“NORTH AND SOUTH: BOOK II” (1986) – Episode Two “July 1861 – August 1862” Commentary

“NORTH AND SOUTH: BOOK II” (1986) – EPISODE TWO “July 1861 – August 1862” Commentary

Episode Two began with the aftermath of Bull Run. It also featured Brett Main Hazard and Semiramis’ journey to South Carolina, Orry Main’s wedding to his widowed neighbor Madeline LaMotte, and Elkhannah Bent and Ashton Main Huntoon’s smuggling operations. I wish I could be objective about this particular episode, but I cannot. I dislike it too much. It is one of the main reasons why I have so much difficulty with “NORTH AND SOUTH: BOOK II” in the first place.

My main beef with this episode centered around the plot line that featured Brett and Semiramis’ journey south to Mont Royal, following the Bull Run battle. First of all, I believe that this particular plot line was badly written. Brett and Semiramis should not have had any difficulties getting past Union lines, since nearly the entire Union Army had fled to Washington in disarray, following the battle. Second, once they had reached Richmond and delivered the message about Clarissa Main’s injury, they could have accompanied Orry back to South Carolina. They would have arrived at Mont Royal in late July or early August 1861, instead of November 1861. And why did it take them so long to reach South Carolina in the first place? Surely, the two could have traveled by train. The Union Army had not began destroying Southern railroad tracks during the summer of 1861. And one last question – why on earth was a message sent to Brett in Washington D.C. in the first place? An accommodating neighbor of the Mains or a local doctor could have sent the message about Clarissa to Orry in Richmond. It would have been a lot easier. And quicker. Talk about bad writing!

I have a few other qualms about Episode Two. I find it odd that Justin La Motte never suffered any legal repercussions for his attack upon Mont Royal in Episode One. Nor did Orry Main encountered any repercussions for La Motte’s death, when he rescued Madeline from her venal husband. And could someone please explain Orry’s war duties to Jefferson Davies and the Confederacy? It is bad enough that he managed to procure such a high position within the Confederate Army, considering his previous military history. But what exactly was his duty? Was he the main quartermaster for the Confederate Army? Was he involved in investigating war profiteers? Or was he some unrealistic jack-of-all-trade? In fact, I have the same complaint about George Hazard’s position with the Union Army. Like Orry, his previous military history was very limited. Yet, he managed to become a military aide to President Lincoln and serve other duties for the Army – duties that seemed to be very varied. I was especially shocked to find George attending one of Lincoln’s Cabinet meetings. Really? Are they serious? This is incredibly sloppy writing. Both Charles Main and his fellow officer Lieutenant Ambrose Pell continue to unnecessarily cart around their swords, during their duties as scouts. And I still see no signs of enlisted men under their command. Episode Two also featured a moment when President Lincoln announced his “Emancipation Proclamation” to his cabinet . . . and George Hazard. I realize this should have been a profound moment, but the pretentious dialogue left me feeling cold.

However, there were some good moments in this episode. George and Orry had a bittersweet reunion inside a barn, while both were traveling to their respective capitals. Charles visited the widowed Augusta Barclay’s farm after being injured by Union cavalry. Stanley and Isobel Hazard scheme to profit from the war and make enough money to take over Hazard Iron. And in one brief scene, Congressman Greene had an embarrassed reaction to a wounded soldier that did David Odgen Stiers’ skills proud as an actor. Of all of these scenes, the one that really impressed me proved to be the one that featured Stanley and Isabel’s scheming. For me, this was a step up from their narrative in John Jakes’ 1984 novel. The reason I was so impressed by these scenes was due to the first-rate performances from the cast.

Aside from the Stanley and Isabel story arc, I feel that the rest of the scenes benefited from the cast’s excellent acting. This was especially apparent by James Read and Patrick Swayze’s performances in the scene that featured George and Orry’s reunion, and also the performances by Lewis Smith, Kate McNeill and first-time actor John Nixon. Both Philip Casnoff and Terri Garber continued to amazing heat in their portrayals of Elkhannah Bent and Ashton Main Huntoon. Kurtwood Smith gave an intense and fascinating portrayal of Billy Hazard’s commander Hiram Burdan. And Whip Hubley, an actor I have never been that particularly impressed with, gave an interesting performance as Billy’s regimental rival, Lieutenant Stephen Kent.

Kevin Connor continued to handle his actors with skill. And the miniseries’ photography by Jacques R. Marquette continued to strike me as colorful, but not particularly impressive. But there is one aspect of this production that continued to really impress me was Robert Fletcher’s costume designs – especially for the women. Below are examples of his work in this episode:

But if I must be brutally frank, Episode Two featured some of the worst writing in this miniseries, and probably in the entire trilogy. No amount of excellent performances or dazzling costume designs could improve my opinion or save what proved to be an otherwise dull episode.

