“ROSS POLDARK: A NOVEL OF CORNWALL, 1783-1787” (1945) Book Review

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“ROSS POLDARK: A NOVEL OF CORNWALL, 1783-1787” (1945) Book Review

During a period of fifty-seven, writer Winston Graham wrote a series of twelve historical novels that centered around a former British Army officer from Cornwall, who had fought for king and country during the American Revolutionary War. The first of the novels, “ROSS POLDARK: A NOVEL OF CORNWALL, 1783-1787” had been published in 1945. 

“ROSS POLDARK” begins in the fall of 1783. Ross Poldark returns home to Cornwall after spending three years in the Army. The former officer returns to discover that his father had been dead for several months. The estate he had inherited, which includes Nampara and a failing copper mine, had fallen in arrays. His home is being occupied by his father’s two slovenly servants – Jud and Prudie Paynter. Worst of all, he learns that his former love, Elizabeth Chynoweth, had given him up for dead and become engaged to his cousin, Francis Poldark. Ross sets out to restore his fortunes by acquiring financing for one of his family’s derelict tin mines. But dealing with the loss of Elizabeth prove to be a real problem. Emotional salvation seemed to come in the form of a young 13-14 urchin girl named Demelza Carne, whom Ross saves from a mob at the Reduth Fair. Ross hires her as his new kitchen maid. Over the course of three years, she develops into a beautiful 17 year-old, for whom he develops emotional feelings and eventually marries.

I have read a good number of reviews about this novel. With the exception of one or two, most of them seemed pretty positive. Personally, I believe that Winston Graham did a solid job in setting his multi-novel series in motion. I was impressed at how he introduced his major characters, the story’s historical setting and the story lines that reverberated throughout the series. One of those story lines proved to be the various love triangles that centered around Ross Poldark and Elizabeth Chynoweth Poldark. I find it amazing that most these different love triangles centered around Ross and Elizabeth, instead of Ross and the woman he would eventually marry – Demelza, who happened to be the saga’s leading lady. The 1945 novel included at least two triangles and a potential third:

*Ross Poldark-Elizabeth Chynoweth Poldark-Francis Poldark

*Demelza Carne Poldark-Ross Poldark-Elizabeth Chynoweth Poldark

*Ross Poldark-Elizabeth Chynoweth Poldark-George Warleggan

Anyone familiar with “ROSS POLDARK” would automatically know that no such triangle existed between Ross, Elizabeth and George. I would agree . . . to a certain extent. George Warleggan was more or less portrayed as a minor supporting character in this novel. His father, Nicholas Warleggan, had a more prominent role. Yet, Graham provided a hint of the Ross-Elizabeth-George triangle during the 1787 Trenwith Christmas party, in which George projected a deferential and infatuated attitude toward her. A sign of things to come, indeed.

In fact, the Christmas party proved to be one of those scenes in which I believe Graham did an excellent job in portraying life in Cornwall during the late 18th century. Other scenes that impressed me include Ross’ arrival at Truro upon his return from the war; Francis and Elizabeth’s wedding reception; Ross’ first meeting with Demelza at the Redruth Fair; and the trial of Jim Carter for poaching, one of Ross’ employees, at Truro’s court of assize. These scenes conveyed to me that Graham did some extended research of Britain’s history during the late Georgian era and life in Cornwall during that period. And although I found his use of this research impressive, I would not say that Graham was the best novelist in conveying historical research into stories. I have read novels that have a stronger historical background.

“ROSS POLDARK” is foremost a story about a war veteran who returns home to find his world drastically changed. I suppose one could compare Graham’s tale to the 1946 movie, “THE BEST YEARS OF OUR LIVES”. But the Ross Poldark character seemed traumatized . . . so to speak, by the ruined state of his fortunes and his loss of fiancee Elizabeth Chynoweth, instead of any combat experiences during the war. It did not take Ross very long to set about restoring his fortunes. But the loss of Elizabeth proved to be another matter. He spent a long period of time drinking heavily over her marriage to his cousin Francis. And when he finally realized that he had fallen in love with Demelza near the novel’s end, he came to another realization that his marriage had not erased his feelings for Elizabeth. It is very rare to come upon a fictional story about war veteran trying to overcome a past trauma that focused on lost love, instead of past combat experiences. Very odd. And rather original, if I must add.

