“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.

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“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.

“NORTH AND SOUTH: BOOK I” (1985) – Episode Four “1854-1856” Commentary

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“NORTH AND SOUTH: BOOK I” (1985) – EPISODE FOUR “1854-1856” Commentary

If I had to pick one or two episodes from 1985’s “NORTH AND SOUTH” that I would view as personal favorites, one of my choices would be Episode Four. This episode provided a series of sucker punches to the audience that provided the miniseries’ narrative with a strong forward drive. 

The end of Episode Three saw the Hazard family leave their home in Lehigh Station, Pennsylvania in the summer of 1854 for a visit to the Main’s plantation in South Carolina’s low country. Episode Four picked up a week or two later with the Hazards attending a ball held by the Mains at Mont Royal, the latter’s plantation. Everything seems to be all right in the world for the two families. Both Billy Hazard and Charles Main are on furlough following two years at West Point. And even Virgilia Hazard seemed to be behaving cordially toward her hosts and their neighbors. And then . . . everything goes to pot. On the very night of the ball, Virgilia meets Grady, the slave of neighbor James Huntoon. Ashton Main, still angry at Billy for rejecting her sexual offer two years ago, makes a beeline for sister Brett’s current beau Forbes LaMotte, Madeline LaMotte’s nephew-in-law and the two engage in a sexual tryst inside the plantation’s barn. Unfortunately for Ashton, Billy walks in on her and Forbes and he swings his attention to Brett. The Hazard family’s visit ends when Virgilia becomes romantically involved with Grady before she aids his escape from slavery and South Carolina. Two weeks after the Hazards’ departure, Madeline discovers from her dying father that her dead mother was one-fourth black, making her one-eighth black.

The second half of Episode Four features Billy and Charles’ graduation from West Point in June 1856. George and Orry reconcile after the debacle following Grady’s escape two years earlier. Both discuss Billy’s marriage proposal to Brett. However, Orry is reluctant to give his approval, due to the couple’s regional differences. Billy and Brett’s continuing romance leads a jealous Ashton to sleep with some of Billy’s Northern-born friends at the cadet. Three months later, Madeline informs Orry about her father’s revelation during one of their trysts at Salvation Chapel. Orry suggests they leave South Carolina together, before her husband Justin LaMotte learns about her family secret. Unfortunately, Ashton discovers she has become pregnant, due to her sexual trysts at West Point. She seeks Madeline’s help to abort the unborn child. Madeline leads her to a free woman named Aunt Belle Nin to act as an abort Ashton’s pregnancy. Unfortunately for Madeline, she had lied to Justin about her whereabouts. And upon her return to Resolute – the LaMotte plantation – she learns that Justin had exposed her lie about meeting a friend at a Charleston hotel for lunch. Angry over her lie and unwillingness to tell the truth about her whereabouts, Justin locks Madeline in one of the manor’s bedrooms, allowing her to sustain on bread and water for several days. Madeline’s free born servant, Maum Sally, tries to free her; but Justin prevents the escape attempt and kills the older woman with a punch to the face.

Wow! Not only did a great deal occurred in Episode Four, but important factors in the narrative that drove the story forward. However, before I wax lyrical over this episode, I must point out some of the flaws. One, I found it a little ridiculous that Billy and Charles wore their West Point cadet uniforms during most of their furlough in the episode’s first half. Two, West Point was not in the habit of hosting balls on its campus following a graduation. Following the graduation ceremony, it was traditional for graduates to travel to New York City for a celebration luncheon at an elite hotel during the 19th century. And they would NOT be wearing their cadet uniforms long after the ceremony. Three, Grady told Virgilia that he had taught himself how to read. How? How does one achieve that without anyone else acting as tutor?

My biggest problem with Episode Four centered on Ashton’s trysts with several West Point graduates during the night of the Academy’s ball. I found the entire sequence rather unpleasant and sexist. Let me get something straight. Although I found Terri Garber’s portrayal of Ashton Main very entertaining and well-done, I believe that Ashton is a repellent woman. But what I found even more repellent is author John Jakes’ idea of what constitutes a villainous woman. Ashton, like a good number of his villains both female and male, tend to possess some kind of sexual perversion. In Ashton’s case, she is portrayed as sexually promiscuous. And it is this promiscuity that is allegedly a hallmark of her villainy. Episode One introduced George Hazard arriving at a New York train station in the company of two prostitutes, with whom he previously had sex. The episode makes it clear we are to view George as a young, cheerful womanizer for us to admire. Episode Four featured Ashton having pre-marital sex with Forbes LaMotte and two years later, with a handful of West Point graduates. The episode makes it clear we are to view her as a sexual pervert and morally bankrupt. For me, Ashton’s moral bankruptcy is stemmed from her racism and other elitist views, her selfishness and vindictive nature. Unless she had used her sexuality to engage in rape or some other violent behavior, I refuse to view Ashton’s sexuality as something evil.