Top 10 Favorite Episodes of the “STAR TREK” Television Franchise

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Below is a list of my ten favorite episodes from all five “STAR TREK” television series:

TOP 10 FAVORITE EPISODES OF THE “STAR TREK” TELEVISION FRANCHISE

1 - 5.12 The Bride of Chaotica VOY

1. (5.12 VOY) “The Bride of Chaotica!” – Ensign Tom Paris’ latest holodeck adventure, “The Adventures of Captain Proton”, takes an unexpected turn when the U.S.S. Voyager gets stuck in an interdimensional reef in this hilarious and imaginative episode.

2 - 4.18-4.19 In a Mirror Darkly ENT

2. (4.18-4.19 ENT) “In a Mirror, Darkly” – This surprisingly entertaining two-part episode features the back-stabbing antics of Jonathan Archer’s Enterprise crew in the saga’s Mirror Universe.

3 - 3.16 Blood Fever VOY

3. (3.16 VOY) “Blood Fever” – While enduring pon farr, a lovesick Ensign Vorik unexpectedly passes it to Chief Engineer B’Elanna Torres, affecting her relationship with Tom Paris during an Away mission.

4 - 4.10 Our Man Bashir DS9

4. (4.10 DS9) “Our Man Bashir” – While playing a 1960s secret agent inside one of Deep Space Nine’s holosuites, he is forced to make life and death decisions for those crew members, whose transporter patterns are stored in the program during an emergency in this wildly entertaining episode.

5 - 4.07 Scientific Method VOY

5. (4.07 VOY) “Scientific Method” – Unseen alien intruders used Voyager’s crew as specimens for series of experiments that affect their physical and mental health in this weird and spooky episode.

6 - 6.19 In the Pale Moonlight DS9

6. (6.19 DS9) “In the Pale Moonlight” – This fascinating episode depicted Captain Benjamin Sisko and former Cardassian spy Elim Garak’s efforts to manipulate the Romulans into joining the Federation in its war against the Dominion.

7 - 1.28 City on the Edge of Forever TOS

7. (1.28 TOS) “City on the Edge of Forever” – In this Hugo Award winning episode, Captain James Kirk and Commander Spock are forced to go back in time to the early 1930s to prevent Dr. Leonard McCoy from changing time, when the latter accidentally disappears through a time portal, while heavily drugged.

8 - 5.10 Rapture DS9

8. (5.10 DS9) “Rapture” – An accident causes Captain Sisko to have prophetic visions involving the Bajorans’ religious beliefs and their future with the Federation.

9 - 5.18 Cause and Effect TNG

9. (5.18 TNG) “Cause and Effect” – The U.S.S. Enterprise-D becomes stuck in a time loop involving another Starfleet ship, but the crew manages to retain some memories of previous instances.

10 - 7.24 Pre-emptive Strike

10. (7.24 TNG) “Pre-emptive Strike” – In this bittersweet episode, helmsman Lieutenant Ro Laren graduates from Starfleet’s advance tactical training and is eventually ordered by Captain Jean-Luc Picard to infiltrate the Maquis and lure its members into a trap set by Starfleet.

“NORTH AND SOUTH: BOOK II” (1986) – Episode One “June-July 1861” Commentary

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“NORTH AND SOUTH: BOOK II” (1986) – EPISODE ONE “JUNE-JULY 1861” Commentary

Judging from past articles I have written about the “NORTH AND SOUTH” Trilogy, one would surmise that of the three miniseries that have aired in the past decades (two in the 1980s and one in the 1990s) that I seemed to have the most problem with the second miniseries in the trilogy, namely “NORTH AND SOUTH: BOOK II”. And if I have to be honest, one would be right.

It is odd that I would choose the second miniseries as the most problematic of the three. “NORTH AND SOUTH: BOOK II” is set during the four years of the Civil War – a historical conflict that has heavily attracted my attention for so many years that I cannot measure how long. “HEAVEN AND HELL: NORTH AND SOUTH BOOK III”, which had aired at least seven-and-a-half years after the second miniseries, was set during the early years of Reconstruction and has a reputation among the “NORTH AND SOUTH”fans as being inferior to the other two. But for some reason, I have had more of a problem with “BOOK II”. So I have decided to examine each of the six episodes of the 1986 miniseries to determine why this chapter in the “NORTH AND SOUTH” trilogy is such a problem for me.

