“THE MYSTERIOUS AFFAIR AT STYLES” (1990) Review

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“THE MYSTERIOUS AFFAIR AT STYLES” (1990) Review

As a long time reader of Agatha Christie’s novels, I have been well aware of her first novel that was published in 1920, namely “The Mysterious Affair at Styles”. I read the novel once. But if I must be honest, I never became a fan of it.

Due to my lackluster feelings for the novel, it took me a while to watch the television adaptation of it, which aired on ITV’s “AGATHA CHRISTIE’S POIROT” back in 1990. But eventually I got around to it and was amazed to discover that it had been the second Christie novel to be adapted as a feature-length film on that series. Another amazing aspect of “THE MYSTERIOUS AFFAIR AT STYLES” is that it is the first of two or three episodes that was not set during the 1930s decade. In the case of this film, it was set in 1917, during World War I.

The movie opens in London with Captain Arthur Hastings on sick leave from military duty. Hastings seemed to be suffering from a mild case of post traumatic stress disorder. An encounter with an old friend named John Cavendish leads him to eagerly accept the latter’s invitation to visit his family’s estate – Styles – in Essex. During his visit, Hasting’s meets John’s family:

*Emily Inglethorp, John’s wealthy stepmother and mistress of Styles
*Alfred Inglethorp, her much younger new husband, who is viewed as a fortune hunter
*Mary Cavendish, John’s wife
*Lawrence Cavendish, John’s younger brother
*Evelyn Howard, Mrs. Inglethorp’s companion, who dislikes Mr. Inglethorp
*Cynthia Murdoch, the orphaned daughter of a family friend

Hastings also reunites with an old acquaintance he had met before the war – a Belgian detective named Hercule Poirot, who has become a war refugee. Due to Mrs. Inglethorp’s generosity, Poirot has managed to find a place in the nearby village to harbor his fellow Belgian refugees in the area.

When the Styles Court’s residents wake up to find Mrs. Inglethorp dying of strychnine poisoning, they learn from the local doctor that she had been murdered. Hastings recruits the help of Poirot to investigate the murder. They discover that John Cavendish will automatically inherit Styles Court upon his stepmother’s death, due to being the estate’s vested Remainderman. His brother Lawrence will also inherit a nice sum of money. However, the income left to Mrs. Inglethorp by the late Mr. Cavendish would be distributed, according to her will. However, Mrs. Inglethorp was heard arguing with a man about his infidelity – either her stepson John or her husband Alfred. She made a new will after the quarrel, but no one can find it. Two suspects would end up falling under the suspicions of the law before Poirot can reveal the murderer.

“THE MYSTERIOUS AFFAIR AT STYLES” is the kind of adaptation that most fans of Christie’s novel absolutely adore. Due to Clive Exton’s script, it is a detailed and nearly faithful adaptation of the novel. And for most moviegoers and television viewers these days, a faithful adaptation to a literary source is very important to the quality of a production. My view on the matter is a bit more ambiguous. It all depends on whether a faithful adaptation translate well to the movie or television screen. In the case of “THE MYSTERIOUS AFFAIR AT STYLES”, I would say that Clive Exton’s faithful adaptation served the story rather well. But the only reason I harbor this view is that I cannot think of a way how any change might serve the story. Because honestly? Christie’s 1920 novel did not exactly rock my boat. And I can say the same about this television movie.

“THE MYSTERIOUS AFFAIR AT STYLES” is not a terrible story. It is a pretty solid tale that made it a little difficult for me to guess the murderer’s identity. The story also featured mildly interesting characters that actually left me wondering about their fates. I especially found the stormy marriage between John and Mary Cavendish particularly interesting. And I also found myself scratching my head over Mrs. Inglethorp’s marriage to the younger and obviously unlikable Alfred Inglethorp. I had originally assumed that this tale featured the first meeting between Poirot and Hastings. But as it turned out, the two men first met during a murder investigation in Belgium before the war. Pity. Come to think of it, “THE MYSTERIOUS AFFAIR AT STYLES” did not feature the first meeting between Poirot and Scotland Yard Inspector Japp. They had first met before the war, as well. But the story did feature the first meeting between Hastings and Japp.