Another aspect of “ROSS POLDARK” that I found impressive was Graham’s strong portrayal of most of its characters. Ross Poldark came off as a very strong and well-rounded character. While many fans tend to view him as some borderline ideal fictional hero, I was too busy noticing his personal flaws to immediately accept this view. And I regard this as a good thing. At a younger age, I would have eagerly accepted Ross as something close to a perfect hero. But not at my current age. One, I find ideal characters rather boring. And two, while I found his virtues – especially his concern for the lower classes – rather admirable, I must admit that Ross’ flaws – his stubbornness, quick temper, massive ego, and occasional bouts of hypocrisy – made him more interesting to me than any personal virtue ever could. A good example would be his attitude toward women. Despite his respectful attitude toward most women below his class, Ross still managed to retain a strong patronizing and slightly sexist attitude. This was especially apparent in one scene in which his cousin-in-law, Elizabeth Chynoweth Poldark, requested his help in dealing with Francis’ growing penchant for reckless gambling. Instead of taking Elizabeth seriously, Ross dismissed her request as one from an over-emotional woman exaggerating about a husband’s flaws:

“It occurred to Ross in that moment that half of Elizabeth’s worry might be the eternal feminine bogey of insecurity. Francis drank. Francis gambled and lost money. Francis had been seen about with another woman. Not an amiable story. But not an uncommon one. Inconceivable to Ross in that case, and for Elizabeth it had the proportions of a tragedy. But it was unwise to lose one’s sense of perspective. Other men drank and gambled. Debts were fashionable. Other men found eyes to admire the beauty that was not theirs by right of marriage and to overlook the familiar beauty that was. It did not follow that Francis was taking the shortest route to perdition.”

What I found ironic is that Ross’ sexist dismissal of Elizabeth’s concerns about Francis will eventually bite him in the ass.

Thanks to Graham’s sharp writing, the novel featured other strong characters. One of them include his kitchenmaid-turned-wife, Demelza Carne Poldark. At first I did not know what to make of Demelza. Perhaps the reason I had such difficulty in embracing her as a character is that she was so young. Demelza remained a adolescent throughout the novel, despite becoming a wife who ends the story pregnant. I noticed that anyone in Ross’ life – namely his family and Elizabeth – made her incredibly jealous. And Demelza expressed her jealousy in a rather infantile manner. This was apparent in her internal reaction to Elizabeth’s discovery that she and Ross had sex, following Jim Carter’s trial:

“She is one day too late; just one day. How beautiful she is. How I hate her.”

This jealousy was also evident in her determination to avoid the company of Ross’ cousin Verity Poldark following her marriage to Ross. I find it interesting that neither of the two television adaptations of the novel never explored this situation between the two cousins-in-law. Another example of Demelza’s infantile expression of her jealousy appeared near the end of the novel, when she contemplated on her social success at the Trenwith Christmas party. Even though Demelza had internally expressed pity toward Elizabeth’s marriage to Francis, she also reveled in the idea that Ross still wanted her and not Elizabeth – unaware that Ross’ feelings for Elizabeth have not abated. Demelza’s hostility even managed to shift toward Ruth Treneglos, who had originally expressed hope to become Ross’ wife a few years earlier. I can understand why Graham had portrayed Demelza’s jealousy in such a volatile manner. She was – after all – an adolescent in this story. Despite marrying Ross two-thirds into the story, Demelza remained a teenager from the beginning of the novel to the end.

Graham’s portrayal of Francis and Elizabeth Poldark seemed a bit more . . . limited. Especially Elizabeth. Considering that Ross’ reaction to their marriage played such a major role in the novel’s plot, I found it odd that Graham did not explore the couple’s characters a bit deeper. Ironically, Elizabeth suffered from Graham’s superficial portrayal a lot more than Francis. I am not claiming that her character had suffered from a weaker portrayal than Francis’. I have noticed that many fans of the saga have claimed that she is a cold and haughty character. But after my recent re-reading of “ROSS POLDARK”, I found this hard to accept. Elizabeth struck me as slightly conservative, quiet and private woman, with a pragmatic streak. The only time she became “haughty” was when she lost her temper after Ross had insulted her mother at hers and Francis’ wedding reception. More importantly, she proved to be a very warm and caring parent. But I was surprised to discover upon my last reading of this novel that Elizabeth also harbored an inferiority complex, as revealed in a scene following Geoffrey Charles’ christening:

“Verity had gotten over her disappointment very well, Elizabeth thought. A little quieter, a little more preoccupied with the life of the household. She had wonderful strength of mind and self-reliance. Elizabeth was grateful for her courage. She thought, quite wrongly that she had very little herself, and admired it in Verity.”

