comments. Warren Clarke gave a very memorable performance as Ross’ Uncle Charles. Unfortunately, he had passed away after filming his last scene in Episode Four. At least he went out with a first-rate role. Richard Harington made a very intense Captain Blamey and Harriet Ballard made an effectively bitchy Ruth Teague. “POLDARK” marked the first time I have ever really paid attention to Pip Torrens, who portrayed Cary Warleggan, George’s uncle. Which is not surprising, since he did a first-rate job in his portrayal of the greedy and venal banker, who seemed to be dismissive of both the upper and working classes. There were times when I could not decide whether to find Jud and Prudie Paynter funny or beneath contempt. This was due to the complex performances given by Phil Davis and Edney. I have already mentioned Robin Ellis, who was wonderfully intimidating and self-righteous as the bigoted Reverend Dr. Halse. Even after nine years away from the camera, he obviously has not lost his touch.

I first saw Ruby Bentall in the 2008 miniseries, “LOST IN AUSTEN”. But if I must be honest, I had barely noticed her. I certainly noticed her poignant and emotional performance as Verity Poldark, Ross’ “Plain Jane” cousin, who seemed doomed to spending the rest of her life serving her father’s and later, her brother’s household. Physically, Jack Farthing looks nothing like the literary George Warleggan from Graham’s novels. And I do not recall his character being featured so prominently in the first two novels. Personally, I do not care. I am really enjoying Farthing’s complex performance as the social climbing George, who seemed to resent the Poldarks’ upper-class status and especially Ross personally. Despite being as much of a greedy bastard as his uncle, Farthing did a great job in conveying George’s more humane nature. Fans have been so busy complaining that Kyle Soller’s portrayal of Ross’ cousin, Francis Polark, is nothing like the literary character, I feel they have been ignoring his superb performance. Personally, I suspect that Soller has been giving the best performance in the series. I have been really impressed by how he transformed Francis from a likable, yet mild young man to an embittered one filled with resentment and insecurities. I found myself wondering why Soller’s performance seemed familiar to me. Then it finally hit me . . . his portrayal of Francis reminded me of Robert Stack’s performance in the 1956 melodrama, “WRITTEN IN THE WIND”. Only Soller will be given the chance to take Francis’ character on another path before the series’ end.

The character of Elizabeth Chynoweth Poldark seemed to produce a curious reaction from fans of Graham’s literary series. From my exploration of the Internet, I have noticed that many fans either tend to ignore the two actresses who have portrayed her – Heida Reed and Jill Townsend in the 1970s series – or criticize their performances. For this particular series, I feel that Reed has been knocking it out of the ballpark in her portrayal of the introverted Elizabeth. Yes, Debbie Horsfield’s production has allowed Reed to express Elizabeth’s inner feelings a bit more prominent to the television audiences. Yet at the same time, the actress managed to perfectly capture the internalized and complex nature of Elizabeth’s character. On the other hand, fans and critics have expressed sheer rapture over Eleanor Tomlinson’s portrayal of Demelza Carne Poldark, the kitchen maid who became Ross’ bride. Well, I certainly believe that Tomlinson is doing a hell of a job portraying the earthy Demelza. What makes me appreciate her performance even more is how she manages to combine Demelza’s feisty personality and the insecurities that lurk underneath.

Before “POLDARK” first aired in Great Britain, many of the country’s media outlets had speculated on whether actor Aidan Turner would be able to live up to Robin Ellis’ portrayal of Ross Poldark from the 1970s. I knew it the moment I had heard he had been cast in the lead of this new series, based upon his previous work in “DESPERATE ROMANTICS” and “THE HOBBIT” film series. And Turner prove me right. He turned out to be the right man for the right role. Turner seems obviously capable of carrying the series on his shoulders. He has a very strong presence and seems quite capable of conveying Ross’ strong will. But more importantly, he is doing a top-notch of portraying not only Ross’ virtues – the will to rebuild his life and especially his compassion for other – but also his personal flaws – namely his temper, his arrogance and self-righteousness (which were on full display during Jim Carter’s trial and his assumption that Demelza would immediately know how to become an upper-class wife), and especially his obsessive nature, which has been directed at Elizabeth ever since his return to Cornwall.