Without a doubt, Episode One of “BOOK II” is my favorite in the entire miniseries. It re-introduced the main characters from the first miniseries in the story. It also set the stage for the main characters’ experiences during the war, for the rest of the miniseries. It featured an excellent opening shot on the streets of Washington D.C. that introduced both Brett Main Hazard, and the slave Semiramis. It also featured a well shot sequence that centered around a colorful ball at the Spotswood Hotel in Richmond, attended by Ashton and James Huntoon, and Elkhannah Bent. Most importantly, it featured one of my favorite battle scenes – namely the Battle of Bull Run that was fought near Manassas, Virginia on July 18, 1861. If I have to be frank, this interpretation of Bull Run remains my favorite. Director Kevin Connors filmed the entire sequence with great style and skill and composer Bill Conti injected it with a brash, yet haunting score that still give me goose bumps whenever I watch it. Even better, the sequence ended with actress Wendy Kilbourne uttering one of the best lines in the entire trilogy.

I certainly have no problems with the miniseries’ production values. Jacques R. Marquette’s photography struck me as rather beautiful and colorful. This was especially apparent in the opening Washington D.C., the Spotswood Hotel ball and Bull Run sequences. If I have one complaint, I wish the photography had been a little sharper. Joseph R. Jennings and his production designs team did an excellent job in re-creating the United States during the Civil War era. Bill Conti continued his excellent work as composer for the saga’s production. But if there is one aspect of the miniseries’ production values that really blew my mind were the costumes designed by Robert Fletcher. I was especially impressed by the following costumes:

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I do have a few quibbles about Episode One. First of all, it introduced Charles Main’s role as a cavalry scout for the Confederate Army. Considering that he started out as a Captain in this miniseries, it made no sense to me that he and another officer – a first lieutenant – would be participating scout duties without the assistance of enlisted men. I guess one could call it as an example of the story being historically inaccurate. And I wish someone would explain why the Mains’ neighbors (or slaves) sent word to Brett Main Hazard in Washington D.C., of the injuries her mother, Clarissa Main, had suffered when Mont Royal’s barn was set on fire by Justin La Motte. Would it have been a lot easier (and quicker) to send word to Orry Main, who was on duty in Richmond, Virginia?

I find the idea of both George Hazard and Orry Main serving as military aides to their respective political leaders – Abraham Lincoln and Jefferson Davis – very improbable. Following their graduation from West Point in 1846, the two friends had only served at least 18 months in the U.S. Army before resigning for personal reasons. Yet, after the outbreak of a civil war, thirteen years, the audience is supposed to believe that both were able to secure such high positions within their respective armies? Especially when one considers the fact that neither were politically active between 1848 and 1861? I find this very illogical . . . even for a work of fiction.

My last major quibble featured the character of Elkhannah Bent. What was he doing with the portrait of Madeline Fabray LaMotte’s mother? The audience knew that he had procured it from an expensive whorehouse in New Orleans. But Bent had no idea that Madeline was romantically involved with one of his nemesis, Orry Main, until after Ashton Main Huntoon informed him. So, why did he bother to get his hands on the painting at a time when he was ignorant of the romantic and emotional connection between Orry and Madeline?

I certainly had no problems with the episode’s performances. The cast, more or less, gave solid performances. But I was especially impressed by a handful. Two of the better performances came from Parker Stevenson and Genie Francis, who portrayed the recently married Billy and Brett Hazard. I was especially impressed by one scene in which the two nearly quarreled over Billy’s decision to transfer from the Corps of Engineers to Hiram Berdan’s Sharpshooters Regiment. Terri Garber and Philip Casnoff literally burned the screen in their portrayal of the early stages of Ashton Main Huntoon and Elkhannah Bent’s affair. This episode featured another quarrel . . . one between George Hazard and his sister, Virgilia, who had arrived in Washington D.C. to become a nurse. Both James Read and Kirstie Alley were superb in that scene. And finally, I have to single out Forest Whitaker, who did a superb job in expressing the resentful anger that his character, Cuffey, felt toward his situation as a slave and toward his owners, the Mains.

Although Episode One featured some stumbling blocks that I have already mentioned, I must say that it turned out rather well. For me, it is probably the best episode in the entire 1986 miniseries. Not only did it featured some excellent performances, it was capped with a superb sequence featuring the Battle of Bull Run, directed with skill by Kevin Connor.

“HEAVEN AND HELL: NORTH AND SOUTH BOOK III” (1994) – EPISODE THREE Commentary

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“HEAVEN AND HELL: NORTH AND SOUTH BOOK III” (1994) – EPISODE THREE Commentary

Thanks to Episode Three, “HEAVEN AND HELL: NORTH AND SOUTH BOOK III” ended on a solid note, thanks to John Jakes and Suzanne Clauser’s screenplay. A good number of “NORTH AND SOUTH” fans have complained that the 1994 miniseries could have stretched into one or two more episodes. I have to disagree with that assessment. The 1987 novel was not as long as 1982’s “North and South” or 1984’s “Love and War”.