Quite wrongly. It seemed as if Graham had inserted those words to explain to the readers that Elizabeth underestimated her own inner strength. And considering the number of times Elizabeth resorted to fainting in dealing with many crisis, I got the feeling that instead of acknowledging or even being aware of her own inner strength, Elizabeth had decided the best way to survive in a world that did not favor women was to play the role that society demanded of her – that of a quietly submissive woman. Francis, on the other hand, had three things going for him – he was not portrayed as an introvert, he did not stand in the way of Ross and Demelza’s relationship, and he is a man. Even though Francis tend to resort to infantile behavior to hide his own securities, sometimes I got the impression that many of Graham’s readers are more tolerant of his character than of Elizabeth’s. Is this due to modern society’s intolerance toward reserved or introverted women? Or is this due to many of Graham’s readers view of Elizabeth as a threat to Ross and Demelza’s romance? I wonder.

“ROSS POLDARK” featured an array of interesting supporting characters. The most colorful to me seemed to be Jud and Prudie Paynter, Ross’ servants; a fellow landowner by the name of Sir Hugh Bodrugan; Ross’ former schoolmaster Reverend Doctor Halse; Demelza’s father, Tom Carne; Elizabeth’s mother Mrs. Chynoweth and Ross’ great-aunt, Agatha Poldark. Ross’ Uncle Charles struck me as a particularly interesting character. If there was one character who matched Elizabeth in terms of pragmatism, it was Charles Poldark. Yet, for such a pragmatic man, I am amazed that he was unable to produce a bigger fortune for his family. And his determination to ensure Francis’ marriage to Elizabeth literally smacked of sheer manipulation. When I first read this novel, I had wondered why Charles was determined to set this marriage in motion. After all, the Chynoweths were cash poor. Did Charles have designs on the Chynoweth land, which would eventually go to the man who marries Elizabeth? I wish Graham had been a little clear on the matter.

The novel featured another love story – one between Francis’ sister, Verity Poldark and a sea captain by the name of Andrew Blamey. I thought Graham did an excellent job in portraying the charming and subtle love story between the plain, yet sweet and soft-spoken Verity and the intense Captain Blamey. But the latter’s revelation of how his alcoholism and temper led to the manslaughter of his wife led both Verity’s father and brother to put a stop in the romance before it could continue. A part of me felt sorry for Verity. Another part of me felt that both Charles and Francis Poldark had done the smart thing. I could not blame them for not wanting a former alcoholic who had killed his wife in a drunken rage anywhere near Verity or within the family ranks. Which makes me wonder why Graham had created this character in the first place.

As I had earlier hinted, I found “ROSS POLDARK” was a solid novel. Solid . . . not perfect or anywhere near perfect. The novel proved to be a good starting point for Graham’s saga, but it was certainly not one of his best. It had its flaws. I have already hinted at one of the novel’s flaws – namely Graham’s portrayal of Francis and Elizabeth Poldark. I realize that Francis and Elizabeth are not the story’s main protagonists. Yet, they are among the saga’s main characters after Ross and Demelza. And the couple played major roles in the protagonists’ lives. Especially Elizabeth. Unfortunately, I discovered upon re-reading the novel that Graham had not explored their characters as much as I wish he had. Characters like Verity Poldark, the Paynters, Jim Carter, Reuben Clemmow and Jinny Carter née Martin seemed to have been written with more depth than either Francis or Elizabeth.

Speaking of Jinny Carter and Reuben Clemmow, this brings me to the sequence that featured Reuben’s attack upon her. I have no problems with Graham’s portrayal of the incident. I thought the scene reeked with tension and violence. What irritated me to no end was that Graham had ended the sequence on a cliffhanger with Clemmow stabbing Jinny before accidentally falling out of a window, while trying to opening it. Following those violent moments, the novel jumped two years later in which the next chapter featured Ross in a meeting with potential shareholders for Wheal Leisure. Readers had to wait until another chapter before learning that Jinny had survived the stabbing and Reuben had fallen to his death. Perhaps other readers had no problems with Graham ending the Jinny-Clemmow sequence on this note. I did. I found it irritating. It seemed as if Graham had spent a great deal of energy in building up to Jinny and Clemmow’s confrontation, only to end it by “telling” how it ended, instead of “showing” it. And why on earth Graham felt the need to jump the story another two years before revealing the conclusion of this plot line?

As someone who has read countless number of novels over the years, I have encountered a good share of them in which the writer has a tendency to shift the point-of-view from one character to another in the middle of the scene. And unfortunately, Winston Graham seemed to be onen of those novelists that share this flaw. This was especially apparent in one scene between Francis and Elizabeth Poldark, following the christening of their son. The scene started with Elizabeth’s point-of-view, as she contemplated on the christening’s success, her love for young Geoffrey Charles and her anticipation for more rest, as she continued her recovery from childbirth. Just before Francis could enter her bedroom for a little marital sex, the scene shifted to his point-of-view and readers experience his anticipation and his disappointment at Elizabeth’s rejection of his attempt to seduce her. To this day, I still wonder why Graham had shifted the viewpoint from one character to another. Why could he not reveal Elizabeth’s point-of-view, when Francis tried to seduce her for some post-natal sex? Or explain to viewers – from her point-of-view – why she wanted more rest, instead of sex with Francis? Was it easier for him to convey Francis’ disappointment? This shift in viewpoint seemed to have left many fans of the saga to assume that Elizabeth simply wanted no more sex with her husband – or that she was sexually frigid.