Considering that this article is mainly about the first four episodes of “POLDARK”, I am surprised that I have written such a great deal. To be honest, this series has really impressed me. I have not been this enthused about a story since John Jakes’ “NORTH AND SOUTH” series and its television adaptation. I suspect that it is not as highly regarded by critics, due to it being labeled a bodice ripper or a turgid melodrama. But for me . . . personally . . . “POLDARK” is more than that. Yes, it is a costumed melodrama. But it is also a good history lesson of life in Britain in the late 18th century. And more importantly, the melodrama and the historical drama serve as effective backdrops to a first-rate story filled with interesting and very complex characters – especially one Ross Poldark. I cannot wait to see how Debbie Horsfield handles the second half of this first season.

 

“POLDARK” Series One (1975): Episodes One to Four

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“POLDARK” SERIES ONE (1975): EPISODES ONE TO FOUR

A few years ago, I had tried a stab at the first episode of the 1975-1977 series, “POLDARK”, which starred Robin Ellis. After viewing ten minutes of theatrical acting and dated photography in Episode One on You Tube, I gave up. 

Last summer, I read all of the hullaballoo surrounding this new adaptation with Aidan Turner in the lead. Utilizing Netflix, I tried my luck again with the 1975 series and ended up enjoying the first four episodes (I have yet to watch any further episodes) and quite enjoyed it. I enjoyed both versions so much that I took the trouble to purchase both the entire 1975-77 series and the 2015 series. In fact, I have decided to watch both versions simultaneously. But I am here to discuss the first four episodes of the 1975 series.

Series One of “POLDARK”, which aired in 1975, is based upon Winston Graham’s first four novels in the saga – 1945’s “Ross Poldark: A Novel of Cornwall, 1783-1787”“Demelza: A Novel of Cornwall, 1788-1790” (1946), 1950’s “Jeremy Poldark: A Novel of Cornwall, 1790-1791 and 1953’s “Warleggan (Poldark). Episodes One to Four seemed to be an adaptation of the first novel. The series begins with a young Ross Poldark returning home to Cornwall following military service with the British Army during the American Revolution. Ross spent the last year or two as a prisoner-of-war, unaware that he had been declared dead. He learns from a fellow coach passenger and later, his father’s solicitor that Joshua Poldark had died financially broke. More bad news follow with Ross’ discovery that his Uncle Charles Poldark had promised to sell his estate Nampara to the banking family, the Warleggans. And lady love, Elizabeth Chynoweth, had become engaged to Charles’ son, his cousin Francis, after receiving news of his “death”. The only possessions Ross has left are his father’s estate, Nampara, which is now in ruins, two mines that had been closed for some time and two servants – the drunken Jud and Prudie Paynter – to help him work the estate. Even worse, the Warleggans, who have risen from being blacksmiths to bankers, seemed to be gaining financial control over the neighborhood. In Episode Two, Ross rescues a miner’s daughter named Demelza Carne from a mob trying to use her dog Garrick as part of a vicious dogfight at a local fair. Taking pity on her, he decides to hire her as his new kitchen maid.

When I finally began to embark upon this series, I had no idea of its reputation as one of Britain’s most beloved period dramas. I discovered that “POLDARK” was regarded just as highly in the 1970s, as “DOWNTON ABBEY” had become some thirty-five to forty years later. Mind you, I regard Julian Fellowes’ series as the inferior series. My viewing of the first four episodes of this series made me finally appreciate why it was so highly regarded. It really is first-rate production. However . . . it had its problems. What movie or television production does not?

When it comes to an accurate adaptation of any novel or play, I tend to harbor ambiguous views on the matter. It depends upon how well it serves the story on screen or if it makes sense. Anyone familiar with Graham’s novels know that the 1975 adaptation is not accurate. I had no problems with the production starting with Ross’ stage journey to his home in Cornwall, considering that the novel started with a meeting between Ross’ dying father and his Uncle Charles. I had no problems with Elizabeth’s final reason for marrying Francis – to ensure that Charles Poldark would pay off her father’s debts. This little scenario even included an interesting scene in which Ross had volunteered to use his loan for Wheal Leisure to pay off Mr. Chynoweth’s debts in order to gain Elizabeth’s hand in marriage. Fortunately, she stopped him from committing such a stupid act. But I had a problem with one major change and a few minor ones.