Episode Three began Charles Main’s confrontation with Scar and his discovery that the Cheyenne warrior was in no condition for any kind of duel. After mending Scar, Charles began to drink heavily in order to escape the failure of both his quest and his efforts to save the Cheyenne village from Captain Harry Venable and his troopers. George Hazard and Madeline Main’s story blossomed into a romance that proved to be a lot more satisfying than what was depicted in Jakes’ 1987 novel. After becoming sober, Charles learned about Gus’ kidnapping from George and his friend, cavalry trooper Magic Magee. The trio set out into the Indian Territory to hunt for Bent and the kidnapped Gus. With George gone, Madeline was forced to contend with a double threat – a recently wealthy Ashton Main Fenway determined to take Mont Royal from her; and the local KKK and brother-in-law Cooper Main, determined to kill her and destroy her school for former slaves.

More so than the previous two episodes, Episode Three seemed to be pack with action. It featured Charles’ ill-fated duel with Scar, the hunt for the Hazard and Main familes’ nemesis, Elkhannah Bent and Charles’ kidnapped son Gus, and the Klan’s attack upon Mont Royal. And I thought that Larry Peerce handled these scenes rather well. Not only was I impressed by Peerce’s direction of the Klan’s attack, but also by Don E. FauntLeRoy’s night time photography of the swamp where George chased a captured Madeline, Cooper and Klansman Gettys LaMotte. This episode also featured some effective dramatic scenes – especially George and Madeline’s romance, Cooper’s hostile confrontation with his wife Judith, and Charles’ reconciliation with actress Willa Parker. But my favorite dramatic moment was Magic Magee’s attempt to distract Bent at a whiskey ranch, while Charles and George tried to rescue Gus. That particular scene seemed like an excellent mixture of drama, humor and tension.

The only bad performance that turned me off in this episode came from Terri Garber’s return to an exaggerated portrayal of a Southern belle. I found this ironic, considering that Lesley Anne Down managed to avoid this travesty, for once. However, Garber more than made up her acting faux pas in a scene in which she very convincingly portrayed Ashton’s devastation upon her discovery of Mont Royal’s wartime fate. James Read and Lesley-Anne Down were very effective in conveying George and Madeline’s romance. Both Philip Casnoff and Steve Harris gave first-rate performances in the battle of wits between Bent and Magee. I could say the same about Robert Wagner and Cathy Lee Crosby in the scene featuring Cooper and Judith’s quarrel. Kyle Chandler really shone in this episode, as he portrayed the gamut of Charles’ emotional experiences from the drunken failed man to a determined father and finally, a man at peace with the woman he loved and with himself. Everyone else – including Rya Kihlstedt, Tom Noonan, Sharon Washington, Cliff De Young, Gary Grubbs, Gregory Zaragoza, Jonathan Frakes, Deborah Rush and Julius Tennon did some pretty solid work.

“HEAVEN AND HELL” is not perfect. Its production values were not as top notch as the first two miniseries from the 1980s. The miniseries included literary characters like Cooper Main without explaining their lack of appearances in “BOOK I” and “BOOK II”. And it featured moments of hammy acting – especially by Lesley Anne Down, Terri Garber and Keith Szarabajka. On the other hand, this miniseries was more faithful to Jakes’ third novel than “BOOK II” was to the second novel. Not only did “HEAVEN AND HELL” managed to feature excellent performances and outstanding action sequences, it featured what I consider are the two best scenes in the entire trilogy. And I still believe it was a lot better than most of the saga’s fans viewed it.

“HEAVEN AND HELL: NORTH AND SOUTH BOOK III” (1994) – EPISODE TWO Commentary

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“HEAVEN AND HELL: NORTH AND SOUTH BOOK III” (1994) – EPISODE TWO Commentary

Despite the tragic ending of the last episode, Episode Two of “HEAVEN AND HELL: NORTH AND SOUTH BOOK III” proved to be even darker. Bent continued his crime spree by assaulting an Illinois farm girl and kidnapping Charles’ son, Gus in St. Louis. Charles’ decision to become an Army scout in order to hunt down Scar led to his breakup with Willa Parker. Worse, he witnessed the massacre of a peaceful Cheyenne village by U.S. troopers led by Captain Venable. Madeline’s conflict with Cooper, Gettys LaMotte and the local Ku Klux Klan resulted in tragedy for one of the Mont Royal workers.