Despite my disgust at the portrayal of Ashton’s sexuality and other flaws found in Episode Four, I still enjoyed it very much. Once again, director Richard T. Heffron displayed his talent for big crowd scenes. This particular episode featured the dazzling Mont Royal ball sequence. Not only did Heffron and Larner did an excellent job with a carefully choreographed dance number accompanied by the tune, “Wait For the Wagon”, they managed to capture the detailed little dramas that filled the sequence – including Virgilia’s first meeting with Grady and the beginning of Ashton’s trysts with Forbes LaMotte. The other major sequence featured in Episode Four also include Billy and Charles’ graduation from West Point. George and Orry’s West Point graduation inEpisode Two merely featured a few graduates receiving diplomas and the friends congratulating their fellow classmates. Audiences get to see their younger kinsmen march in an elaborate parade for the Academy’s guests. The screenplay and Heffron’s direction also explored minor dramas that included George and Orry’s discussion about Billy and Brett at Benny Haven’s tavern and Ashton’s encounters with her cousin’s fellow Academy graduates.

But the episode featured some other delicious dramatic moments. The best include the beginning of Virgilia and Grady’s romantic relationship inside a deserted barn, during a hurricane. This scene not only benefited from Heffron’s direction, but also some outstanding performances from Kirstie Alley and Georg Stanford Brown, who created a sizzling screen chemistry together. Another outstanding dramatic scene turned out to be the breakfast scene at Mont Royal during which the Hazards and Mains learn about Grady’s escape and Virgilia’s participation in it. Heffron’s direction, along with excellent performances from Terri Garber, Jim Metzler (who was a bit hammy at times), John Stockwell, James Read and Patrick Swayze infused a great deal of delicious tension into this scene. But the stand-out performance came from Alley, who did a great job of expressing Virgilia’s lack of remorse over Grady’s escape and highly-charged words about the country’s future with slavery. The actress and Brown also shined in a well-acted scene that featured a visit from abolitionist William Still to Grady and Virgilia’s Philadelphia slum home. The scene also included a first-rate performance from Ron O’Neal as the famous abolitionist.

My article on Episode Three had commented on Garber and Genie Francis’ portrayals of the Main sisters, Ashton and Brett. However, the actresses really knocked it out of the ballpark in a conversation scene between the two sisters during the West Point graduation parade sequence. Another excellent scene featured fine performances from the two leads – Swayze and Read – as George and Orry discuss the possibilities and drawbacks of a marriage between Billy and Brett. However, the episode’s final outstanding scene displayed the brutalities of spousal abuse in the LaMotte marriage. Lesley-Anne Down, David Carradine and Olivia Cole gave superb performances during the ugly circumstances that followed Madeline’s assistance in Ashton’s abortion.

Cinematographer Stevan Larner and film editors Michael Eliot and Scott C. Eyler did excellent jobs in capturing the superficial glitter and glamour of the Mont Royal ball. Larner’s photography perfectly captured the dark squalor of Virgilia and Grady’s Philadelphia’s hovel. And once again, he worked perfectly with Heffron, Eliot and Eyler in re-creating the military color of Billy and Charles’ West Point graduation. Once again, Vicki Sánchez’s costumes impressed me. Mind you, I was not that impressed by the costumes worn by Alley, Down and Wendy Kilbourne during the Mont Royal ball sequence. Their costumes looked more Hollywood than anything close to mid-19th century gowns. And the jewelry that gowns that Genie Francis and Terri Garber wore in that sequence, along with some other costumes:

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Granted, Episode Four featured some flaws in the narrative regarding the West Point graduation sequence and a few other matters. But the episode not only featured some outstanding performances, but also plot lines that really drove it forward. Not surprising, it is one of my favorite episodes in the 1985 miniseries.

“NORTH AND SOUTH: BOOK I” (1985) – Episode Three “1848-1854” Commentary

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“NORTH AND SOUTH: BOOK I” (1985) – EPISODE THREE “1848-1854” Commentary

Episode Three of the 1985 miniseries, “NORTH AND SOUTH: BOOK I”, immediately picked up where the previous episode left off. And unlike Episode Two, this particular episode stretches over a slightly longer period of time of six-and-a-half years – between the late winter of 1848 and the early summer of 1854. 