My biggest problem with these first four episodes of “POLDARK” centered on the circumstances that led Ross to marry his kitchen maid, Demelza Carne. Apparently, the series’ producers and screenwriter Jack Pulman must have found Graham’s portrayal of this situation hard to swallow and decided to change the circumstances leading to Ross and Demelza’s marriage. In this version, Ross became drunk following his failure to prevent his former farmhand Jim Carter from being sentenced to prison for poaching. Demelza, who had been harboring a yen for Ross, decided to comfort him with sex. The following morning, Ross decided it would be better if Demelza no longer work at Nampara, so that he would not be tempted to have sex with her again. And what happened? Demelza eventually went to live with her father Tom Carne, now a religious zealot, and his new wife. She also discovered that she was pregnant. To make matter worse, Ross managed to convince his former love, Elizabeth Poldark, to leave his adulterous cousin Francis and live with him.

One, I found it very implausible that a man of Ross’ station and time would marry his kitchen maid. He might sleep with her . . . yes. But marry her? A “responsible” man like Ross would have settled money upon Demelza, find a man of her class willing to accept her as a wife and the baby as his . . . or both. He would not marry her. As for Elizabeth’s willingness to leave Francis for Ross . . . I really found this implausible. Elizabeth is too pragmatic to be willing to sacrifice her respectability to leave her husband for another man. Nor would she be willing to risk losing her son Geoffrey Charles, for Francis would have never allowed her to see the boy again. The only way this whole situation could have worked is if Ross had been in love with Demelza at the time. If he had, he would have never suggested that Elizabeth leave Francis for him.

There were other problems – minor problems – that I found in these first four episodes.h sex. The following morning, Ross decided it would be better if Demelza no longer work at Nampara, so that he would not be tempted to have sex with her again. And what happened? Demelza eventually went to live with her father Tom Carne, now a religious zealot, and his new wife. She also discovered that she was pregnant. To make matter worse, Ross managed to convince his former love, Elizabeth Poldark, to leave his adulterous cousin Francis and live with him.

One, I found it very implausible that a man of Ross’ station and time would marry his kitchen maid. He might sleep with her . . . yes. But marry her? A “responsible” man like Ross would have settled money upon Demelza, find a man of her class willing to accept her as a wife and the baby as his . . . or both. He would not marry her. As for Elizabeth’s willingness to leave Francis for Ross . . . I really found this implausible. Elizabeth is too pragmatic to be willing to sacrifice her respectability to leave her husband for another man. Nor would she be willing to risk losing her son Geoffrey Charles, for Francis would have never allowed her to see the boy again. The only way this whole situation could have worked is if Ross had been in love with Demelza at the time. If he had, he would have never suggested that Elizabeth leave Francis for him.

There were other problems – minor problems – that I found in these first four episodes. One episode featured Francis’ violent encounter with Verity’s wannabee suitor, Captain Blamey and the other, a fight between Ross and his future father-in-law, Tom Carne. And I thought Christopher Barry handled both scenes in a rather clumsy manner. Both situations seemed to be a case of “now you see it, now you don’t”. In Ross’ fight with Carne, the 17 year-old Demelza got into the melee (which did not happen in the novel), allowing her to spout some nonsense about women’s right in one of those “a woman’s travails” speeches that came off as . . . well, clumsy and contrived. It did not help that actress Angharad Rees seemed to be screeching at the top of her voice at the time. In fact, screeching seemed to be the hallmark of Rees’ early portrayal of the adolescent Demelza in an emotional state. Some fans have waxed lyrical over Clive Francis’ portrayal of Francis Poldark. So far, I have yet to see what the big deal was about. Other than three scenes, Francis spent these first four episodes portraying a cold and rather aloof Francis. I found it difficult to get emotionally invested in the character.

