“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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JANE AUSTEN’s Hero Gallery

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Below is a look at the fictional heroes created by Jane Austen in the six published novels written by her. So, without further ado . . .

 

JANE AUSTEN’S HERO GALLERY

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Edward Ferrars – “Sense and Sensibility” (1811)

Edward Ferrars does not seemed to be highly regarded by many Jane Austen fans or literary critics. People seemed to take this mild-mannered, unambitious young man for granted and in some cases, dismiss him as weak. Although mild-mannered, I would never regard Edward as weak. I found him stalwart and willing to take responsibility for the consequences of his actions . . . even if this trait nearly led him into matrimony with the manipulative Lucy Steele.

 

1. Robin Ellis (1971) – He gave a charming and solid performance as the likeable Edward. After many viewings, I even learned to tolerate the stuttering he used for portraying Edward. Ellis and actress Joanna David had a nice chemistry, but it did not exactly blow my mind.

 

2. Bosco Hogan (1981) – I must admit that I had originally found his performance in the 1981 miniseries as somewhat tepid. But on second viewing, I realized that I had underestimated him. Despite his low-key portrayal of Edward . . . or because of it, I detected some rather interesting moments in Hogan’s performance in which he effectively conveyed Edward’s emotional state, while trying to suppress it. I am impressed.

 

3. Hugh Grant (1995) – At first, I was not impressed by Grant’s portrayal of Grant. But on later viewings, I noticed that he injected a good deal of charm and humor into his performance. And he had some pretty good lines in the movie’s first half hour. More importantly, he had great chemistry with leading lady Emma Thompson.

 

4. Dan Stevens (2008) – He conveyed more emotion and charm into his performance than his predecessors and it worked for him. And like Grant before him, he had great chemistry with his leading lady Hattie Moran.

 

 

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Colonel Christopher Brandon – “Sense and Sensibility” (1811)

There are some critics and fans who believe that the quiet and always loyal Colonel Brandon was wrong for the much younger Marianne Dashwood. Personally, I found him a major improvement over John Willoughby. And despite his quiet demeanor, he seemed to be just as emotional as she . . . but with more control.

 

 

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1. Richard Owens (1971) – His performance slowly grew on me, as the miniseries progressed. I thought he gave a pretty good performance and did a solid job in slowly revealing Brandon’s feelings for Marianne.

 

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2. Robert Swann (1981) – He must be the most emotional Colonel Brandon I have ever seen on screen. At least once his character’s feelings for Marianne were finally exposed. Personally, I liked his take on Brandon very much, even though most fans do not seem to care for his performance.

 

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3. Alan Rickman (1995) – He made an excellent Colonel Brandon. I was impressed by how he revealed the character’s romantic nature behind the stoic facade. I also feeling that Brandon is one of the actor’s best roles.

 

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4. David Morrissey (2008) – He is the last actor I could imagine portraying the reserved, yet passionate Colonel Brandon. And yet, not only did he did a great job in the role, he also gave one of the best performances in the miniseries.

 

 

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Fitzwilliam Darcy – “Pride and Prejudice” (1813)

Unless I am mistaken, Fitzwilliam Darcy must be the most popular leading man created by Jane Austen. There are times when he seems more popular than the novel’s leading character, Elizabeth Bennet. Although he is not my favorite Austen leading man, I must say that he is one of the most fascinating. However, I found his “redemption” in the story’s third act a bit too good to be true.

 

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1. Laurence Olivier (1940) – He gave a very good performance as Fitzwilliam Darcy and was properly haughty. But there were times when he displayed Darcy’s feelings for Elizabeth Bennet a little too openly . . . especially in the movie’s first half.

 

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2. David Rintoul (1980) – His Mr. Darcy was probably the most haughty I have ever seen on screen. There were moments when his portrayal seemed a bit too haughty, especially scenes in which his feelings for Elizabeth should have been obvious. But I believe he still have a first-rate performance.

 

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3. Colin Firth (1995) – He received an Emmy nomination for his portrayal of Mr. Darcy in the 1995 miniseries. And I believe he fully deserved it. Hell, I would have given him the award. He did a great job in portraying the character’s complexity with a balance I have never seen in the other actors who portrayed the same character.

 

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4. Matthew McFadyen (2005) – He gave a very good performance as Mr. Darcy. However, I think Joe Wright’s script emphasized a bit too much on the character’s shyness and inability to easily socialize with others.

 

 

   

Charles Bingley – “Pride and Prejudice” (1813)

I have always found this character to be sociable, charming and very likable. However, he has never struck me as complex as Fitzwilliam Darcy. And to be honest, I found his willingness to allow Mr. Darcy to dictate his social life a little irritating. But I suppose this should not be surprising, considering he is from a class lower than his friend.

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1. Bruce Lester (1940) – I did not find his performance particularly memorable, but I must say that he gave a charming performance as young Mr. Bingley. And he had a nice, strong chemistry with Maureen O’Sullivan’s Jane Bennet.

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2. Osmund Bullock (1980) – He gave a nice, solid performance as Mr. Bingley. But I found his portrayal even less memorable than Bruce Lester’s. That is the best thing I can say about him.