Okay . . . look. “THE MYSTERIOUS AFFAIR AT STYLES” is a pretty solid story. It is filled with competent performances from the cast, including David Suchet, Hugh Fraser, and Philip Jackson as Poirot, Hastings and Japp. I was especially impressed by Gillian Barge as Emily Inglethorp, Michael Cronin as Alfred Inglethorp, Joanna McCallum. I was especially impressed by David Rintoul and Beatie Edney as the emotional John and Mary Cavendish. I do have to give kudos to production designer Rob Harris of his re-creation of World War I England and also costume designer Linda Mattock. But in the end, this television adaptation of Christie’s story no more wowed me than the 1920 novel did. The most interesting aspects of “THE MYSTERIOUS AFFAIR AT STYLES” proved to be the World War I setting and that it served as the beginning of Poirot’s relationship with both Hastings and Japp.

Before one comes away with the idea that I disliked “THE MYSTERIOUS AFFAIR AT STYLES”, I do not. Like I have been stating throughout this review, it is a pretty solid production. I am certain that many “AGATHA CHRISTIE’S POIROT” fans would love this movie, due to screenwriter Clive Exton’s faithful adaptation. I liked the movie. But if I must be honest, my true reaction to it was simply – “Eh, not bad.”

The Great “ONCE UPON A TIME” Costume Gallery

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Below is a gallery featuring the costumes designed by Eduardo Castro for Seasons One and Two of the ABC series, “ONCE UPON A TIME”. Do not expect to find Jennifer Morrison, Jared S. Gilmore, Eion Bailey or others performers not featured in any of the Fairy Tale Land flashback sequences:

THE GREAT “ONCE UPON A TIME” COSTUME Gallery

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Colin O'Donoghue as Captain Hook on Once Upon A Time S02E04 Crocodile 4

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“THE PACIFIC” (2010) Episode Four “Cape Gloucester & Pavuvu” Commentary

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I wrote this commentary on the fourth episode of “THE PACIFIC”:

“THE PACIFIC” (2010) EPISODE FOUR “Cape Gloucester & Pavuvu” Commentary

When I first saw the featurettes about “THE PACIFIC” on HBO, I noticed that the filmmakers and screenwriters had made a big deal about the miniseries’ ninth episode, which featured the battle on Okinawa. From what I had gathered, this particular episode might serve as the miniseries’ darkest. Then I saw Episode Four, which featured the U.S. Marines First Division’s experiences during the Battle of Cape Gloucester. And I realized that I had been wrong.

Very little combat played a role in Episode Four. One scene featured Robert Leckie’s brief confrontation with a Japanese scout patrol near the beginning of the episode. And another scene featured Company “H” repelling an intense banzai attack by the Japanese, a few minutes later. But as the documentary had hinted around the beginning of the episode, the Marines’ main conflict during the Cape Gloucester campaign seemed to be the environment – the thick jungle and the rain. And because of this environment, Leckie and his fellow Marines suffered a drop in morale.

Before watching this episode, I had no idea how depressing it would be. So much about this episode struck me as depressing . . . especially from Leckie’s point of view. One, both he and Sidney Phillips had the bad luck to witness Gibson’s murder of the Japanese soldier. Judging from the slightly demented expression on Gibson’s face, I suspect that neither Leckie nor Phillips was willing to interrupt the murder. But they both obviously found the experience disturbing. Eventually, the rain, the mud and the jungles of Cape Gloucester on New Britain got to Leckie and he eventually found himself begging for someone to shoot him after he lost his shoes in the mud and fell down a slope. It got worse. Leckie found his confiscated Japanese chest stolen by a Marine officer. And instead of dismissing the chest lost, he stubbornly tried to get his chest back during a hostile confrontation. Leckie never got the chest back. Instead, the Marine officer transferred him from his duties as an intelligence scout to kitchen and latrine duties. The Marine officer also humiliated Leckie for wetting his trousers. But that was nothing in compare to Leckie witnessing the suicide of a Canadian-born Marine.