Considering all of the problems I had with Episodes One-Four, one would wonder why I enjoyed “POLDARK”. The series may not be perfect, but it was damn entertaining. Some have compared the production to the 1939 film, “GONE WITH THE WIND”. But honestly, it reminds me of the television adaptation of John Jakes’ literary trilogy, “North and South”. Both the Seventies series and the “NORTH AND SOUTH” Trilogy between 1985 and 1994 share so many similarities. Both series featured their own set of flaws, entertaining melodrama, strong characterizations and a historical backdrop. In the case of “POLDARK”, the historical backdrop featured Great Britain – especially Cornwall – after the American Revolution, during the last two decades of the 18th century. It is a period of which I have never been familiar – especially in Britain. I never knew that Britain’s conflict with and the loss of the American colonies had such a negative impact upon the country’s economic state. I had heard of the United States and France’s economic struggles during this period, but I never knew about Britain’s struggles. I also recently learned about the impact of the fallen tin and copper prices on Cornwall, during the 1770s and especially the 1780s. This economic struggle contributed to the slow decline of the aristocracy and the landed gentry for Cornish families like the Poldarks and the Chynoweths. 

I thought this economic depression was well-handled by the production team. Not once did the producers, Barry or Pulman rush through Ross’ struggles to establish a new fortune. They also took their time in conveying the struggles of nearly everyone else in the neighborhood – the other members of the Poldark family, the Cynoweths, and especially the working-class. This struggle of the working-class manifested not only Demelza’s story arc, but also that of Jim and Jinny Carter in the first three episodes. This struggled boiled down to a heartbreaking moment in which Jim was caught poaching on a local estate and sentenced to prison – despite Ross’ futile efforts to help him. I noticed that although the Warleggan family loomed menacingly in the background, only one member had made at least two appearances in these first four episodes – Nicholas Warleggan. The most famous member of the family – George Warleggan – had yet to make an appearance.

And despite my complaints about the situation that led to Ross and Demelza’s marriage, I must admit that the emotional journey of Ross and the other leading characters managed to grab my attention. Being familiar with Graham’s novel, I am well aware that Ross’ return, Elizabeth’s decision to marry Francis, Ross’ meeting with Demelza, the marital fallout between Elizabeth and Francis and Ross’ inability to get over losing Elizabeth will have consequences down the road. I have to admit that “POLDARK” did a pretty damn good job in setting up the entire saga . . . despite a few hiccups. I found it interesting that Episode One solely featured Ross’ return and his emotional reaction to Elizabeth’s decision to marry Francis. He did not even meet Demelza until Episode Two

These first four episodes also set up a conflict between Demelza and Elizabeth. I have mixed feelings about this. Personally, I rather liked how Debbie Horsfield managed to set up a quasi-friendship between the two women in the new adaptation. But since Demelza and Elizabeth were probably doomed not to be friends, I see that screenwriter Jack Pulman decided to immediately go for the jugular and set up hostilities between the pair. In Episode Three, a jealous Demelza had maliciously blamed Elizabeth for Francis’ infidelity, even though she had yet to meet the pair. I found this even more ironic, considering the episode also featured a minor scene in which Elizabeth actually made an attempt to emotionally reach out to Francis. He rejected her due to an assignation with some prostitute. And the whole scenario regarding Ross’ suggestion that Elizabeth leave Francis and Demelza’s pregnancy boiled down to a long scene in which Ross informed Elizabeth of the situation and her angry reaction. Which included calling Demelza a whore. By the end of Episode Four, Pulman and Barry had firmly established hostility between the two women.

Much has been said about the series’ exteriors shot in Cornwall. Yes, they looked beautiful, wild and almost exotic for Great Britain. Not even the faded photography can hide the beauty of the Cornish landscape. I also found John Bloomfield’s costume designs very attractive, but not exactly mind blowing. Also, a few of the costumes for actress Jill Townsend seemed a bit loose – especially in the first two episodes. As for the series’ score written by Kenyon Emrys-Roberts . . . not exactly memorable.

I might as well come to the performances featured in Episodes One to Four. Overall, I found them pretty solid. Although I came away with the feeling that some of the cast members and director Christopher Barry thought “POLDARK” was a stage play. Yes, I found some of the performances a bit theatrical. And I have to include some of the main cast members. I have always liked the Charles Poldark character – not because he was likable. I simply found him rather colorful. And I thought actor Frank Middlemass did an excellent job in conveying this aspect of Mr. Poldark Senior. Jonathan Newth gave a solid, yet intense performance as the barely volatile Captain Blamey. Both Paul Curran and Mary Wimbush gave very colorful performances as Ross’ slothful servants, Jud and Prudie Paynter. And yet, some of that color threatened to become very theatrical. On the other hand, Stuart Doughty gave a solid and subtle performance as Ross’ former servant-turned-miner, Jim Carter. I could also say the same for Jillian Bailey, who portrayed Jim’s wife, Jinny. By the way, fans of the 1983 miniseries, “JANE EYRE” should be able to spot Zelah Clarke (a future Jane Eyre) in a small role as one of the stagecoach passengers in the opening scene of Episode One.