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3. Crispin Bonham-Carter (1995) – I thought he gave a very warm and friendly performance as Mr. Bingley. In fact, he seemed to be the epitome of the literary character. I also enjoyed how the actor conveyed Mr. Bingley’s attempts to hide his discomfort at either the Bennet family’s behavior, or his own sisters’. My only complaint is there were times when he came off as a bit too broad and theatrical.

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4. Simon Woods (2005) – I cannot deny that he gave a first-rate performance. But I believe the latter was hampered by a script that portrayed Mr. Bingley as somewhat shy. I never had the impression from Austen’s novel that the character was a shy man.

  

Edmund Bertram – “Mansfield Park” (1814)

Oh dear. I might as well be frank. I have never liked the Edmund Bertram character. He never struck me as a completely negative personality. Edmund was capable of great kindness – especially toward his cousin Fanny Price, who was basically an outsider. He had decent moral values and he knew what he wanted to do with his life. But he was such a prig . . . and a hypocrite. Even worse, he failed to become aware of his own shortcomings and develop as a character.

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1. Nicholas Farrell (1983) – Despite my dislike of the character, he was excellent as the “Dudley Do-Right” Edmund. In fact, I think he was the best Edmund ever. And that is saying something, considering the excellent performances of the other actors who portrayed the role.

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2. Jonny Lee Miller (1999) – He also gave a first-rate performance as Edmund. More importantly, he was given a chance to convey the character’s growing attraction to his cousin, thanks to Patricia Rozema’s screenplay.

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3. Blake Ritson (2007) – After watching his performance as Edmund in the 2007 movie, I am beginning to suspect that any actor worth his salt could portray this role with great success. And that is exactly what Ritson managed to do.

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George Knightley – “Emma” (1815)

George Knightley must be the most mature Austen hero I have ever encountered – not only in age, but in temperament. But due to his sly wit and admission of his own shortcomings, he has always been a big favorite of mine.

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1. John Carson (1972) – Many have pointed out his age (45 years old at the time) as detrimental to his portrayal of Mr. Knightley. However, I was so impressed by his performance and screen chemistry with his leading lady, Doran Godwin, that I honestly did not care. I still do not care. He gave an excellent performance.

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2. Jeremy Northam (1996) – His portrayal of Knightley seemed to be the epitome of level-headed charm. And I especially enjoyed how he managed to convey Knightley’s jealousy of Emma’s friendship with Frank Churchill with some memorable brief looks.

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3. Mark Strong (1996-97) – I have to give him kudos for conveying a great deal of common sense and decency into his portrayal of Mr. Knightley. He also had very good screen chemistry with the leading lady. But . . . I found him too intense and too angry. He made a somewhat scary Mr. Knightley.

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4. Jonny Lee Miller (2009) – I really enjoyed his portrayal of the level-headed Mr. Knightley. He managed to convey a great deal of charm and wit into his performance with great ease. I am almost inclined to view his performance as my favorite.

 

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Reverend Henry Tilney – “Northanger Abbey” (1817)

If I had to choose my favorite Austen hero, it would have to be him. Henry Tilney. Despite the fact that he is a clergyman, Henry is charming, clever, witty and sardonic. The type of man who could keep me in stitches forever. And he still manages to be complicated. What can I say? I adore him.

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1. Peter Firth (1986) – His portrayal of Tilney nearly ruined my love of the character. I do not blame him. Firth gave it his all and also participated in one of the best screen kisses I have ever seen in a period drama. But thanks to screenwriter Maggie Wadey, Firth’s Henry ended up as an attractive but condescending character, instead of a witty and playful one.

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2. J.J. Feild (2007) – His portrayal of Henry restored my love of the character. Field was fortunate not to be hampered by a transformed Henry. And I adored how he captured every aspect of Austen’s literary character – the charm, wit, playfulness and common sense. And Field added one aspect to his performance that I adore . . . that delicious voice.

 

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Captain Frederick Wentworth – “Persuasion” (1818)

If I must be honest, Frederick Wentworth is tied with George Knightley as my second favorite Austen hero . . . but for different reasons. He had the charm, humor and looks to attract the eye of any red-blooded female. However, his character was marred by a penchant for lingering anger and so much insecurity, especially eight years after being rejected by Anne Elliot. Wentworth has to be the most insecure Austen hero I have ever come across. That is why I find him so fascinating.

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1. Bryan Marshall (1971) – I really enjoyed how he conveyed Frederick’s extroverted sense of humor and charm. But I never got a strong sense of his character’s insecurity, along with his lingering anger and love for the leading lady, until the second half of the miniseries’ first part.

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2. Ciarán Hinds (1995) – He did an excellent job in conveying all of the complicated aspects of Frederick’s personality. However, there were moments when I felt his performance could have been a little more subtle. In the end, I still enjoyed his take on the character.

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3. Rupert Penry-Jones (2007) – Some have complained that his take on the character seemed a bit too introverted. I have to agree . . . at least in the television movie’s first half hour. But I thought he did an excellent job in portraying Frederick’s insecurity, anger and lingering love for the leading lady.