This episode began less than 24 four hours after Episode Two left off. Following his resignation from the U.S. Army, George Hazard paid a visit to his friend Orry Main to inform the latter of his upcoming wedding to Constance Flynn and to invite Orry to serve as best man. In Episode Three, Orry escorts George to the local rail stop in order for the latter to catch a northbound passenger train. Before George’s train arrives, the two friends spot escaped Mont Royal slave Priam attempt to board a passing freight train. Orry prevents Priam’s escape. But as he prepares to shoot the slave in order to prevent the latter from enduring more punishment, George begs Orry to simply allow Priam to go. An angry Orry concedes to George’s request and Priam continues his escape to the North. About a month later, George marries Constance at a local Catholic chapel in Lehigh Station with Orry and the Hazard family in attendance. During the wedding reception, Maude Hazard announces that George and older brother Stanley will operate Hazard Iron together, while Stanley remains control of the finances. And Virgilia Hazard invites Orry to attend an abolitionist meeting where she is scheduled to serve as one of the speakers. Several months later, a major accident at Hazard Iron leads Maude to place financial control of the company in George’s hands, much to the consternation of Stanley and his shrewish wife, Isabel.

The story eventually jumps to the early 1850s, which finds the Main family and others attending the funeral of Tillet Main. One of the attendants is Orry’s Cousin Charles, who has been staying with the family since the death of his parents. Unbeknownst to Orry, sister Ashton has developed a slight lust toward her cousin. However, Charles is attracted to house slave Semiramis, much to the consternation of both Ashton and Jones. Speaking of the latter, he is fired by Orry, who now serves as master of Mont Royal; and later has a fight with Charles at a local tavern. Also, Charles has become involved with a local belle named Sue Marie Smith and is later challenged to a duel by her fiancé Whitney Smith. When Orry helps train Charles for the duel, the two cousins become close. He also suggests that Charles considers a career as an Army officer and arranges for Charles’ entry into the West Point Academy. Orry discovers during the Mains’ visit to Pennsylvania that George has made arrangements for younger brother Billy into the Academy, as well. Also during the South Carolina family’s visit, Virgilia incurs the wrath of her family and the Southern visitors with her comments about the recent Compromise of 1850. Also, George and Orry become partners in the construction of a cotton mill in South Carolina, to the pleasure of both Stanley and Isabel, who believe that George has made a serious mistake. This episode also features Madeline La Motte’s discovery of her husband’s sexual tryst with a slave, and encounters his wrath. George joins Constance in her activities with the Undercover Railroad. She also convinces him to bring Virgilia along with the Hazard family’s visit to Mont Royal by the end of the episode.

As one can see a great deal occurred in this episode. This is not surprising, considering that Episode Three has a longer time span than the other five episodes and stretches across the fringe of two decades. Because of this longer time span and the fact that so much occurred in this episode, I cannot help but wonder if this episode would have benefited from an additional 30-45 minutes. Speaking of time, this is the first time a major blooper regarding the saga’s time span. Following the accident at Hazard Iron in the summer of 1848, the story jumped five years to 1853. The reason this is impossible is that during the Mains’ visit to Pennsylvania a few months after Tillet Main’s funeral, both George and Orry revealed that their younger kinsmen – Billy Hazard and Charles Main – would be entering West Point later that fall. Like I said . . . this is impossible, considering that both Billy and Charles will graduate from West Point in 1856 in the following episode. There is no way in the world those two will spend only three years at the West Point Military Academy. Tillet Main’s death should have occurred either in late 1851 or early 1852. Another scene featured Madeline LaMotte stumbling across her husband Justin LaMotte in a tryst with a female slave at Salvation Chapel, where she and Orry usually meet. My question is . . . why on earth would LaMotte go out of his way to have a rendezvous with one of his slaves, when he could have easily went to her quarters or have her sent to his room?

Although the character of Semiramis has been featured since Episode One, this episode ended up being the only one in which she had a prominent speaking role. Naturally, Erica Gimpel was excellent in the role, I suspect that the writers only used her character in this episode as a set up for the expansion of her role in “NORTH AND SOUTH: BOOK II (1986) – including her attraction to Charles Main. I have a deep suspicion that Semiramis was more or less wasted in this miniseries, because Episode Three will prove to be her last appearance until the next miniseries. Perhaps the roles of Semiramis and the other slaves in “NORTH AND SOUTH: BOOK I” could be seen as indicative of the writers and producers’ limited attempt to explore the impact of slavery in mid-19th century America. Perhaps I am being a bit too harsh. But the saga’s exploration of the African-American characters seemed a bit more broad in the second and third miniseries that it was in the first.