There have been a great deal of praise for Angharad Rees’ portrayal of Demelza Carne, Ross’ kitchen maid and soon-to-be wife. And yes, I believe she earned that praise . . . at least in the second half of Episode Three and all of Episode Four. I found her performance very lively and when the scene demanded it, subtle. I thought she was outstanding in the scene that featured Demelza’s seduction of Ross. However, she was at least thirty or thirty-one when she portrayed Demelza in Series One. And her portrayal of a Demelza in early-to-mid adolescence struck me as loud and over-the-top. Thankfully, the screeching ceased in the second half of Episode Three. Clive Francis’ portrayal of Francis Poldark struck me as somewhat subdued or a bit on the cold side – except in two scenes. One of them featured Francis’ near death inside the Wheal Leisure mine, when he feared Ross would allow him to drown. Another featured his confrontation with Captain Blamey, the sea captain who became romantically interested in Francis’ sister Verity. In both cases, the actor came off as a bit theatrical. But I thought his performance in Episode Four, which featured Elizabeth’s announcement that she would leave Francis, seemed more controlled, yet properly emotional at the same time.

If I have to give awards for the best two performances in these first four episodes, I would give them to Jill Townsend as Elizabeth Chynoweth Poldark and Norma Streader as Verity Poldark. It seemed to me they were the only two members of the cast who managed to avoid any theatrical acting in any of their scenes. Even when their characters were in an emotional state. One of Streader’s finest moments occurred in Season Two, when she expressed her feelings about Captain Blamey in a conversation with her cousin Ross. Despite expressing Verity’s emotions in a fervent manner, Streader still managed to maintain control of her performance. For me, Townsend’s finest moments occurred throughout Episode Four. From the moment Ross suggested that Elizabeth leave Francis for good, Townsend conveyed Elizabeth’s emotional journey throughout this episode – from surprise to hopeful to desperation, relief, happiness, disbelief, anger and finally bittersweet disappointment. I may not have approved the producers’ decision to include a scene featuring Demelza’s pregnancy and Elizabeth’s decision to leave Francis. But dammit, Townsend acted her ass off and gave the best performance from the entire cast during this particular sequence. One of her best scenes featured a one-on-one conversation with Streader’s Verity.

I have seen actor Robin Ellis in other movie and television productions, including 1971’s “SENSE AND SENSIBILITY” and 1981’s “THE GOOD SOLDIER”. If I were to pick his best roles, I would choose two – the passive aggressive American John Dowell in “THE GOOD SOLDIER” and of course, Ross Poldark. The producers of the series selected the right actor to portray the volatile war veteran-turned-mine owner from Graham’s saga. He is Ross Poldark . . . of the 1970s that is. Granted, Ellis had his moments of theatrical acting. There were times during the first four episodes in which I had to turn down my television volume. But despite this, I thought he did an excellent job in capturing all aspects – both good and bad – of his character’s personality. Two scenes featuring his performance caught my attention. Ellis seemed a bit scary and intense when he expressed Ross’ reaction to being rejected by Elizabeth Chynoweth in Episode One. And I thought he gave a poignant performance in the scene that featured Demelza’s seduction of Ross.

There you have it . . . my impression of the first four episodes from the 1975 series, “POLDARK”. So far, this adaptation of the first novel in Winston Graham’s literary series had its share of flaws. But I feel that its virtues overshadowed the former. In fact, I found myself so captivated by Episodes One to Four that I feel more than ready to continue this saga. Onward to Episode Five!