 

 

 

“JOHNNY TREMAIN” (1957) Review

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“JOHNNY TREMAIN” (1957) Review

Nearly sixty-one years ago, the Walt Disney Studios produced a television movie set during a three year period that focused on the years in Boston, Massachusetts Colony prior to the outbreak of the American Revolution. The name of that movie was 1957’s “JOHNNY TREMAIN”

Directed by Robert Stevenson, “JOHNNY TREMAIN” was an adaptation of Esther Forbes’ 1944 Newbery Medal-winning children’s novel. It told the story of an arrogant adolescent named Johnny Tremain, who happened to be an apprentice for a silversmith living in Boston. Johnny has dreams of owning his shop one day and becoming wealthy and respected in the process.

When a wealthy merchant named Jonathan Lyte commissions his master to repair a family’s christening cup, Johnny takes it upon himself to do the actual repairs and win the arrogant Lyte’s patronage. Unfortunately, Johnny picked the Sabbath to repair Lyte’s cup. And in his haste to repair it before being discovered for breaking the Sabbath, Johnny damages his hand. While repairing Lyte’s cup, Johnny discovers that he is the merchant’s long lost nephew on his mother’s side. But Lyte refuses to acknowledge Johnny as his kinsman and has the boy locked up. Johnny’s difficulties with Lyte and in acquiring a job eventually leads him to join the Sons of Liberty, an organization dedicated to American independence from the British Empire. Along the way Johnny befriends several historical giants including Paul Revere, Samuel Adams, and Joseph Warren. The story reaches its climax with the Battle of Lexington and Concord and the beginning of the American Revolution.

It had been a long time since I first saw this movie. A very long time. And considering that it had been originally produced as a Disney television movie, I was ready to harbor a low opinion of it. Considering the Disney Studios’ reputation for churning out a superficial take on American History, one would be inclined to dismiss the film. And if I must be honest,“JOHNNY TREMAIN” has a superficial take on the later years of the Colonial Era and the beginning of the American Revolution. Although there is some depth in the movie’s characters, there seemed to be lacking any ambiguity whatsoever. Well . . . I take that back. Aside from Johnny Tremain’s brief foray into arrogance in the movie’s first fifteen minutes, there were no ambiguity in the other American characters. Thankfully, screenwriters Esther Forbes and Tom Blackburn allowed some ambiguity in the British characters and prevented them from being portrayed as cold-blooded and one-dimensional villains. Even Sebastian Cabot’s Jonathan Lyte (Johnny’s British uncle) was saved from a fate of one-note villainy in his final reaction to Johnny’s decision not to accept his patronage.

Disney film or not, “JOHNNY TREMAIN” is an entertaining historical drama infused with energy, good solid performances and a somewhat in-depth look into American history in Boston, between 1772 and 1775. Despite a running time of 80 minutes, the movie explored some of the events during that period – events that included an introduction of some of the important members of the Sons of Liberty, the Boston Tea Party of December 1773, the British closure of Boston’s port, Paul Revere’s famous ride and the Battle of Lexington and Concord. It is also the first costume drama that revealed the establishment of slavery in a Northern state – or in this case, colony. In the midst of all this history, Forbes and Blackburn delved into Johnny’s personal drama – including his conflicts with his uncle, dealing with his physical disability and his relationship with Priscilla Lapham, his former master’s daughter – with solid detail.

With the use of matte paintings, colorful photography by Charles P. Boyle and Peter Ellenshaw’s production designs, director Robert Stevenson did a good job in transforming television viewers back to Boston of the 1770s. But the one production aspect of “JOHNNY TREMAIN” that really impressed me was the original song, “Liberty Tree”, written by Blackburn and George Bruns. The song struck me as very catchy and remained stuck in my mind some time after watching the movie. The performances are pretty solid, but not particularly memorable. Again, allow me to correct myself. There was one outstanding performance . . . and it came from the late Sebastian Cabot, who portrayed Johnny’s arrogant uncle, Jonathan Lyte. Everyone else – including leads Hal Stalmaster, Luana Patten and Richard Beymer, who would enjoy brief stardom in the early 1960s – did not exactly dazzle me.

My gut instinct tells me that the average adult might lacked the patience to watch a movie like “JOHNNY TREMAIN”. Although historical drama remains very popular with moviegoers and television viewers, I suspect that Disney’s early superficial style of portraying history might be slightly off-putting. However, “JOHNNY TREMAIN” might serve as a first-rate introduction to American History for children. And if one is in the mood for Disney nostalgia, I see no reason not to watch it again. Even after sixty years or so, it is still an entertaining little movie.