One last sequence that bothered me in “ROSS POLDARK” focused on Ross and Demelza. Not long after meeting the thirteen (or fourteen) year-old Demelza at the Reduth Fair, Ross brought her home to Nampara. He had wanted Prudie to clean the lice-infested Demelza before the latter could step foot inside the house. But since Prudie was not there, he set about cleaning her himself. Ross ordered Demelza to remove all of her clothes so that he could clean her, using water from the water pump behind the house:

“He worked the handle with vigor. The first rinsing would not get rid of everything but would at least be a beginning. It would leave his position uncompromised. She had an emaciated little body, on which womanhood had onl just begun to fashion its designs.”

The idea of a 23-24 year-old man washing the naked body of a 13-14 year old girl left me feeling very uncomfortable. Squemish. I had noticed that the topic had been mentioned on the The Winston Graham & Poldark Literary Society message board, but those members who had responded did not seem bothered by the scene. I had mentioned it on Tumblr and someone had the same response as me. Perhaps an adult man washing the naked body of an early adolescent girl he had recently met and hired as a servant did not seem out of place in the late 18th century. But as a woman of the late 20th and early 21st centuries, it seemed out of place to me. And I can only wonder how many early-to-mid 20th century readers felt about this scene when the novel was first published in 1945. And honestly . . . why on earth did Graham include this scene in the novel in the first place? Why not allow Prudie to be at Nampara to wash the very young Demelza? Especially since the latter ended up as Ross’ wife some three years later? I mean . . . honestly . . . all I can say is “Ewww!”.

Speaking of Demelza, how old was she? The handling of Demelza’s age struck me as confusing. According to the novel, she was 13 years old when she and Ross first met at the Reduth Fair in the early spring of 1794. When she married Ross in June 1787, she was 17 years old. And during the Christmas party at Trenwith near the end of 1787, she told Francis and Elizabeth’s guests that she was 18 years old. Exactly when was Demelza born? In 1769 or 1770? Perhaps it is wise if I just give up on the matter.

Unlike many fans of the literary POLDARK series, I cannot say that “ROSS POLDARK: A NOVEL OF CORNWALL, 1783-1787” was among the best. In fact, I would not regard it as one of the best historical novels I have ever read. It possessed some flaws that prevent me from proclaiming it as such. But . . . I must admit that Graham had created a solid story that maintained my interest from the beginning to the end. And more importantly, I thought Graham did a pretty good job in using this novel to set up the twelve-book series.

List of Historical Fiction Series

Below is a list of popular historical novels that are a part of a series:

LIST OF HISTORICAL FICTION SERIES

1. The Forsyte Saga (1906-1921) by John Galsworthy – Nobel Prize winning author John Galsworthy wrote and published a series of three novels and two interludes about members of an upper middle-class English family between the 1870s and 1920s.

2. Poldark Saga (1945-2002) by Winston Graham – Set between 1783 and 1820 is a series of twelve novels about a former British Army officer and Revolutionary War veteran, his struggles to make a new life and renew his fortunes following his return to Cornwall after the war.

3. The Asian Saga (1962-1993) by James Clavell – This series of six novels centered on Europeans – especially the Struans-Dunross family – in Asia and the impact of both Eastern and Western civilization between the the early 17th century and late 20th century.

4. The Raj Quartet (1966-1975) by Paul Scott – Paul Scott wrote this four novel series about a group of Europeans during the last five years of the British Raj in India.

5. Flashman Papers (1969-2005) by George MacDonald Fraser – Journalist George MacDonald Fraser wrote a series of novels about the exploits of a cowardly British Army officer during the Victorian Age, between 1839 and 1894. The Harry Flashman character was originally a minor character in Thomas Hughes’ 1857 novel, “Tom Brown’s School Days”.

6. Beulah Land Trilogy (1973-1981) by Lonnie Coleman – This three-volume series told the saga of a Savannah belle named Sarah Pennington Kendrick and her years as mistress of a Georgia cotton plantation called Beulah Land, between the early Antebellum Era and the late Gilded Age.