 

Adapting “WARLEGGAN”

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ADAPTING “WARLEGGAN”

Do many fans of the current adaptation of Winston Graham’s “POLDARK” saga have an unnatural hatred of the character known as Elizabeth Chynoweth Poldark Warleggan? Or do they merely dislike her? Did this “dislike” lead producer Debbie Horsfield and the BBC to sanction a major change in the relationship between Elizabeth and the saga’s protagonist, Ross Poldark during the current series’ Season Two? A change that I personally found disturbing? Or was it something else? 

Last summer, I encountered rumors that “POLDARK” producer Debbie Horsfield and the BBC had decided to make a major change to the series’s adaptation of the 1953 novel, “Warleggan: A Novel of Cornwall, 1792-1793” – a change that eventually reflected in Episode Eight (Episode Seven in the U.S.) of the series’ second season. Horsfield and the BBC decided to deliberately change the nature of an encounter between Ross Poldark and Elizabeth Poldark in an effort to preserve Ross’ “heroic” image. Nearly a month after learning this decision, I learned that both leading man Aidan Turner and co-star Heida Reed (who portrays Elizabeth Poldark) had met with Horsfield. Turner claimed, along with Horsfield and Graham’s son, Andrew Graham, that the May 9, 1793 encounter between Ross and Elizabeth had been consensual sex and not rape, when the protagonist appeared at his cousin-in-law’s home (the Trenwith estate) to convince her not to marry his on-going nemesis, banker George Warleggan. Judging from what I had read in the 1953 novel, I find this opinion hard to accept:

“‘I can’t help this either.’ He kissed her. She turned her face away but could not get it far enough round to avoid him.

When he lifted his head, her eyes were lit with anger. He’d never seen her like it before, and he found pleasure in it.

‘This is – contemptible! I shouldn’t have believed it of you! To force yourself . . . To insult me when – when I have no one . . .

‘I don’t like this marriage to George, Elizabeth. I don’t like it! I should be glad of your assurance that you’ll not go through with it.’

‘I’d be surprised if you believed me if I gave it you! You called me a liar! Well, at least I do not go back on my promises! I love George to distraction and shall marry him next week-‘

He caught her again, and this time began to kiss her with intense passion to which anger had given an extra relish, before anger was lost. Her hair began to fall in plaited tangles. She got her hand up to his mouth, but he brushed it away. Then she smacked his face, so he pinioned her arm . . .

She suddenly found herself for a brief second nearly free. ‘You treat me -like a slut-‘

‘It’s time you were so treated-‘

‘Let me go, Ross! You’re hateful — horrible! If George –’

‘Shall you marry him?’

‘Don’t! I’ll scream! Oh, God, Ross … Please . . .’

‘Whatever you say, I don’t think I can believe you now. Isn’t that so?’

‘Tomorrow-‘

‘There’s no tomorrow,’ he said. ‘It doesn’t come. Life is an illusion. Didn’t you know? Let us make the most of the shadows.’

‘Ross, you can’t intend . . . Stop! Stop, I tell you.’

But he took no further notice of the words she spoke. He lifted her in his arms and carried her to the bed.”

This is how Graham had ended both the chapter and the scene . . . with Ross forcing Elizabeth on her bed . . . against her will. It did not end with any hint that they were about to embark upon consensual sex.

Many fans of the series, especially young female fans had reacted with joy over the news. What they had failed to realize was that in making this change, Horsfield threatened to undermine the lesson of Ross and Elizabeth’s story arc and what it really meant. Winston Graham – a male writer – had the balls to show that even the “heroic” Ross Poldark was capable of a monstrous act. He had the courage to reveal that Ross was not some romance novel hero, but a complex and ambiguous man, capable of not only decent acts, but monstrous ones as well. Like any other human being on the face of this Earth. More importantly, his assault of Elizabeth revealed the consequences that rape victims tend to pay in a patriarchal society – past or present – in the novels that followed. It seemed Debbie Horsfield and the BBC were only willing to portray Ross as an adulterer. Is it possible they believed it would be easier for viewers to accept Ross simply as an adulterer, instead of an adulterer/rapist? Some individuals, including Turner, claimed that Ross was incapable of rape. Bullshit! Although a fictional character, Ross Poldark is also a human being. And humans are basically capable of anything. Hell, Agatha Christie had the good sense to realize this. Why is it that so many other humans are incapable of doing the same?