Overall, Episode Two was pretty first-rate. I only had a few quibbles. Stanley and Isobel Hazard (Jonathan Frakes and Deborah Rush) made a re-appearance in the saga without any explanation of how they avoided conviction for war profiteering. I guess anyone can assume that they were exonerated. Keith Szarabajka continued his over-the-top portrayal of Harry Venable. Even Gary Grubbs, usually a very dependable performer, indulged in some hammy acting during a scene that featured the KKK’s ambush of two Mont Royal workers. And aside from a few scenes of solid acting, Lesley Anne Down continued her exaggerated take on the Southern belle.

Fortunately, the good outweighed the bad. Ashton discovered that manipulating her second husband, Will Fenway, might proved to be difficult in a well-acted scene between Terri Garber and Tom Noonan. Genie Francis appeared like a breath of fresh air, when her character, Brett Main Hazard attended Constance’s funeral. This episode also featured an outstanding performance by Stan Shaw, in a scene about Isaac’s attendance of a political conference for freed slaves in Charleston. By the way, this particular conference actually happened and was hosted by activist Francis Cardoza, portrayed by Billy Dee Williams. Both Kyle Chandler and Rya Kihlstedt continued their strong screen chemistry, as they played out Charles and Willa’s stormy relationship. And James Read did an exceptional job in portraying George Hazard’s grief over the murdered Constance.

But the episode’s three showcases featured the KKK’s attack upon the two Mont Royal workers – Isaac and Titus, the U.S. Calvary’s massacre of a peaceful Cheyenne village and a kidnapping. Thanks to Peerce’s direction, I found all three scenes very chilling. Grubbs’ hammy acting was unable to spoil the scene featuring the KKK attack. And I could say the same about Szarabajka in the cavalry massacre scene. One last chilling moment featured Bent’s latest attack upon the Hazards and the Mains – namely his kidnapping of young Gus. The entire sequence was swiftly shot, but Peerce’s direction and Casnoff’s performance left chills down my spine.

By the end of Episode Two, I found myself wondering about the fandom’s hostile attitude toward this third miniseries. Granted, the production values of “HEAVEN AND HELL” did not exactly matched the same level as the first two miniseries. But the miniseries’ writing seemed to match and sometimes improve the quality of the writing found in the 1986 series. So far, so good.

“NORTH AND SOUTH: BOOK I” (1985) – Episode Six “1860-1861” Commentary

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“NORTH AND SOUTH: BOOK I” (1985) – EPISODE SIX “1860-1861” Commentary

We finally come to the last episode of the 1985 miniseries, “NORTH AND SOUTH: BOOK I”. And it is a doozy. This is the episode in which the Hazard and Main families unknowingly say good-bye to the past and present before their lives are turned upside-down by the American Civil War. 

Episode Six opens on Presidential Election Day (November 6, 1860), two days after Lieutenant Billy Hazard’s arrival in Charleston, South Carolina; at the end of Episode Five. An excited Brett Main, who had been staying at her sister’s home since her quarrel with their brother Orry at the family’s plantation, Mont Royal anticipates meeting Billy. Brett’s elation over her reunion with her fiancé during a luncheon is dimmed by his anger over Orry’s reluctance to approve their marriage, and a violent encounter with a group of pro-secession thugs hired by Ashton to kill Billy. Following Abraham Lincoln’s election as the new president, the state of South Carolina begin its preparations to secede from the United States. Before secession can be achieved, George Hazard visits Orry at Mont Royal to mend their estrangement and convince the other man to approve Billy and Brett’s upcoming marriage. The two men go to Charleston to inform the engaged couple. Unfortunately, Billy receives orders to report to Fort Moultrie, which turns out to be a protracted stay following South Carolina’s secession from the Union. Following Texas’ secession a month later, Charles Main resigns from the U.S. Army and heads back home to South Carolina.

Less than two months later, Billy receives orders from his commander, Major Robert Anderson to report to the War Department in Washington D.C. and deliver dispatches. He uses the opportunity to marry Brett at Mont Royal. The wedding finally allows Ashton to plot her revenge against Billy, using Forbes LaMotte’s help. Fortunately for Billy, Madeline LaMotte overhears Forbes, his Uncle Justin and friend Preston Smith going over Ashton’s plot. With great difficulty and pain from Justin, Madeline escapes from Resolute and heads for Mont Royal to warn the Mains. Billy and Brett are ambushed by Forbes and Preston on their way to the rail stop. Just as Billy and Forbes engage in a duel that would have left the former with a useless pistol, Charles arrives in time to assist his friend. The conflict ends with Forbes’ death at Billy’s hand, Justin bereft of his nephew and wife, and Ashton banished from Mont Royal by Orry. In April 1861, Orry mortgages Mont Royal to return money that George had invested in their sawmill. During his journey north, Major Anderson had been forced to surrender his command at Fort Sumter. With small difficulty, Orry arrives at Lehigh Station, where he meets George and Constance’s new daughter. Also, a vengeful Virgilia incites a mob to attack the Hazard home and lynch Orry. Fortunately, George manages to intimidate his neighbors into calling off the attack. Virgilia leaves Belvedere for the last time with some loot in hand. And George and Orry bid each good-bye before the latter departs Lehigh Station for his journey back to South Carolina.