It did not help that both John Jakes and the writers who adapted his novel for television managed to create a major blooper regarding the institution of slavery. Both the novel and the miniseries featured an abolitionist meeting in Philadelphia where Virgilia Hazard proved to be one of the speakers. First of all, the producers hired actor Robert Guillaume to portrayed famous African-American abolitionist, Frederick Douglass, who also served as one of the meeting’s speakers. Mind you, Guillaume gave an excellent performance. But he was at least 57 when he appeared in this episode. But the abolitionist meeting occurred in the early spring of 1848 . . . when Douglass was just barely 30 years old. Fifty-seven . . . thirty. Hmmm . . . talk about a historical blooper. Virgilia’s speech centered on the topic of slave breeding. Naturally, Orry Main, who was at the meeting, expressed outrage and claimed that her accusations were false. Both George and Constance – who were also at the meeting – shared his feelings. Even Jakes seemed to support this belief in his novel. But despite her lurid words, Virgilia was right. Slave breeding was practiced in pre-Civil War America. Why would Jakes or the writers who wrote the miniseries treat this subject as some lurid fantasy in Virgilia’s mind?

Fortunately, Episode Three had its virtues. It featured another first-rate performance from Kirstie Alley as the volatile Virgilia Hazard. Not only did she give what I believe what was the best performance in the episode, she had at least two dazzling costumes:

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Other cast members such as Patrick Swayze, James Read, Inga Swenson, Wendy Kilbourne, Jean Simmons, Jonathan Frakes, Erica Gimpel, Tony Franks, David Odgen Stiers and Wendy Fulton also gave excellent performances. However, it is obvious this episode, especially the 1850s sequences, were all about the younger generation. Actors John Stockwell, Genie Francis, Terri Garber and Lewis Smith made their debuts in this episode as Billy Hazard and the three younger Mains – Brett, Ashton and Charles. All four did a great job in establishing their characters. I was especially impressed by Francis and Garber who did an excellent job in establishing the complicated relationship between sisters Brett and Ashton Main in a delicious scene featured in their Mont Royal bedroom. There were other scenes that I found not only enjoyable, but well acted – the Hazard Iron accident, the Philadelphia abolitionist meeting (despite a few historical bloopers), Orry’s blooming relationship with his younger cousin Charles, Virgilia’s quarrel with Isabel Hazard and Ashton Main during the Mains’ Northern visit and Constance’s revelation of her Underground Railroad activities to George. The episode ended with a deliciously funny scene between Read and Alley, when Virgilia convinces brother George to allow her to accompany the family south to Mont Royal.

With Virgilia and the rest of the Hazards leaving Lehigh Station for their trip to South Carolina, the story is set to get even more interesting in the next episode. And I cannot wait to see what will happen.

“NORTH AND SOUTH: BOOK I” (1985) – Episode One “1842-1844” Commentary

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“NORTH AND SOUTH: BOOK I” (1985) – EPISODE ONE “1842-1844” Commentary

The year nineteen eighty-two saw the publication of “North and South”, the first novel of John Jakes’ trilogy about the United States before, during and after the U.S. Civil War. This first novel, set during the United States’ Antebellum Era, was adapted into a six-part miniseries in 1985. 

This first miniseries, “NORTH AND SOUTH: BOOK I”, told the story of two families during the years before the Civil War. The Hazards are a wealthy family that owns a successful iron foundry in Lehigh Station, Pennsylvania – not far from Philadelphia. Just as wealthy are the Mains, a family from the low country of South Carolina that owns a cotton plantation (a rice plantation in the novel) called Mont Royal. George Hazard and Orry Main first meet in New York City in the summer of 1842, as both make their way to commence upon their four years as cadets at West Point, the U.S. Army Military Academy. The two become fast friends, despite regional differences, as they endure trials and tribulations during their four years at the Point and the violence of the Mexican-American War. Due to the perseverance of their friendship, George and Orry’s families also form bonds, leading to the friendship of another Hazard and Main at West Point in the 1850s and marriage between two members of the families. By the end of miniseries, George and Orry’s friendship, along with the bonds formed between their families are tested by the growing conflict between Northerners and Southerners and the outbreak of the Civil War.