Company “H” of the First Marines Division was eventually sent to the island of Pavuvu for some rest and relaxation. Only, the island proved to be nothing like Melbourne. The Marines had to deal with pests like rats and crabs. Leckie’s sense of humor became increasingly irritating to Hoosier. And his bedwetting (enuresis) became even worse. At one point, “Chuckler” Juergens found Leckie lying on his cot, pissing uncontrollably and staring into space. Leckie had finally reached the nadir of his existence. The company’s doctor shipped Leckie to a Naval hospital located on Banika. Leckie discovered that the wing he had been assigned to was for psychiatric patients. Fortunately for him, the Naval doctor assigned to him – a Dr. Grant – realized that Leckie was simply suffering from enuresis and a case of exhaustion. By the end of the episode, he allowed the Marine to return to his company. Before that happened, Leckie made another discovery . . . Ronnie Gibson was also a patient at the hospital. Leckie learned from Dr. Grant that Gibson tried to steal a plane and later commit suicide, while Company “H” were on Pavuvu.

I doubt very much that Episode Four will ever be considered a personal favorite of mine. I simply found it too depressing. But I must admit that I also found it fascinating. And it is a credit to screenwriters Robert Schenkkan and Graham Yost, along with Yost’s direction that I managed to remain fascinated by it all. While watching Episode Four, it occurred to me that in some ways, it reminded me of the 2005 movie, “JARHEAD”. The Marines in Sam Mendes’ movie were suffering psychological stress, due to their inability to relieve their built-up aggression via combat. The Marines in Episode Four were suffering from a number of factors – including no combat against the Japanese, who had decamped to Rabaul on the other side of New Britain.

For the umpteenth time, actor James Badge Dale managed to knock it out of the ballpark with his portrayal of Robert Leckie. In fact, I would say that this episode marked his best performance in the miniseries to date. He did a superb job in portraying Leckie’s emotional descent without any heavy-handed acting. I especially enjoyed his performance during a scene that featured Leckie’s confrontation with the officer who had stolen the Japanese chest. Badge Dale’s performance conveyed a delicious mixture of aggression, sarcasm and subtlety. I also have to give kudos to Tom Budge’s portrayal of the demented Gibson. Mind you, his performance was not as subtle as Badge Dale’s, but it was just as convincing. And I believe I will never forget that expression on his face, after his character had strangled that Japanese soldier. I also found Leckie’s stay at that Naval hospital equally depressing. It reminded me of a line that the Bill Guernere character had said about military hospitals in one of the episodes of ”BAND OF BROTHERS”. Thanks to this episode, I finally understand what he was trying to say. The Banika sequence also featured Matt Craven, who gave a wonderfully subtle performance as Leckie’s doctor, the slightly sarcastic Dr. Grant. Thinking about this episode, it occurred to me that the one character who managed to remain steady throughout the entire mess was Chuckler, thanks to Josh Helman’s solid performance. It is easy to see why Lieutenant Corrigan had promoted him to corporal following the Alligator Creek action on Guadalcanal in Episode One.

After watching Episode Four, I found myself dubbing it ”Heart of Darkness – Part One”, considering that the entire episode featured a little combat, a murder, a suicide, illness, rodents and crabs and a stay for Leckie at a Naval psych ward. And I had no idea I would be watching this before it aired. The reason I had dubbed it ”Part One” is that I suspect that the Okinawa episode will proved to be just as depressing . . . or perhaps a little more.