I must say that “NORTH AND SOUTH: BOOK I” certainly ended with a bang. And a very satisfied one. There were some problems. I found Terri Garber’s performance in a scene that featured Ashton’s rant against Brett and Billy rather hammy. She gave a great performance throughout most of the miniseries. But this one scene was probably her weakest moment. I was very curious over Elkhannah Bent’s appearance in Washington D.C. on the day of President Lincoln’s inauguration. He was still wearing a U.S. Army uniform, despite the fact that his home state of Georgia had already seceded two months earlier. In fact, I found it surprising that Charles Main did not resign from the Army, until two months after South Carolina’s secession. The miniseries continued its irritating habit of expressing an erroneous length of time for the period Madeline La Motte was being drugged by her husband. But the episode’s real problem proved to be the character of Forbes LaMotte, nephew of Justin LaMotte.

I had no problems with actor William Ostrander’s portrayal of Forbes. He gave a subtle and skillful performance. This was especially apparent in one scene in which Forbes, Justin and Preston discussed Ashton’s plan to have Billy murdered. David Carradine was fine, despite a few hammy moments. On the other hand, David Weaver’s portrayal of Preston Smith struck me as rather stagey . . . over-the-top. Only Ostrander managed to project any villainy with real subtlety. While watching Episode Six, I found myself wondering why Forbes had even bothered to help Ashton kill Billy. Why? I understood why in Jakes’ novel. The literary Forbes was in love with Brett. He did not take her rejection of him no better than Ashton took Billy’s rejection. I never got the impression that Forbes was in love with either Brett or Ashton in the miniseries. Forbes seemed to regard Brett’s rejection as a minor annoyance. And his feelings toward Ashton seemed to be based on pure lust and amusement. So why did he agree to murder Billy on Ashton’s behalf? The screenwriters’ portrayal of Forbes is probably one of the miniseries’ major failures.

However, I still regard Episode Six as one of the miniseries’ better chapters. Once again, Richard T. Heffron proved his talent for directing crowd scenes. I was especially how he handled the growing frenzy and chaos of “secession fever” that permeated Charleston in two scenes – namely Billy and Brett’s encounter with street thugs and the night Charleston announced South Carolina’s secession from the Union. Ironically, the latter sequence began in Ashton’s dining room, where Brett, Orry and George heard the bells of St. Michael’s Church announced the secession. This latter sequence not only benefited from Heffron’s depiction of the celebration in the streets, but also the Mains and George’s somber reaction to the news. Other first-rate crowd scenes were in the sequence featuring Orry’s northbound journey to Lehigh Station. They include the announcement of Major Anderson’s surrender of Fort Sumter on a train headed for Philadelphia, Orry’s encounter with fervent Unionists in that city, and his and George’s encounter with a lynch mob instigated by Virgilia. The miniseries also featured one exceptional action sequence – namely Ashton and Forbes’ attempt to murder Billy. From the moment Ashton learned of Billy and Brett’s departure from Mont Royal to Forbes’ death at the hands of Billy, this sequence crackled with energy, excellent pacing and suspension; thanks to Heffron’s direction and a well-written score by Bill Conti. The episode also benefited from Stevan Larner’s sweeping photography, especially in the secession sequences and the one featuring the murder attempt on Billy. In fact Larner earned a well-deserved Emmy nomination for his work in this episode. Vicki Sánchez offered some lovely costume designs for this episode. I was veryenamored of two particular designs worn by Terri Garber and Wendy Kilbourne:

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But this day dress worn by Genie Francis really appealed to me:

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Like the miniseries’ other episodes, the dramatic scenes for Episode Six proved to be its pride and joy. Both James Read and Patrick Swayze provided some of their best moments in two scenes – one that featured George Hazard’s visit to South Carolina in the episode’s first half, and the other that featured Orry Main’s perilous journey to Pennsylvania. John Stockwell had his best moment as Billy Hazard in a scene that featured Billy’s anger over Orry’s refusal to approve Brett’s marriage to him. He had ample support from Genie Francis. I also enjoyed Jonathan Frakes and Wendy Fulton’s performances in a scene in which Stanley and Isabel Hazard discussed their plans to take over Hazard Iron during George’s absence during the war. It is a pity that Fulton did not reprise her role as Isobel. Both Mary Crosby and Deborah Rush gave solid performances, but Fulton seemed to personify the literary character. Hal Holbrook made his first appearance as President Abraham Lincoln in a fine and subtle performance – a skill that he will maintain in “NORTH AND SOUTH: BOOK II”. However, the best dramatic scene featured Constance Hazard’s attempt to convince her sister-in-law Virgilia to stay with the family in Lehigh Station, following the debacle with the lynch mob. Both Wendy Kilbourne and Kirstie Alley performed the hell out of that scene.

Despite certain flaws I had detected in Episode Six, I must admit that I really enjoyed it. The episode not only featured some exciting historical moments and a first-rate action sequences, but also some excellent dramatic scenes that brought out the best in producer David L. Wolper, director Richard T. Heffron and the cast. Episode Six proved to be the first example of how all three miniseries seemed to end on a positive note, production wise. “NORTH AND SOUTH: BOOK I” might be flawed, it is still a joy to watch and one of my favorite miniseries of all time.

“NORTH AND SOUTH: BOOK I” (1985) – Episode Five “1856-1860” Commentary

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“NORTH AND SOUTH: BOOK I” (1985) – EPISODE FIVE “1856-1860” Commentary

Following the emotional and ugly incidents from Episode Four, events for both the Hazard and Main families become even uglier, as the United States inches closer to a full blown civil war. The ugliness culminates in a major event in the form of John Brown’s famous October 1859 raid on Harper’s Ferry in (then) western Virginia. 

Episode Five, set between 1856 and 1860, opened with Madeline recovering from Justin’s angry reaction to her mysterious disappearance (helping a pregnant Ashton Main acquire an abortion from a low country free black woman). Unbeknownst to Madeline, La Motte’s physician has recommended daily doses of laudenum to keep her “nerves” steady. Due to the laudenum, La Motte will keep Madeline drugged and under control for the next four-and-a-half years. Not long after Madeline’s “recovery”, a pregnant-free Ashton marries fiancé James Huntoon. Several months after the wedding, a bored Ashton unsuccessfully tries to convince Orry to take her on a trip to New Orleans, where Huntoon is giving a pro-secession speech to the city’s inhabitants. Following his speech, Huntoon and three other men – including one Captain Elkhannah Bent – spend some time at a brothel owned by one Madame Conti. Huntoon and Bent exchange a few words, in which the latter spies a photograph of the former’s wedding party. Bent not only recognizes his former classmate Orry Main, but is captivated by Madeline La Motte’s image. During a later conversation with Madame Conti, Bent spots a painting that features the image of a former prostitute of mixed blood that turns out to be Madeline’s mother.

Two years later, Orry and Brett travel to Lehigh Station to visit the Hazards. Unfortunately, the visit goes sour when Orry and Virgilia engage in a quarrel, prompting the latter’s brother to come to her defense. On their way back to South Carolina, the Main siblings encounter Virgilia and Grady, when their train is stopped by John Brown and his men during their raid on Harper’s Ferry. The encounter also leads to a reunion between Orry and Priam, the former Mont Royal slave who had escaped over eleven years ago. Once Orry and Brett’s train is allowed to continue south, Grady and Priam are killed by Virginia militia and Virgilia is captured. She ends up captured and placed in an insane asylum in Washington D.C. Upset over Madeline’s continuing distant behavior and his estrangement from George, Orry gets drunk and quarrels bitterly with Brett over her desire to marry Billy Hazard. The following morning, she leaves Mont Royal to stay with Ashton and Huntoon in Charleston. And Billy arrives in the city to report for duty at Fort Moultrie.

Four major plot lines dominate Episode Five – Bent’s discovery of Madeline’s family history, Orry and George’s quarrel, John Brown’s raid on Harper’s Ferry and Orry’s quarrel with Brett. This episode featured at least three crowd scenes and a major historical moment. And I must say that director Richard T. Heffron handled all of these major scenes very well, especially the Harper’s Ferry sequence. The sequence featuring Ashton and Huntoon’s wedding reception reminded me of the details Heffron, cinematographer Stevan Larner and production designer Archie J. Bacon put into creating a low country South Carolina social event. These same details provided the episode with a memorable ending, which featured Billy’s arrival in Charleston. But the Harper Ferry’s sequence really struck me as impressive. One of the miniseries’ best cinematic moments featured the sequence’s closing shot of the rear of Orry and Brett’s train disappearing into the night.