1700-1749 Costumes in Movies and Television

Samuel Richardson, the Novelist (1684-1761), Seated, Surrounded by his Second Family 1740-41 1708-1776 by Francis Hayman 1708-1776

Below are images of 1700-1749 fashion found in movies and television productions over the years:

 

1700-1749 COSTUMES IN MOVIES AND TELEVISION

Tom Jones 1963

“Tom Jones” (1963)

 

 

The First Churchills 1969

“The First Churchills” (1969)

 

 

 

Young Catherine 1991

“Young Catherine” (1991)

 

 

 

Rob Roy 1995

“Rob Roy” (1995)

 

 

 

Catherine the Great 1996

“Catherine the Great” (1996)

 

 

 

The History of Tom Jones 1997

“The History of Tom Jones” (1997)

 

 

 

Pirates of the Caribbean - Curse of the Black Pearl 2003

“Pirates of the Caribbean:  Curse of the Black Pearl” (2003)

 

 

 

Perfume - The Story of a Murderer 2005

“Perfume:  The Story of a Murderer” (2005)

 

 

 

Black Sails 2014-2017

“Black Sails” (2014-2017)

 

 

 

Outlander 2015-Present

“Outlander” (2015-Present)

 

 

 

 

 

 

 

 

 

 

“POLDARK” Series One (1975): Episodes Five to Eight

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“POLDARK” SERIES ONE (1975): EPISODES FIVE TO EIGHT

Last winter, I began watching the BBC’s 1975-77 adaptation of Winston Graham’s literary series about the life of a British Army officer and American Revolutionary War veteran, following his return to his home in Cornwall. The first four episodes proved to be adaptation of the first novel in Graham’s series, 1945’s “Ross Poldark: A Novel of Cornwall, 1783-1787”. Episodes Five to Eight focused on the series’ second novel, 1946’s “Demelza: A Novel of Cornwall, 1788-1790”

Episode Four ended with Ross Poldark, a Cornish landowner and mine owner, discovering that his young kitchen maid, the 17 year-old Demelza Carne, is pregnant with his child. Abandoning his plan to reunite with his former fiancée, Elizabeth Chynoweth Poldark, who had married his cousin Francis Polark; Ross decides to marry Demelza and take responsibility for their unborn child. Episode Five opened up six to seven months later with the birth of their daughter, Julia Poldark. Ross and Demelza decide to hold two christenings – one for his upper-crust family and neighbors and one for her working-class family. Unfortunately, fate upsets their plans when Demelza’s family crash the first christening. Episode Five also featured the introduction of new characters – a young doctor named Dwight Enys, who quickly befriends Ross; Keren Daniels, a young traveling actress who married a local miner named Mark Daniels; and George Warleggan, the scion of the Warleggan family, who became Ross’ archenemy.

The four episodes that formed the adaptation of “Demelza: A Novel of Cornwall” pretty much focused on the first two years of Ross’ marriage to Demelza. Their relationship seemed to thrive, despite the unromantic reasons why they got married in the first place. It was nice to see Ross and Demelza quickly settled into becoming an established couple. This was especially apparent in first christening for Ross and Demelza’s newborn, Julia, attended by Ross’ family and upper-class neighbors. However, this sequence also revealed that Ross and Demelza still had a long way to go, when Demelza’s religious and fanatical father and stepmother crashed the first christening. I enjoyed the sequence very much, even if it ended on an irritating note – namely Demelza and Mr. Carne’s shouting match that played merry hell on my ears. Although there were times when their relationship threatened to seem a bit too ideal, I have no other problems with it.

From a narrative point of view, the only hitch in Ross and Demelza’s relationship – so far – proved to be Demelza’s determination to help her cousin-in-law Verity Poldark’s renew the latter’s disastrous relationship with a Captain Andrew Blamey . . . behind Ross’ back. Following Blamey and Francis’ disastrous encounter in the second (or third) episode, Ross made it clear that he had no intention of helping Verity and Blamey’s romantic situation. Demelza, being young, romantic and naive; decided to intervene and help them continue their courtship. Her efforts were almost sidetracked when Francis and Elizabeth’s son, Geoffrey Charles, was stricken with Putrid Throat. Ross’ new friend, Dr. Enys, had recruited Verity to nurse Geoffrey Charles, believing that Elizabeth was incapable of serving as her son’s nurse. I must be honest . . . I found this plot line a bit contrived. One, it seemed like a theatrical way to inject tension into Verity’s romance with Captain Blamey and their plans to elope. And two, Elizabeth has never struck me as the type of woman incapable of nursing her own son, let alone anyone else. Nevertheless, Demelza’s efforts proved to be successful in the end when Verity and Captain Blamey finally eloped in Episode Seven.

Verity and Captain Blamey’s elopement also produced an ugly reaction from her brother Francis, who had been against their relationship from the beginning. That ugly reaction formed into an emotional rant against his sister that not only spoiled his wife Elizabeth and son Geoffrey Charles’ Christmas meal, but concluded with him succumbing to Putrid Throat. I will say this about Francis Poldark . . . his presence in Episodes Five to Eight proved to be a lot stronger than it was in the first four episodes. Viewers learned in the conclusion of Episode Six that he had betrayed the shareholder names of Ross’ new Carnmore Copper Company, an smelting organization formed to break the Warleggans’ monopoly on the mining industry in that part of Cornwall.