“MAD MEN”: The Specter of Intolerance

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”MAD MEN”: THE SPECTER OF INTOLERANCE

Matthew Weiner’s acclaimed television series, ”MAD MEN”, had addressed many issues that American society had faced in both the past and today. Issues such as class, sexism, religion and race have either reared its ugly heads or have been brushed upon by this series about an advertising agency in the 1960s.

The center of ”MAD MEN” was mainly focused upon advertising executive named Don Draper. But the series also focused upon his co-workers at the firm he works at – Sterling Cooper – and his family in the suburb of Ossing, New York. But this article is about two of Don’s co-workers – namely a junior copywriter named Paul Kinsey and the firm’s office manager, the red-haired Joan Holloway.

In the series premiere, (1.01) ”Smoke Gets in Your Eyes”, Joan was engaged in the task of introducing the newly hired secretary, Peggy Olsen, around to Sterling Cooper’s other employees. One of the employees happened to be Paul Kinsey, who briefly hinted that he and Joan had a romantic history in the past. This was confirmed several episodes later in (1.12) “Nixon vs. Kennedy”, when Joan and Paul had a bittersweet conversation about their past romance during an election party (Election of 1960) held at the office. Apparently, Joan had ended the romance when Paul revealed too much about their relationship.

Joan and Paul’s relationship – or should I say friendship – took an ugly turn for the worst in Season Two’s (2.01) ”Flight 1”. Although this episode mainly focused upon another Sterling Cooper employee, Pete Campbell, facing his father’s death; it began with a party held by Paul at his apartment in Montclair, New Jersey. Paul’s guests not only included co-workers from Sterling Cooper, but also some of his African-American friends (or neighbors). One of those guests included Paul’s then girlfriend, a black woman named Sheila White. Paul introduced Sheila to Joan as his girlfriend. He also added that Sheila worked as an assistant manager at her local supermarket. Then he briefly dismissed himself to see to another guest. Once Paul left, Joan turned to Sheila and said the following:

“When Paul and I were together, the last thing I would have taken him for was open-minded.”

In one sentence, Joan managed to stake her claim on Paul as a former lover and make a racist comment. Sheila merely responded with a polite compliment about Joan’s purse. She must have eventually told Paul, because within a day or two, Paul angrily confronted Joan on the matter. She merely responded by accusing Paul of using Sheila to look bohemian and ”tolerant” to his friends and co-workers. She also managed to conveniently forget that Sheila worked as an assistant manager at the Food Fair and dismissed the latter as a mere check-out clerk. Too angry to respond, Paul stalked away. Later, he got his revenge by stealing Joan’s drivers’ license, making a copy of it and posting that copy on the office bulletin board. He did this to expose her age (which was 31 years in this episode).

Paul and Joan did not share any scenes together until a later Season Two episode called (2.10) “The Inheritance”. In this particular episode, Sheila paid a visit to the Sterling Cooper office to meet with Paul for lunch. She also wanted Paul to join her on a voters’ registration trip to Mississippi. Did Joan notice the brief kiss exchanged between Paul and Sheila? Yes. Nor did she look particularly happy about it. This episode exposed Paul’s blowhard attempts to make himself look good in the eyes of others . . . especially in the eyes of Sterling Cooper’s black elevator operator, Hollis and the other members of the entourage he and Sheila planned to accompany on their trip to Mississippi. But I feel that it also exposed Joan’s own feelings about Paul’s relationship with Sheila . . . again.

Don Draper gave Joan the opportunity to exact revenge upon Paul. In ”Inheritance”, Paul and accounts executive Pete Campbell were ordered to Southern California to recruit future clients in the region’s aerodynamics industry. At the last minute, Don decided he would replace Paul on the trip. He ordered his temporary secretary, namely Joan, to inform Paul in a memorandum that he would be taking the latter’s place on the trip. Instead of informing Paul by memo, she verbally told him in front of the other Sterling Cooper employees, during a baby shower for father-to-be Harry. And publically humiliated the copywriter, in the process. Joan got her revenge . . . for something she had set in motion, when she insulted Sheila in an earlier episode. Curious.