7. The Kent Family Chronicles (1974-1979) by John Jakes – Also known as “the Bicentennial Series”, author John Jakes wrote a series of eight novels to commemorate the United States’ 200th Bicentennial that centered on the experiences of the Kent family from 1770 to 1890.

8. American Civil War Trilogy (1974; 1996-2000) by Michael and Jeff Shaara – Michael Shaara wrote the Pulitzer Prize winning novel, “The Killer Angels” in 1974, which was about the Battle of Gettysburg during the Civil War. A few years after his death, his son Jeff wrote both a prequel (set during the first two years of the war) and a sequel (set during the war’s last year); creating a trilogy of the three novels.

9. The Australians Series (1979-1990) by William Stuart Long – Set between the late 18th century and the late 19th (or early 20th) century, this literary series followed the experiences of the Broome family in Australia and other parts of the British Empire.

10. North and South Trilogy (1982-1987) by John Jakes – John Jakes wrote this literary trilogy about the experiences of two families – the Hazards of Pennsylvania and the Mains of South Carolina – between 1842 and 1876.

11. The Savannah Quartet (1983-1989) by Eugenia Price – The four novels that make up this series is centered around a Northerner named Mark Browning who moves to the birthplace of his Savannah-born mother and his relationships with his family, friends and neighbors between 1812 and 1864.

12. Wild Swan Trilogy (1984-1989) by Celeste De Blasis – Set between 1813 and 1894, this literary trilogy focused on a young English immigrant named Alexandria Thaine, her two husbands and her descendants in England and Maryland.

13. Outlander Series (1992-Present) by Diana Gabaldon – This current literary series focuses upon a World War II nurse named Claire Randall, who embarks upon a series of adventures after she travels back in time and fall in love with an 18th century Highland warrior named Jamie Fraser.

“A CARIBBEAN MYSTERY” (1989) Review

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“A CARIBBEAN MYSTERY” (1989) Review

I have a confession to make. I am not a big fan of Agatha Christie novels written after 1960. In fact, I can only think of one . . . perhaps two of them that I consider big favorites of mine. One of those favorites happened to be her 1964 novel, “A Caribbean Mystery”.

There have been three television adaptations of Christie’s novel. I just recently viewed the second adaptation, a BBC-TV production that starred Joan Hickson as Miss Jane Marple. This version began with Miss Marple’s doctor revealing to one of her St. Mary Mead’s neighbors that following a recovery from pneumonia, she had been treated to a vacation to a beach resort in Barbados managed by a young couple named Tim and Molly Kendal, thanks to her nephew Raymond West. Miss Marple becomes acquainted with another resort guest named Major Palgrave, a retired Army officer who tends to bore not her but others with long-winded stories about his military past. But while Miss Marple struggled between shutting out the verbose major and pretending to pay attention to him, the latter shifts his repertoire to tales of murder. When Major Palgrave announces his intention to show her a photo of a murderer, he suddenly breaks off his conversation before he can retrieve his wallet. The following morning, Major Palgrave is found dead inside his bungalow. And Miss Marple begins to suspect that he has been murdered. Two more deaths occurred before she is proven right.

As I had earlier stated, the 1964 novel is one of my favorites written by Christie. And thankfully, this 1989 television movie proved to be a decent adaptation of the novel. Somewhat. Screenwriter T.R. Bowen made a few changes from the novel. Characters like the Prescotts and Señora de Caspearo were removed. I did not miss them. The story’s setting was shifted from the fictional island of St Honoré to Barbados . . . which did not bother me. The television movie also featured the creation of a new character – a Barbados woman named Aunty Johnson, who happened to be the aunt of one of the resort’s maids, Victoria Johnson. The latter made arrangements for Miss Marple to visit her aunt in a black neighborhood. Aunty Johnson replaced Miss Prescott as a source of information on Molly Kendal’s background. More importantly, the Aunty Johnson character allowed Bowen to effectively reveal Imperial British racism to television viewers by including a scene in which the Kendals quietly reprimanded Victoria for setting up Miss Marple’s visit to her aunt.

More importantly, I have always found “A CARIBBEAN MYSTERY” to be an entertaining and well-paced story – whether in print or on the television screen. Bowen did a excellent job in adapting Christie’s tale by revealing clues to the murderer’s identity . . . in a subtle manner. That is the important aspect of Bowen’s work . . . at least for me. The screenwriter and director Christopher Petit presented the clues to the television audience without prematurely giving away the killer. And considering that such a thing has occurred in other Christie adaptations – I am so grateful that it did not occurred in this production.