I am a little confused by why so many claim that Clive Francis had portrayed the character as less of a loser than Kyle Soller did in 2015. For example, in an article posted on the Ellen and Jim Have a Blog, Two, the writer made this description of Francis in Episode Eight of the 1975 series – “I’ve come to realize that Francis is made considerably more appealing by Wheeler’s script: Graham’s Francis is witty, but his open self-berating and guilt are from Wheeler; also his generosity of spirit now and again.”.

That was not the Francis Poldark I saw in Episode Eight. Come to think of it, that was NOT the Francis I saw between Episodes Three and Eight. Well . . . I do recall Francis engaging in self-pitying behavior. I also recall Francis being half-hearted in his attempt to reconcile with Elizabeth, his occasionally self-defensive attitude and anger at Verity for eloping. The only sign of wit I can recall was Francis’ clumsy and slightly insulting reaction at the Warleggan ball to news of prostitute Margaret’s recent wedding. And although I enjoyed Clive Francis’ performance, there were moments when he was guilty of some really histrionic acting – especially in Episode Eight, when his character went into a rant against Verity’s elopement during his family’s Christmas dinner. Either these fans and critics had failed to notice how much of a loser Francis Poldark was in the 1975 series, they remembered the actor’s performance in the episodes that followed Episode Eight, or they were blinded by nostalgia for the 1975 series. Clive Francis’ portrayal of the character struck me as much of a loser as Soller’s portrayal.

The renewal of Verity and Captain Blamey’s romance was not the only relationship shrouded in secrecy. As I had earlier pointed a traveling actress named Keren had abandoned her tawdry profession life to remain in the area and marry local miner, Mark Daniels, after meeting him at the second christening for the newborn Julia Poldark. I admire how the production went out of its way to portray Keren’s growing disenchantment with life as a miner’s wife and her marriage to Mark. In doing so, screenwriter Mark Wheeler allowed audiences to sympathize with Keren’s emotions and understand what led her to pursue an extramarital affair with the neighborhood’s new physician, the quiet and charming Dr. Dwight Enys. Although this sequence featured solid performances from Richard Morant and Martin Fisk as Dwight Enys and Mark Daniels; the one performance that really impressed me came from Sheila White, who portrayed the unfortunate Keren Daniels. However, I was not particular thrilled by how the affair ended. Mark Daniels deliberately murdered Keren, when he discovered the affair. What really riled me was that both Ross and Demelza went out of their way to help Mark evade justice. Their actions seemed to justify and approve of Mark’s violent action against his wife. The entire scenario smacked of another example of misogyny in this saga.

Episode Six of “POLDARK” not only introduced the character of George Warleggan, it also featured one of my favorite segments in the series, so far – the Warleggan ball. I thought Wheeler and Paul Annett did a solid job in this particular sequence. It was not perfect, but it proved to be an elegant affair, capped by a tense situation when Ross engaged in a gambling showdown with the Warleggans’ cousin Matthew Sanson, before exposing the latter as a cheat. One aspect of the ball sequence that really impressed me were the costumes and the music provided by Kenyon Emrys-Roberts, which helped maintained the sequence’s atmosphere. I also enjoyed both Robin Ellis and Milton Johns’ performances as Ross Poldark and Matthew Sanson in the card game sequence. Both actors did a very good job of injecting more tension in what was already a high-wired situation. By the way, both actors, along with Clive Francis, had appeared in the 1971 adaptation of “SENSE AND SENSIBILITY”.

There were other moments and sequences that I enjoyed. Aside from the Warleggan ball, I was very impressed by two other scenes. One featured Demelza’s attempt to play matchmaker for Verity and Captain Blamey in Truro. Well, the sequence began with Demelza playing matchmaker before all three became swept into a food riot that led to a violent brawl between some very hungry townsmen and local military troops trying to prevent the men from breaking into Matthew Sanson’s grain storehouse. I found the entire scene rather well shot by director Paul Annett. I was also impressed by Annett’s work in Episode Seven that featured Ross’ attempt to help Mark Daniels evade arrest for Keren’s murder. I may not approved of what happened, but I was impressed by Annett’s direction. But I feel that the director did his best work in Episode Eight, which featured the wreck of the Warleggans’ ship on Poldark land. It began on a high note when the Paynters and other locals began pillaging the ship’s cargo for much needed food, clothing and other materials. But it really got interesting when a riot broke out between the Poldark workers, miners from a nearby estate and the local troops who tried to stop them. Again, Annett really did a first-rate job in making the sequence very exciting, despite the fact that it was shot in the dark.

I noticed that Paul Wheeler, who wrote the transcripts for these four episodes and Episode Eleven, made several changes from Graham’s novel. To be honest, I can only recall one major change that did not bother me one whit. In Episode Seven, young Geoffrey Charles Poldark was stricken with Putrid’s Throat before Verity had the chance to elope with Captain Blamey. Once Verity and Elizabeth helped the boy recover, she finally took the opportunity to elope. Yes, I am aware that Verity had eloped before the Putrid fever outbreak, but I see that Wheeler was trying to create a little tension for her situation. When Francis was struck with Putrid’s Throat on Christmas, Demelza arrived at Trenwith to help Elizabeth nurse him. The two women engaged in a warm and honest conversation that showcased both Jill Townsend and Angharad Rees as talented actresses they were. However, this conversation never occurred in the novel. In fact, the literary Elizabeth Poldark also came down with Putrid’s Throat. But this change did not bother me, due to the excellent scene between Townsend and Rees.