The moment I had learned that she had decided to turn Ross’ rape into an act of consensual sex between him and Elizabeth, I suspected that fans would end up slut shaming the latter. I suspected that even though many fans would be “disappointed” in Ross, they would eventually forgive him. However, I also suspected that these same fans would end up branding Elizabeth as a whore until the end of this series. It is soooo typical of this sexist society. The woman is always to blame. Even in the eyes of other women.

So, what actually happened between Ross and Elizabeth in the BBC’s recent adaptation of “Warleggan”? In Episode 8 (Episode 7 in the U.S.), Ross returned home to Nampara, his personal estate, and discovered a letter from Elizabeth in which she announced her engagement to George Warleggan. Despite his wife Demelza’s protests, Ross decided to go to Trenwith and try to convince or perhaps coerce Elizabeth into breaking the engagement. He showed up at Trenwith, barged into both the house and Elizabeth’s bedroom. An argument commenced between the two in which Ross tried to shame Elizabeth into breaking the engagement. She refused to comply, making it clear that her actions stemmed from saving her immediate family at Trenwith from further financial problems and ensuring her son (and Ross’ cousin) Geoffrey Charles’ future.

And . . . what happened next? Ross began to force himself upon Elizabeth. She tried to put up a fight, while insisting that he leave. He eventually forced her on the bed. And just as he was about to rape her, Elizabeth capitulated at the last minute. This last moment of consent was Horsfield and the BBC’s way of stating that the entire scene between Ross and Elizabeth was basically consensual sex. Can you believe it? Considering the manner in which Elizabeth tried and failed to fight off Ross before she “consented”, the entire scene might as well have been rape. After all, Elizabeth fought Ross until he had her pinned on the bed. If she had not “consented”, chances are he would have raped her anyway. Worse, the culmination of the entire scene projected the negative image of a “rape fantasy”. I am sure that many of you know what I mean. When a woman or a man says “no”, he or she really means “yes”.

You may be wondering why I would include a potential male victim in this scenario. Simple . . . many people harbor the illusion that men do not mind being the victim of a woman’s rape. Also, I saw this same scenario play out in a “BUFFY THE VAMPIRE SLAYER” Season Six episode called (6.11) “Gone”. In this episode, the series’ protagonist had been rendered invisible by some ray gun (go with me here) invented by a trio of geeky scientists. Using her invisibility to indulge in her own desires, Buffy decided to pay a call to chipped vampire Spike (with whom she had begun an affair earlier in the season) at his crypt. She barged into the latter, shoved a frightened Spike against the wall and started to rip off his clothes. He only consented to have sex at the last minute when an uncontrolled giggle from Buffy revealed her identity. What made this scene rather sickening to watch was that it was written as comedy relief. I have the oddest feeling that producer Debbie Horsfield may have seen this particular episode and decided to write her own version of the situation in order to spare Ross Poldark from being labeled a rapist.

Someone had pointed out that the 1975 adaptation produced by Morris Barry and Anthony Coburn had adapted this sequence with more honesty. After a recent viewing of this series, I am afraid that I cannot agree. What happened? Well … one scene featured a conversation between Elizabeth and her sister-in-law, Verity Poldark Blamey, in which she made it clear that her reason for marrying George Warleggan was for money and more social clout. To make matters worse, the scene had Verity instructing Elizabeth to explain to Ross that the latter was considering the family’s salvation from a future filled with poverty and Geoffrey Charles’ future. But Elizabeth made it clear – in a rather bitchy and unsympathetic manner conveyed by actress Jill Townsend – that her reasons for George was all about a new life for her – with a wealthy husband. And she set out to include this in her letter to Ross. Even worse, the screenwriter had drastically changed Elizabeth’s personality once the series had commenced upon adapting “Warleggan” in Episode Thirteen. She suddenly began behaving as “The Bitch of the Century”.

When Ross had finally confronted her in Episode Fifteen, Elizabeth still insisted that a marriage to George was a way for her to have a new life. What I found distasteful about the whole thing is that this was NOT Elizabeth’s true reason for marrying George Warleggan in the 1953 novel. She truly made the decision to marry George in order to spare her family – especially Geoffrey Charles – a long future trapped in poverty, as was conveyed in the 2016 series. But I ended up acquiring the ugly feeling that Barry, Coburn and screenwriter Jack Russell had decided to change Elizabeth’s reason for marrying George in order to justify Ross’ rape of her.