However, “A CARIBBEAN MYSTERY” does have its flaws. Fortunately, I was only able to spot a few. First of all, I had a problem with Ken Howard’s score. I realize that this production is one of many from the “AGATHA CHRISTIE’S MISS MARPLE” series. But “A CARIBBEAN MYSTERY” is set at a beach resort in the Caribbean. One of those problems proved to be Ken Howard’s score. Considering the movie’s setting at a Caribbean beach resort, I figured Howard would use the appropriate music of the region and the period (1950s) to emphasize the setting. He only did so in a few scenes. Most of the score proved to be the recycled music used in other “AGATHA CHRISTIE’S MISS MARPLE” television movies – you know, music appropriate for scenes at a quaint English village or estate. Frankly, the score and the music’s setting failed to mesh.

I also had a problem with a brief scene near the movie’s ending. This scene featured a brief moment in which an evil (and in my opinion) cartoonish expression appeared on the killer’s face before attempting to commit a third murder. I found this moment obvious, unnecessary and rather infantile. But the movie’s score and this . . . “evil” moment was nothing in compare to the performances of two cast members. I have never seen Sue Lloyd in anything other than this movie. But I am familiar with Robert Swann, who had a major role in the 1981 miniseries, “SENSE AND SENSIBILITY”. Both Lloyd and Swann portrayed a wealthy American couple from the South named Lucky and Greg Dyson. Overall, their performances were not bad. In fact, Lucky and Greg seemed more like complex human beings, instead of American caricatures in the movie’s second half. But their Southern accents sucked. Big time. It was horrible to hear. And quite frankly, their bad accents nearly marred their performances.

But I did not have a problem with the production’s other performances. Joan Hickson gave a marvelous performance as the elderly sleuth, Miss Jane Marple. I especially enjoyed her scenes when her character struggled to stay alert during Major Palgrave’s endless collection of stories. She also had great chemistry with Donald Pleasence, who gave the most entertaining performance as the wealthy and irascible Jason Rafiel. What made the relationship between the pair most interesting is that Rafiel seemed the least likely to believe that Miss Marple is the right person to solve the resort’s murders. Both Michael Feast and Sheila Ruskin gave the two most interesting performances as the very complex Evelyn and Edward Hillingdon, the English couple who found themselves dragged into the messy history of the Dysons, thanks to Edward’s affair with Lucky. I found both Sophie Ward and Adrian Lukis charming as the resort’s owners, Molly and Tim Kendal. I was surprised that the pair had a rather strong screen chemistry and I found Ward particularly effective in conveying Molly Kendal’s emotional breakdown as the situation at the resort began to go wrong. “A CARIBBEAN MYSTERY” also benefited from strong performances given by Frank Middlemass, Barbara Barnes, Isabelle Lucas, Joseph Mydell, Stephen Bent and Valerie Buchanan.

There were a few aspects of “A CARIBBEAN MYSTERY” that rubbed me the wrong way. I felt that most of Ken Howard’s score did not mesh well with the movie’s setting. I also had a problem with a scene in the movie’s last half hour and the accents utilized by two members of the cast. Otherwise, I enjoyed the movie very much and thought that screenwriter T.R. Bowen, director Christopher Petit and a fine cast led by Joan Hickson did a more than solid job in adapting Agatha Christie’s 1964 novel.

“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 the 1946 novel, “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.

Five Favorite Episodes of “INDIAN SUMMERS” Season One (2015)

Below is a list of my five favorite episodes from Season One of the British series, “INDIAN SUMMERS”. Created by Paul Rutman, the series starred Henry Lloyd-Hughes, Nikesh Patel, Jemima West and Julie Waters.

FIVE FAVORITE EPISODES OF “INDIAN SUMMERS” SEASON ONE (2015)

1. (1.10) “Episode Ten” – In this season finale, the fate of convicted Indian businessman Ramu Sood is left in the hands of Civil Service official in Simla, Ralph Whelan, after it is discovered that the latter’s servant had killed the woman named Jaya, who was Ralph’s former lover.

 

2. (1.01) “Episode One” – The series premiere opened with the arrival of many British citizens, their servants and officials of the Indian Civil Service to Simla. The train to Simla is delayed when a boy is found collapsed on the railway tracks, while a mysterious assassin makes his way to the city.

 

3. (1.08) “Episode Eight” – Simla’s British community turn out in force for Ramu Sood’s murder trial. The latter’s British employee, Ian McCleod, is wracked with guilt about his part in Ramu’s arrest and an employee of the local orphanage, Leena Prasad, is torn apart in the witness box.

 

4. (1.03) “Episode Three” – While Simla prepares for the Sipi Fair, the only time when the Indian community is allowed on the grounds of the British Club; Indian nationalist Sooni Dalal is arrested at a pro-independence rally. Meanwhile, her brother Aafrin Dalal is targeted for a promotion within the Civil Service by his boss, Ralph, who wants him to keep quiet about a mysterious assassin.