And yet . . . most of the fans of ”MAD MEN” seemed to sympathize with Joan and vilify Paul, in the process. Many of them seemed so intent upon pointing out Paul’s pretentious behavior or claiming that he does not really care for Sheila that they have ended up ignoring Joan’s own racism. And there have been those who have claim that Joan was not a racist. They insisted that she simply wanted to expose Paul’s poseur attitude. My question is . . . why? Why would Joan even bother? Both the series’ viewers and Joan received a firsthand glimpse of Paul’s pretentiousness back in the Season One episode, (1.12) ”Nixon vs. Kennedy”. In that episode, Paul had Salvatore Romano and Joan performed his one-act play that he had written, during the office party for the 1960 elections. The viewers also received an example of how dark Paul’s poseur streak can be when he expressed jealousy that Ken Cosgrove managed to get a short story published in ”The Atlantic Monthly” in (1.05) “5G”.  Why did Joan wait until she met Sheila to point out Paul’s pretentiousness? Why did she not do this earlier? I have asked this question on several occasions. Most fans either ignore my questions or insist that Joan is not a racist . . . while at the same time, continue to deride or make a big deal out of Paul’s pretentiousness.

In a ”Christina Hendricks Interview”, the red-haired actress had expressed dismay over the possibility of Joan being a racist, when she read the script for ”Flight 1”. Series creator Matthew Weiner told her that Joan was not a racist. He added that Joan was simply trying to expose Paul’s pretentiousness over his relationship with Sheila. Like many of the series’ fans, Ms. Hendricks accepted Weiner’s explanation. But after viewing ”Flight 1” and ”The Inheritance”, I can conclude that the writer/producer did a piss poor job of conveying Joan’s intention . . . or he had lied to Christina Hendricks. Right now, I am inclined to believe the latter.

“THE PACIFIC” (2010) Episode Three “Melbourne’ Commentary

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I wrote this commentary on the third episode of “THE PACIFIC”:

“THE PACIFIC” (2010) EPISODE THREE “Melbourne” Commentary

Following their evacuation from Guadalcanal in January 1943, members of the U.S. Marines First Division enjoyed a respite in Melbourne, Australia. There, characters like Bob Leckie and Sidney Phillips enjoyed romances with local Australian girls. John Basilone enjoyed a period of heavy drinking and dodging the MPs before receiving his Medal of Honor for his late October actions on Guadalcanal.

Unlike 2001’s ”BAND OF BROTHERS”, this third episode featured the very first one that did not include any combat. Instead, the First Division Marines enjoyed a respite filled with booze, women, a medal ceremony and more training. This episode featured two of our major characters confronting their demons. But let me focus on the minor stuff first.

Some of the funniest romantic scenes featured Sidney Phillips romancing a young Australian girl, under the watchful eye of her grandfather. Ashton Holmes was a hoot portraying Phillips’ struggles to suppress his desires and somewhat more questionable actions (like leaving the “base” without a pass) in order to impress his new girlfriend’s Draconian grandfather and behave like a Southern gentleman. His funniest moment occurred in a scene inside a pub where Phillips was trying to assure the girl’s father that he intends to be the perfect gentleman, when the MPs appear. Although he assured both his girlfriend and her grandfather that he had a pass, he subtly suggested that they leave the pub through the back door.

Other funny moments featured Leckie’s friends, Hoosier and Chuckler. From the moment when the Marines are bivouacked at a cricket stadium, Hoosier and his government issued blanket are never apart. Never. He quickly fell asleep, while Leckie, Runner, Chuckler and other Marines left the stadium without permission – clinging to his blanket. And for several days, it never left his side. Another moment featured the Marines back in formation at the stadium, the day following their first night of liberty. Most of them looked as if they had spent a week of debauchery with no sleep . . . including Lieutenant Corrigan. One Marine could not even remain standing and in a moment of pure slapstick, fell flat on his face. Corrigan did not say a word. But the funniest moment – at least for me – featured a drunken Leckie coming upon poor Chuckler on guard duty at the stadium. Why did I call Chuckler “poor”? In a scene that brought back memories of my mad dashes to the bathroom, poor Chuckler was dancing his ass off, while trying to convince Leckie to stand guard in his place so he could relieve himself. I have to pause for a moment to keep my laughter in check. Excuse me.