Unfortunately, I had problems with some of Wheeler’s other changes. One change originated back in Episode Four with the “Demelza gets knocked up” storyline that led to hers and Ross’ shotgun wedding. I had assumed that the Trenwith Christmas party sequence, which followed Ross and Demelza’s wedding, would appear in Episode Five. After all, it was one of my favorite sequences from the 1945 novel. But the sequence never appeared – not in Episode Four or Episode Five. Instead, the latter opened with Julia Poldark’s birth and the christening. And I felt very disappointed.

Another change involved Ross’ former employee, Jim Carter. Back in Episode Three, Jim was tried and convicted for poaching on another landowner’s estate. In Episode Six, Ross received word that Jim was severely ill inside Bodmin Jail. With Dwight Enys’ help, the pair break the younger man out. But instead of dying during Dwight’s attempt to amputate an infected limb, Jim survived . . . until Episode Seven. This change allowed Ross to indulge in a speech on the inequities suffered by the poor and working-class in British. Personally, I had difficulty feeling sympathetic, considering that he had fired Jud and Prudie Paynter, earlier in the episode. Mind you, Jud had deserved to be fired for his drunken behavior and insults to Demelza. But Prudie did not. She tried to stop Jud and ended up fired by Ross (who found her guilty by matrimony to the perpetrator). And I ended up regarding Ross as nothing more than a first-rate hypocrite.

Because Jim Cater had survived Episode Six, Ross did not attend the Warleggan ball angry and in a drunken state. Instead, he remained a perfect and sober gentleman throughout the sequence. Which was a pity . . . at least for me. Perhaps Wheeler had decided that Prudie’s fate was sufficient enough to expose Ross’ less pleasant side of his personality, I did not. The card game between Ross and Sanson provided some tension during the ball sequence, thanks to the skillful performances of Robin Ellis, Milton Johns and Ralph Bates. But it was not enough for me. I thought a good deal of the sequence’s drama was deleted due to “our hero” not having an excuse to get drunk and surly. I suspect that Wheeler, along with producers Morris Barry and Anthony Coburn, wanted to – once again – maintain Ross’ heroic image.

The Warleggan ball also featured another change. At the end of Episode Six, George Warleggan revealed to his father, Nicholas, that he knew the names of Ross’ Carnmore Copper Company. The revelation left me feeling flabbergasted. In the novel, Francis had not exposed the shareholders’ names to George until after Verity and Blamey’s elopement. He had believed Ross was responsible for arranging it and betrayed the latter in retaliation. Since Francis had obviously betrayed Ross before Episode Six’s final scene in the 1975 series, I found myself wondering why he had betrayed his cousin’s company in the first place. Why did he do it? Someone had hinted that Francis felt jealous over Elizabeth’s feelings for Ross. Yet, the relationship between those two had been particularly frosty since the revelation of Demelza’s pregnancy back in Episode Four. If Francis had been experiencing jealousy, what happened before the end of Episode Six that led him to finally betray Ross and the Carnmore Copper Company shareholders? It could not have been for money. Although George Warleggan had paid back the money that his cousin had cheated from Francis and the other gamblers at the ball, he did not dismiss Francis’ debt to the Warleggan Bank. If only Wheeler had followed Graham’s novel and allowed Francis to betray Ross following Verity’s elopement. This would have made more sense. Instead, the screenwriter never really made clear the reason behind the betrayal. Rather sloppy, if you ask me.

Overall, Episodes Five to Eight of “POLDARK” struck me as an interesting and very entertaining set of episodes. This is not surprising, considering that they were basically an adaptation of “Demelza – A Novel of Cornwall, 1788-1790”. Director Paul Annett and Paul Wheeler did a very solid job in adapting Graham’s novel. Yes, I had some quibbles with Wheeler’s screenplay – especially his handling of the Francis Polark character. But overall, I believe the two men, along with the cast led by Robin Ellis and Angharad Rees did an first-rate job. On to Episode Nine and the adaptation of the next novel in Graham’s series.

Plum Pudding

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Below is a brief look at the traditional Christmas dish known as Plum Pudding:

PLUM PUDDING

Many people tend to associate the dish known as Plum Pudding (aka Christmas Pudding or Plum Duff) with the Christmas holiday, Victorian Britain, and especially Charles Dickens. I know I certainly did for a good number of years. But I was surprised to discover that Plum Pudding’s association with the Christmas holiday in Britain went back as far as the medieval period. During that particular period, it was the custom for pudding to be prepared on the 25th Sunday after Trinity. It was also customary for the pudding to be prepared with thirteen ingredients to represent Christ and the twelve apostles. Also, every family member was required to stir the pudding in turn from east to west in honor of the Magi and their alleged journey in that direction.