 

5. (1.07) “Episode Seven” – While the British community prepares for the social club’s annual amateur dramatic production, a murder victim who turns out to be Jaya, is found in a nearby river.

“Judging Elizabeth Poldark”

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“JUDGING ELIZABETH POLDARK”

To this day, I am amazed at the level of hostility directed at the Elizabeth Chynoweth Poldark character in the two BBC series titled, “POLDARK”. Quite frankly, I find this hostility to be bordered on the level of a psychotic.

Then it finally occurred to me.

Perhaps the real reason why so many fans dislike Elizabeth – and I am making a major assumption here – is that they see her as an obstacle in the road to Ross Poldark and Demelza Carne Poldark’s “twu luv” or “perfect” relationship. As far as these fans are concerned, Ross and Demelza should spend their entire marriage, projecting the image of perfect love, with nothing or no one – including themselves – posing a threat to their relationship. But there is a problem. Ross continued to harbor feelings for Elizabeth, his first love, even after his marriage to Demelza, his former kitchen maid. Even Elizabeth continued to have feelings for Ross, despite her marriage to his cousin, Francis Poldark.

However, Elizabeth has tried her best to keep her feelings toward Ross to herself. She has tried her best to work at making her marriage to Francis work – despite his insecurities and screw ups. Yet, since Francis’ loss of his fortune and mine at a card game, Elizabeth may have reached a breaking point in trying to maintain some semblance of affection toward her husband. Ross, on the other hand, seemed less disciplined in keeping his feelings for Elizabeth in check. He is in love with his wife, Demelza. There is no doubt. Unfortunately, Ross seemed incapable of moving past Elizabeth’s rejection of him. There have been moments when he has either expressed his feelings or come dangerously close to openly expressing his feelings for her. The 1975-1977 version of “POLDARK” featured one episode in which Ross managed to convince Elizabeth to leave Francis and run away with him. Even after he had sex with Demelza in the previous episode. One episode in the current adaptation made it clear that Ross was in love with both his wife and Elizabeth, when he had admitted it to his cousin Verity.

Many fans of the current series had reacted with disgust or dismay over the idea that Ross loved both Demelza and Elizabeth. In fact, many fans – either forty years ago or today – seemed incapable of understanding Ross’ ability to love two women. It sees as if they wanted Ross to move past his feelings for Elizabeth and focus his love on Demelza. I understand why they would feel this way. With Ross focusing his love solely on Demelza, the viewers would be presented with a simpler and cleaner romance with no pesky little issues to cloud their relationship. But thanks to Winston Graham, Ross refused to do so. And instead of blaming Ross, many want to blame Elizabeth, because it was and still is easier to do. Graham provided his readers with an emotionally complicated relationship between Ross, Demelza, Elizabeth, Francis and even local banker George Warleggan that proved to be emotionally complicated. But these fans do not want complicated relationships or stories. They want their characters and the latter’s relationships to be simple – at the level of a “romance novel for 16 year-olds”. However, that is NOT what Winston Graham had written in his novels.

I am also beginning to wonder if Graham’s portrayal of his protagonist as a man in love with two women had led many fans of the saga to harbor an unnatural and deep-seated hatred of Elizabeth. Not only do they seemed to be upset over Ross’ continuing love for her, these fans seem to regard her as unworthy of Ross’ affection, due to her rejection of him, following his return from the American Revolutionary War. For some reason, these fans seem incapable or unwilling to view Elizabeth as a complex woman with both virtues and flaws. And due to their excessive worship of Ross and Demelza’s relationship, they seem incapable of viewing those two as complex people with flaws … especially Demelza.

I never understood why so many have described Elizabeth as some fragile, delicate woman, who was too weak to be her own woman, let alone stand on her own two feet. Yes, Elizabeth could be rather conservative in the manner in which she had chosen to live her life. I believe that this conservative streak had developed from her penchant for practicality. In fact, I believe that at times, she was too practical for her own good. This practical streak led her to desire financial stability just a bit too much – to the point that led her to engage in two questionable marriages. Elizabeth has also been accused of being cold and emotionally closed off from others. Hmmm . . . sounds like the typical complaints many have made about reserved or introverted individuals. As an introverted person myself, I speak from personal experience. I suspect that many would have admired her if she had been more like her cousin-in-law, Demelza Carne. Fans seemed to have gone into a tizzy over the former kitchen maid with a fiery temper, sharp tongue and even sharper wit. Demelza seemed to be the epiphany of the ideal woman – openly emotional, beautiful, earthy, and witty. Elizabeth Chynoweth Poldark may not have been some female walking ball of fire, but she was certainly not some refrigerated hothouse flower, frigid bitch or limpid Stepford Wife. She was a living, breathing woman with her own passions, virtues and flaws. The thing with Elizabeth is that she was a reserved and private woman who believed in keeping her emotions to herself, due to 18th century society’s demands for women and her own quiet nature.