This episode did not feature any scenes of Eugene Sledge. However, I suspect that viewers will be seeing him in the next episode. It did feature Basilone receiving his Medal of Honor. Like the other Guadalcanal veterans, Basilone and his friend, J.P., hit the streets of Melbourne for a night of heavy drinking and debauchery. The pair found a convenient bar where they indulged in a great deal of booze and a brief, yet violent encounter with Australian servicemen. Fortunately, their hostile encounter with the Australians became friendly. But when Basilone reported to Chesty Puller’s office the following day, Basilone was not so fortunate. One, he learned that he was to receive the Medal of Honor, which produced a delicious “WTF” expression in Jon Seda’s eyes. Then his expression became even stranger, as Puller chewed out Basilone for failing to set a good example in Melbourne . . . before eventually throwing up. Next to Chuckler’s “dancing” moment, I thought this was the funniest scene in the episode.

However, matters did not seem that funny when Basilone finally received his Medal of Honor in a formal ceremony at the cricket stadium. Poor bastard looked as if he wanted to flee for his life, instead of receiving that medal. I do wonder if something within him suspected that medal would separate him from J.P. and the rest of his men, as surely as death had separated Manny from him. The expression in his eyes seemed to hint it not only during the medal ceremony, but also when he bid good-bye to J.P. and on that flight to San Francisco near the end of the episode. And I have to give kudos to Seda for expressing this emotion without saying a word. In fact, he did a damn good job all around.

Finally, we come to Leckie. Man, I do not know what to say about him. Actually, I do. But I suspect that describing James Badge Dale’s interpretation of Leckie’s character would take a multi-page essay. It is that complicated. In fact, Robert Leckie seemed to be one of the most complicated characters I have come across in any biopic either in a movie or on television. I cannot recall any character in ”BAND OF BROTHERS” as complicated as him. Judging from his conversations with his Australian girlfriend Stella and her Greek-born mother, his demons had already been established before he saw combat or had joined the Marines. As much as he loved his family, Leckie apparently did not like being part of a big family – especially as the youngest member. He seemed to have felt crowded, yet at the same time, ignored. His description of his father made me revised the father-son good-bye scene in “Episode One. At first, I thought Leckie Sr. was simply reluctant to bid his son good-bye. I had no idea that the older man was also suffering from slight mental problems.

The episode started well for Leckie. He met Stella on a trolley car and managed to garner her interest, despite being drunk. The two seemed to take to one another like duck to water. And watching Badge Dale and Australian actress Claire van der Boom act together made me realize that they have a strong screen chemistry together. Although their loves scenes were slightly explicit, they were still very tasteful. Frankly, I saw nothing that anyone could complain about. Thanks to van der Boom’s excellent performance, Stella proved to be just as complicated as Leckie. Upon his return following a three-day hike for the Marines, she eventually dumped him. She claimed that her mother, who had taken a shine to him, would have great difficulty in dealing with his death. But Leckie had witnessed her reaction to the news of a friend’s death and immediately surmised that she was simply guarding herself from possible future heartache.

Needless to say, Leckie did not take the end of his romance very well. Not only did he get drunk, lost his temper with Lieutenant Corrigan after the latter confronted him for taking Chuckler’s place during guard duty, while the latter was taking a piss. Not only did Leckie ended up in the brig for a period of time with Chuckler, he was booted from the company and his friends, and assigned to become an intelligence scout. Poor Leckie. But I must say that the more I watch Badge Dale’s skillful portrayal of the complicated Leckie, the more I have become impressed by his talents as an actor.