And yes . . . Ross did rape Elizabeth in the 1975 series. Unlike the 2016 version, there was no last minute consent on Elizabeth’s part. But I found the entire scene rather rushed. Once Ross and Elizabeth barely had time to discuss or argue over the matter, the former quickly tackled the latter to the bed and began to rape her, as the scene faded to black. However, both versions set out to regain Ross’ reputation with the viewers by the end of their respective adaptations of “Warleggan”. How did they achieve this? Screenwriter Jack Russell included a scene in the last episode of the 1975 series in which George Warleggan had enclosed the Trenwith land from the tenants, forcing them to transform from small peasant proprietors and serfs into agricultural wage-laborers. This action led to a riot in which the former tenant farmers stormed the Trenwith manor house and burn it to the ground. During the riot, Ross and Demelza arrived to save the recently married Elizabeth and George from mob violence. This also gave the series’ producers and Russell to have Elizabeth ask Ross why he had decided to save George from the mob. What the hell? The enclosures happened in the novel. But not the riot. What was the purpose of this? To give Ross an opportunity to give Elizabeth a “you are beneath me” glare?

Debbie Horsfield decided to resort to a similar scenario in the 2016 version. However, before she could subject television audiences to this idiocy, she included a scene in which an angry Demelza Poldark got a chance to slut shame Elizabeth during an encounter between the pair on a deserted road. This scene, by the way, never happened in the novel. And quite frankly, I never understood Horsfield’s purpose by including this scene. What did she expect from the audience? Viewers pumping their fists in the air while crying, “Demelza, you go girl?” Perhaps there were fans that actually did this or something similar. I did not. In fact, I merely shook my head in disbelief. Pardon me, but I found it difficult to cheer on Demelza’s behalf, when I just recently watched her husband force himself on Elizabeth. Unlike the 1975 version, the Trenwith riot sequence did not end with the house burned to the ground. Instead, it ended with Nampara servant Jud Paynter, whipping up a mob to march on Trenwith and Ross preventing Demelza (who had gone to Trenwith to warn Elizabeth and George about the impending riot) from being shot by one of the rioters. The scene even included Ross riding through the crowd on a horse and sweeping Demelza up onto the saddle. It seemed like a scene straight from a Harlequin Romance novel. And I had to struggle to force down the bile that threatened to rise up my throat.

From the moment Elizabeth Poldark had decided to inform Ross of her upcoming marriage to George Warleggan to the latter’s confrontation with Ross over the Trenwith enclosures, the adaptations of Winston Graham’s 1953 novel for both the 1975 and 2016 series . . . well, for me they have been major disappointments. I am certain that many would continue to insist that Ross did not rape Elizabeth. Despite Debbie Horsfield and Andrew Graham, Winston Graham had verified what happened in this passage from his last “Poldark” novel, 2002’s Bella Poldark: A Novel of Cornwall, 1818-1820″:

“They took Ross to Trenwith, the nearest of the big houses and about equidistant from the nearest cottage of St Ann’s. They made an improvised stretcher of an old door, and he lay on a blanket and covered by a blanket. Amadora, confronted by the emergency, in all ignorance put him in the very bedroom where he had taken Elizabeth against her will twenty-seven or more years ago, and so had started all this trouble, which had gone on so relentlessly and for so long. Dwight caught up with the procession just as it reached Trenwith, so followed the four men carrying the door upstairs.”

Were producers Morris Barry, Anthony Coburn and Debbie Horsfield unwilling to allow television audiences to face the truth about Ross’ violent act against his soon-to-be former cousin-in-law? Was that why all three television producers had insisted upon changing the circumstances that surrounded Ross and Elizabeth’s encounter on that May 1793 night? Or were they pressured by the BBC to make these changes, who may have feared that television audiences could not openly face or accept Ross as a rapist? Or perhaps the three producers, along with the BBC, knew that many viewers could accept Ross as an adulterer, but not as a rapist? Who knows? I know one thing. I hope and pray that one day, some television producer would be able to adapt “Warleggan” without resorting to excessive changes.

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