I realize some might respond that Elizabeth should have been more open with her emotions . . . a trait that many seemed to regard as ideal for a woman. I would disagree. Elizabeth had to be her own woman. And if that meant being a reserved or private one, so be it. Besides, when did it become a crime for a woman – any woman – to be shy or reserved? Why is it so terrible to keep one’s feelings to oneself, especially if one is a woman? Why does a woman, especially a woman character, have to be outgoing, witty, sharp-tongued or “feisty” in order to be considered worthy of society? Am I supposed to regard myself as unworthy, because I am a reserved woman?

I do get tired of the public either idealizing female characters that they like/love and castigating other female characters who do not live up to their ideal of what a woman should be. Especially a woman character like Elizabeth Poldark who was created by a 20th century writer or early 21st century woman character … even if said character is from a story set in a different time period. Male characters are not subjected to such narrow-minded thinking. They are allowed to be complex. It is amazing that despite the fact that we are now in the second decade of the 21st century, this society is still held back by some rampant patriarchy that refuses to leave – even among many women of all ages. And that is pretty damn sad.

Top Ten Favorite Movies Set in the 1930s

Below is my current list of favorite movies set in the 1930s:

TOP TEN FAVORITE MOVIES SET IN THE 1930s

1. “Indiana Jones and the Temple of Doom” (1984) – In this exciting second installment of the Indiana Jones franchise, the intrepid archaeologist is asked by desperate villagers in Northern India to find a mystical stolen stone and rescue their children from a Thuggee cult practicing child slavery. Directed by Steven Spielberg, the movie starred Harrison Ford as Dr. Henry “Indiana” Jones.

2. “The Sting” (1973) – Paul Newman and Robert Redford starred in this excellent Oscar winning movie about a young drifter who teams up with a master of the big con to get revenge against the gangster who had his partner murdered. George Roy Hill directed.

3. “Death on the Nile” (1978) – Peter Ustinov made his first appearance as Hercule Poirot in this superb adaptation of Agatha Christie’s 1937 novel about the murder of an Anglo-American heiress during a cruise on the Nile. John Guillermin directed.

4. “Chinatown” (1974) – Roman Polanski directed this outstanding Oscar nominated film about a Los Angeles private detective hired to expose an adulterer, who finds himself caught up in a web of deceit, corruption and murder. Jack Nicholson and Faye Dunaway starred.

5. “Gosford Park” (2001) – Robert Altman directed this Oscar nominated film about a murder that occurs at shooting party in 1932 England. The all-star cast includes Helen Mirren, Kelly MacDonald, Clive Owen and Maggie Smith.

6. “Evil Under the Sun” (1982) – Once again, Peter Ustinov portrayed Hercule Poirot in this entertaining adaptation of Agatha Christie’s 1941 novel about the murder of a stage actress at an exclusive island resort. Guy Hamilton directed.

7. “O Brother, Where Art Thou?” (2000) – Ethan and Joel Coen directed this very entertaining tale about three escaped convicts who search for a hidden treasure, while evading the law in Depression era Mississippi. George Clooney, John Tuturro and Tim Blake Nelson starred.

8. “Murder on the Orient Express” (1974) – Albert Finney starred as Hercule Poirot in this stylish adaptation of Agatha Christie’s 1934 novel about the Belgian detective’s investigation into the death of a mysterious American aboard the famed Orient Express. Sidney Lumet directed.

9. “Indiana Jones and Raiders of the Lost Ark” (1981) – Harrison Ford made his first appearance as Dr. “Indiana” Jones in this classic movie, as he races against time to find the iconic Ark of the Covenant that contains the Ten Commandments before the Nazis do in 1936 Egypt. Steven Spielberg directed.

“Seabiscuit” (2003) – Gary Ross directed this excellent adaptation of Laura Hillenbrand’s 2001 book about the famed race horse from the late 1930s. Tobey Maguire, Jeff Bridges, Chris Cooper and Elizabeth Banks starred.

Honorable Mention: “Road to Perdition” (2002) – Tom Hanks, Tyler Hoechlin and Paul Newman starred in this first-rate adaptation of Max Collins’ 1998 graphic comic about a Depression era hitman who is forced to hit the road with his older son after the latter witnesses a murder. Sam Mendes directed.