But there were minor scenes in Episode Five that proved to be gems. I was especially impressed by Heffron’s direction of Bent’s conversation with Madame Conti regarding Madeline’s mother. The scene was greatly helped by fine performances from Philip Casnoff and Elizabeth Taylor. Another fine dramatic scene featured Orry’s quarrel with Virgilia and George Hazard. All of the actors – especially Patrick Swayze, Kirstie Alley and James Read – did well in this scene. However, there were moments when the acting threatened to get a bit hammy. Another good dramatic scene appeared in the midst of the Harper’s Ferry sequence – namely Orry and Brett’s confrontation with Virgilia, Grady and Priam. I was especially impressed by Georg Stanford Brown and David Harris’ performances in this scene. Johnny Cash made an appearance as abolitionist John Brown. He did a pretty good job, even if I had a little difficulty in accepting Cash’s Upper South accent, while portraying a man from Connecticut. Kirstie Alley came back true to form in a scene featuring Virgilia’s reunion with Congressman Sam Greene, portrayed by David Odgen Stiers. And both actors gave fine and subtle performances. Swayze, who seemed to be very busy in this episode, got to shine one last time in the scene featuring Orry’s quarrel with Brett. Not only did Swayze gave an exception performance, but so did Genie Francis, who gave her best performance in the entire six-episode miniseries. However, the one scene that really stuck with me featured Ashton’s attempt to coerce Orry into taking her on a trip to New Orleans. Not only did it provide some excellent performances from both Swayze and Terri Garber, but also an interesting moment that exposed Orry’s own hypocrisy regarding the secessionist movement.

I have already discussed cinematographer Stevan Larner and production designer Archie J. Bacon’s work in this episode. Bill Conti continued his fine work as the miniseries’ composer. But of course, I want to discuss Vicki Sánchez’s gorgeous costumes . . . again. I could wax lyrical about her work, but I believe the following images can express how I feel:

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My favorite costume is Sánchez’s re-creation of a Charles Worth gown for Constance Hazard:

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The episode was marred by one major problem regarding the story’s timeline. When Ashton asked for Madeline’s help regarding her pregnancy in Episode Four, she informed the latter that her wedding to James Huntoon was scheduled for the following spring . . . of 1857. Yet, following Madeline’s recovery from her husband’s brutal treatment, Orry paid a visit to the La Motte plantation – Resolute – and announced that Ashton and Huntoon were scheduled to get married in a few days. Mind you, all of this was happening three months following Charles Main and Billy Hazard’s West Point graduation . . . in September 1856. So . . . what happened? When did Ashton and Huntoon rescheduled their wedding six to seven months earlier? Or is this merely another blooper regarding the story’s time line?

The painting of Madeline’s mother that had grabbed Bent’s attention in New Orleans struck a negative note within me. Madeline was born in the mid-1820s. This means that her mother must have been working for Madame Conti either between the late 1810s or the early-to-mid 1820s. The image of Madeline’s mother looked like this:

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First of all, the gown looked tacky. I cannot be more brutally frank. Second, both the gown and the hairstyle did not reflect the fashions of the 1820s. Instead, the painting looked as if it had been created during the 1840s or the 1850s. I do not know who created this painting, but I believe it was poorly made. And the miniseries’ producer and production designer should have insisted upon something that accurately reflected the decade of Madeline’s birth.

I have one last complaint. One of the best sequences from John Jakes’ 1982 novel featured Charles Main’s experiences in Texas and his conflict with Elkhannah Bent during the late 1850s. In Episode Five, Bent had met Huntoon in New Orleans.  In the novel, the city was a jumping off point for Army personnel traveling to and from Texas.  One could easily assume that Bent was on his way to Texas. After all, “HEAVEN AND HELL: NORTH AND SOUTH BOOK III” did confirm that Charles had served under Bent during this period. So, why did producer David Wolper and the screenwriters avoided the sequence? Episode Five could have included Charles’ experiences in Texas and ended the episode with the Harper Ferry’s incident. The remainder of Episode Five – including Orry and Brett’s quarrel, her flight to Charleston and Billy’s arrival in South Carolina – could have been included in Episode Six, allowing that episode to be extended. After all, the final episode of the 1977 miniseries,“ROOTS” had been extended past ninety minutes.

Despite my complaints, Episode Five proved to be a fine penultimate episode for the miniseries. It featured some excellent acting by the cast, well directed dramatic scenes by Richard T. Heffron and a first-rate re-creation of John Brown’s raid on Harper’s Ferry. In the following episode, the Civil War is about to crash upon the lives of the Hazards and the Mains.