The origin of the current Plum Pudding made popular during the Victorian Age could be traced back to the 1420s. The dish emerged not as a confection or a dessert, but as a means of preserving meat at the end of the harvest season. Because of shortages of fodder, all surplus livestock were slaughtered in the autumn. The meat was then kept in a pastry case along with dried fruits acting as a preservative, developing into large “mince pies”. These pies could then be used to feed hosts of people, particularly at the festive season. The chief ancestor of the modern pudding was a thick soup or stew made from vegetables, dried fruit, sugar, grain, spices and some form of meat (if available) called “pottage”; which originated in Roman times. , however, was the pottage, a meat and vegetable concoction originating in Roman times.

Then in 1714, King George I began to request that this particular kind of pottage, which became known as “Plum Pudding” be served as part of his royal feast every Christmas. But it was not until the 1830s in which the current Plum Pudding assumed its form – a round tower of flour, fruits, suet, sugar and spices, all topped with holly – and was served during the Christmas holiday. Below is a recipe for the tradition Plum (or Christmas) Pudding from the About.com website:

Plum Pudding

Ingredients

1lb /450g dried mixed fruit (use golden raisins/sultanas* , raisins, currants)
1 oz /25 g mixed candied peel, finely chopped
1 small cooking apple, peeled, cored and finely chopped Grated zest and juice
½ large orange and
½ lemon
4 tbsp brandy, plus a little extra for soaking at the end
2 oz /55 g self-raising flour, sifted
1 level tsp ground mixed spice
1 1/2 tsp ground cinnamon
4 oz /110 g shredded suet, beef or vegetarian
4oz /110g soft, dark brown sugar
4 oz /110 g white fresh bread crumbs
1 oz /25 g whole shelled almonds, roughly chopped
2 large, fresh eggs

Preparation

Lightly butter a 2½ pint/1.4 litre pudding basin.

Place the dried fruits, candied peel, apple, orange and lemon juice into a large mixing bowl. Add the brandy and stir well. Cover the bowl with a clean tea towel and leave to marinate for a couple of hours, preferably overnight.

Stir together the flour, mixed spice and cinnamon in a very large mixing bowl. Add the suet, sugar, lemon and orange zest, bread crumbs, nuts and stir again until all the ingredients are well mixed. Finally add the marinaded dried fruits and stir again.

Beat the eggs lightly in a small bowl then stir quickly into the dry ingredients. The mixture should have a fairly soft consistency.

Now is the time to gather the family for Christmas Pudding tradition of taking turns in stirring, making a wish and adding a few coins.

Spoon the mixture in to the greased pudding basin, gently pressing the mixture down with the back of a spoon. Cover with a double layer of greaseproof paper or baking parchment, then a layer of aluminum foil and tie securely with string.

Place the pudding in a steamer set over a saucepan of simmering water and steam the pudding for 7 hours.

Make sure you check the water level frequently so it never boils dry. The pudding should be a deep brown color when cooked. The pudding is not a light cake but instead is a dark, sticky and dense sponge.

Remove the pudding from the steamer, cool completely. Remove the paper, prick the pudding with a skewer and pour in a little extra brandy. Cover with fresh greaseproof paper and retie with string. Store in a cool dry place until Christmas day. Note: The pudding cannot be eaten immediately, it really does need to be stored and rested then reheated on Christmas Day. Eating the pudding immediately after cooking will cause it to collapse and the flavours will not have had time to mature.

On Christmas day reheat the pudding by steaming again for about an hour. Serve with Brandy or Rum Sauce, Brandy Butter or Custard.

“EMMA” (1972) Review

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“EMMA” (1972) Review

I am aware of at least four adaptation of Jane Austen’s 1815 novel, “Emma”. But I have noticed that the one adaptation that rarely attracts the attention of the novelist’s fans is the 1972 BBC miniseries, “EMMA”

Directed by John Glenister and adapted by Denis Constanduros, “EMMA” told the story of the precocious younger daughter of a wealthy landowner that resides near
the village of Highbury. Emma Woodhouse imagines herself to be naturally gifted matchmaker, following her self-declared success in arranging a love match between her governess and Mr. Weston, a village widower. Following their marriage, Emma takes it upon herself to find an eligible match for her new friend, a young woman named Harriet Smith. However, Emma’s efforts to match Harriet with Highbury’s vicar, Mr. Elton, end in disaster. Also the return of two former Highbury residents, Jane Fairfax and Mr. Weston’s son, Frank Churchill, and her continuing efforts to find a husband for Harriet leads Emma to question her talents as a matchmaker and her feelings for long time neighbor and friend, George Knightley.

Aired in six episodes, this “EMMA” was given the opportunity to be a lot more faithful to Austen’s novel. Many critics and fans would view this as an example of the miniseries’ ability to delve deeper into the story’s plots and characterizations. I do not know if I would agree. The 1815 novel seems such a strong piece of work that even a 90 to 120 minute film could do justice to the story by adhering to the main aspects of the plot. Mind you, I have complainedabout Andrew Davies’ adaptation of the novel in the 1996-97 television movie. But even I cannot consider that a failure.