Episode Three proved to be an entertaining episode. Viewers got a chance to see how some of the characters behaved away from the threat of combat. However, I rather doubt that it will ever become a favorite of mine. Aside from the personal conflicts of Leckie and Basilone, it lacked the edge that Episode One and Episode Two possessed. I suppose that is due to the lack of combat shown.

 

 

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 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 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 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 the “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 the “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 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) at his crypt.  She barged into the latter, shoved a frightened Spike against the wall and started to rip off his clothes.  He consented to sex at the last minute when an uncontrolled giggle revealed Buffy’s identity.  What made this scene rather sickening to watch was that it was written as a comedic moment.  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.  Were producers Morris Barry, Anthony Coburn and Debbie Horsfield unwilling to allow television audiences to face Ross’ violent act against his soon-to-be former cousin-in-law?  Was that why all three 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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“THE PACIFIC” (2010) Episode Two “Guadalcanal II’ Commentary

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“THE PACIFIC” (2010) EPISODE TWO “Guadalcanal II” Commentary

Episode Two of HBO’s ”THE PACIFIC” continued the saga of the U.S. Marines during the Guadalcanal campaign. Episode One focused mainly on Robert Leckie’s combat experiences during the campaign. This latest episode centered on the combat experiences of Sergeant John Basilone and his fellow comrades from the 7th Marines regiment.

By the time I had finished watching Episode Two, I found myself battling a tension headache. And it was all due to action sequences featured in this episode. Granted, I also found the battle scenes in Episode One rather tense, but the action in this second episode knocked it out of the ballpark for me. Around late October 1942, John Basilone and a handful of his fellow Marines were forced to fight off a frontal assault by the Japanese Army. Between the assault and Basilone’s encounters with Japanese troops, while fetching more ammunition literally had me squirming on my living room sofa. And I must say that Jon Seda did a great job of portraying Basilone’s heroics and making it look natural in the process. I also have to give kudos to actor Joshua Biton for his emotional portrayal of one of Basilone’s close friends, J.P. Morgan.

With the exception of an aerial bombing sequence, this particular episode did not feature Leckie and his friends in actual combat. Instead, the episode focused upon them dealing with various other problems during their stay on Guadalcanal – lack of supplies, inadequate arms and . . . um, health issues. Poor Runner dealt with an attack of the runs and Leckie found himself throwing up after consuming stolen canned peaches on a half-empty stomach. Leckie and a good number of other Marines stole supplies left on the beach for the arriving U.S. Army. In a hilarious scene, Leckie managed to pinch the peaches, along with cans of other food; and a pair of moccasins and a box of cigars that belonged to an Army officer. I never knew that actor James Badge Dale had a talent for comic timing . . . until now.

Episode Two also revealed a glimpse of Eugene Sledge back in Mobile. He and his father, Dr. Sledge, have discovered that Sledge’s heart murmur no longer exists. Upon this discovery, Sledge wasted no time in announcing his intention to join the Marines. And viewers will eventually see the results of that decision by Episode Five.

By the end of the episode, the Marines were ordered to leave the island, much to the relief of many. Both Basilone and Morgan found themselves trying to rationalize the death of their friend, Manny Rodriguez, while other Marines loaded up in boats taking them off the island. A scene that featured good, solid acting by both Seda and Biton. The episode’s last scene featured Leckie and his friends learning from a Navy cook aboard ship that their actions on Guadalcanal had been reported in American newspapers and that they were now all regarded as heroes. Judging from the expressions on the Marines’ faces, they seemed conflicted on how to accept the news. This wonderfully performed scene by Badge Dale and the actors portraying Leckie’s friends – Josh Helman (Chuckler), Keith Nobbs (Runner) and Jacob Pitts (Hoosier)- was mentioned in Leckie’s memoirs.

Like Episode One, this was a well done that left me feeling tense and an array of other emotions. I only hope that the miniseries’ remaining episodes will match the quality of the first two.