I do have a few complaints about “EMMA”. The majority of my complaints have to do with the casting. But there were some aspects of the production that I found less than satisfying. Director John Glenister’s direction of major scenes such as the Westons’ Christmas party and the Crown Inn ball failed to impress. The sequence featuring the Westons’ Christmas party lacked the holiday atmosphere that I found in the other versions. And I failed to noticed any sense of a change in the weather that led the Woodhouses and the Knightleys to depart from Randalls (the Westons’ estate) earlier than they had intended. As for the Crown Inn ball, it struck me as somewhat rushed. Dialogue seemed to dominate the entire sequence . . . to the point where only one dance was featured to the tune of the miniseries’ theme song. Both Glenister and screenwriter Denis Constanduros made such a big effort in building up the ball in the previous episode or two. But when it came to the actual execution, it simply fell flat and rushed for me. Even worse, they failed to provide the audience with the Emma/Knightley dance, which could have provided the first real hint of romantic feelings between the pair. And what happened to Jane Fairfax and Mr. Elton at the Box Hill picnic? Where were they? Frank Churchill’s flirting with Emma during the picnic had led to Jane’s eventual breakdown and observations of the Eltons’ quick marriage. The Box Hill sequence played an important part in Jane and Frank’s relationship. But without Jane in the scene, the importance of their storyline was somewhat robbed.

And there were performances, or should I say . . . casting that seemed rather off to me. Fiona Walker made an interesting Mrs. Augusta Elton. In fact, she was downright memorable. However, her Mrs. Elton came off as rather heavy-handed . . . to the point that she seemed more like an over-the-top 1970s divorcee, instead of a vicar’s pushy and ambitious wife of Regency England. She seemed to lack both Juliet Stevenson and Christina Cole’s talent for sly and subtle humor. Belinda Tighe gave a solid performance as Emma’s older sister, Isabella Knightley. But she seemed at least a decade-and-a-half older than Doran Godwin’s Emma. Donald Eccles would have made a perfect Mr. Woodhouse, if he had not come off as slightly cold in a few scenes. I find it odd that many Austen fans had complained of Godwin’s occasionally chilly performance. But Eccles seemed even more chilly at times, which is how I never would describe Mr. Woodhouse. At least Godwin’s Emma became warmer and slightly funny in the miniseries’ second half. It seemed as if the arrival of Augusta Elton allowed Godwin to inject more warmth and humor into the role. I also had a problem with Ania Marson as the reserved Jane Fairfax. I understand that Jane went through a great deal of stress and fear, while awaiting for a chance to finally marry Frank. But Marson’s performance struck me as . . . odd. The intense look in her eyes and frozen expression made her resemble a budding serial killer.

I really enjoyed Robert East’s portrayal of the mercurial Frank Churchill. Although I felt that East did not seem effective in his portrayal of Frank’s penchant for cruel humor and at times, his handling of the character’s many traits seemed a bit off balanced, I still believe that his performance was overall, first-rate. Timothy Peters was excellent as Mr. Elton. In fact, he was spot on. Of all the characters featured in Austen’s novel, Mr. Elton seemed to be the only that has been perfectly cast in all four productions I have seen. I really enjoyed Debbie Bowen’s performance as the slightly naive Harriet Smith. In fact, I believe she was the perfect embodiment of Harriet. One of the funniest scenes in the entire miniseries featured Harriet’s efforts to make up her mind on which color ribbons she wanted to purchase. And Constance Chapman made an excellent Miss Bates. She perfectly conveyed all of the character’s likeability and verbosity that made her irritable to Emma. And the scene that featured Emma’s attempt to apologize for the insult during the Box Hill picnic was beautifully acted by Chapman.

But I was impressed by John Carson’s performance as George Knightley. Perhaps he seemed a bit old for the role, at age 45. But he perfectly conveyed all of Mr. Knightley’s warmth, dry humor and love for Emma. And surprisingly, he and Doran Godwin had a strong screen chemistry. I also have to give credit to Doran Godwin for a first-rate portrayal of Emma Woodhouse. Mind you, there were times in the first three episodes when she seemed a bit too chilly for the gregarious Emma. But Godwin did an excellent job in developing the character into a more mature young woman, who became mindful of her flaws. And as I had stated earlier, her Emma also became warmer and slightly funnier upon the introduction of Augusta Elton.

There were also aspects of the miniseries’ production that I enjoyed. Aside from the Weston Christmas party, I was very impressed by Tim Harvey’s production designs. The miniseries’ photography seemed crisp and colorful, even after 39 years. I found this impressive, considering that most BBC television miniseries between 1971 and 1986 seemed to fade over the years. I also liked Joan Ellacott’s costume designs – especially for Emma and Jane. However, I noticed that the high lace featured in some of Emma’s dresses seemed a bit theatrical and cheap . . . as if they came off outfits found in some minor costume warehouse.

Yes, I do have some quibbles regarding the production and casting for “EMMA”. After all, there is no such thing as perfect. But the good definitely outweighed the bad. And for a miniseries with six episodes, I can happily say that it failed to bore me. Personally, I think it is the best Jane Austen adaptation from the 1970s and 1980s I have ever seen.