Episode One of “NORTH AND SOUTH” is set between 1842 and 1844. It is more or less an introduction of the two main characters, their families and the entire saga. Although it is not my favorite episode of the miniseries, I must admit that director Richard T. Heffron, along with the series’ staff of screenwriters (that includes John Jakes), did a solid job in setting up the miniseries. I noticed that some significant differences were made from Jakes’ novel. One, the writers excluded the novel’s prologue altogether, which had introduced the Hazards and Mains’ family founders in the 1680s. Unlike the novel, the miniseries began with Orry Main’s departure from Mont Royal, the family estate; and his first meeting with his future love, New Orleans-born Madeline Fabray. Actually, what the writers did was switch the Hazard family’s introduction with the Mains, Madeline Fabray and Justin La Motte (neighbor of the Mains). Whereas Orry first met all of the Hazards in 1842 New York City in the novel, he did not meet them until his and George Hazard’s three-month furlough in 1844 in the miniseries. The character of Elkhannah Bent underwent a physical transformation. He went from an overweight and unattractive Ohio-born man in the novel to a handsome Georgia-born young man in the miniseries. But the character remained insane and maintained his hatred of both George and Orry. As it turned out, the television Bent was a combination of the literary Bent and a character from the second novel, “Love and War” called Lamar Powell. The miniseries also allowed viewers to experience the venal Justin La Motte’s courtship of Madeline during the two years between her first meeting with Orry and his 1844 furlough. Because Orry and Madeline met two years earlier than they did in the novel, the pair exchanged letters until their correspondence was secretly interrupted by Madeline’s father, Nicholas Fabray. He was determined that Madeline marry La Motte.

I also noticed that Orry’s attitude toward slavery seemed to be less conservative than it was in the novel. I suspect that the writers decided to delete the character of Cooper Main, Orry’s older brother, while incorporating some of his moderate political views into Orry. They had no problems with transferring all four Hazard siblings – George, Stanley, Virgilia and Billy – from the novel to the miniseries. Yet, they failed to do the same with the Main siblings. Only Orry, Ashton, Brett and Charles made it from the novel to the miniseries. Cooper remained missing until the third miniseries, “HEAVEN AND HELL: NORTH AND SOUTH – BOOK III”. I found this strange. Why did the screenwriters feel it was necessary to delete Cooper’s character from the miniseries?

There were some other differences that did not sit right with me. One, the episode featured George and Orry’s journey from New York City to West Point via the railroad. There was no railroad service between New York City and the West Point Academy in the 1840s. In fact, there is still no rail service between the two locations. The miniseries also featured a swordfight between the two friends’ cadet drillmaster, the insane Elkhannah Bent and Orry – with the latter defeating the older cadet. Both the novel and the miniseries made it clear that Orry struggled with his studies. Because of this, Jakes made it clear in his novel that Orry was never able to become an accomplished swordsman. Yet, Orry defeated Bent in the miniseries because he was a member of the Southern planter class. The screenwriters utilized a cliche to make Orry an accomplished swordsman. And to this day, I am still puzzled at Orry’s lack of reaction to his eight to ten year-old sister Ashton’s knowledge of overseer Salem Jones’ sexual tryst with house slave Semiramis. Surely, he would be upset that his young sister would not only know but openly discuss such a topic.

But I was impressed by how the episode revealed the political conflicts that permeated the country during the early to mid 1840s. The miniseries mentioned such topics as the country’s conflict with Mexico over Texas, Western expansion and its impact on the institution of slavery. I noticed that the Hazard family – George included – did not seem particularly concerned over the idea of Texas joining the Union as a slave state. Even more interesting was the family’s contemptuous dismissal of Virgilia Hazard’s pro-abolition stance. In one scene featuring Orry’s dinner with the Hazard family at their Leigh Station home, the male members of the family tend to ignore Virgilia’s comments altogether, until she was finally forced to raise her voice. The Hazard family’s reaction to Virgilia’s abolitionist stance seemed a true reflection of most Northerners’ cool attitude toward the abolition of slavery. Another scene that took me by surprise featured a brief mention of Oberlin College in Ohio by Elkhannah Bent. During the 1830s, it became the first college institution to integrate blacks and women into its student body. Being a bigot, Bent naturally mentioned the college with a great deal of contempt.

Anyone familiar with Jakes’ literary trilogy would probably realize that the saga’s main topic centered around American slavery and its impact upon the country’s political and social scene between the 1840s and 1860s. There were four scenes that perfectly emphasized not only the horrors of slavery, but also the growing conflict between North and South. One scene in the episode’s second half featured Orry’s return to Mont Royal during his furlough. In this scene, he comes across the plantation’s new overseer, Salem Jones, whipping a slave named Priam. Priam happened to be the older brother of Semiramis, the house slave whom Jones has coerced to be his slave mistress. Not only did the sight of the whip being cracked across actor David Harris’ back filled me revulsion, but also Jones’ reason for authorizing the whipping in the first place – to guarantee Priam’s obedience. However, a scene featuring Madeline Fabray breakfasting with Justin La Motte during a visit to the latter’s plantation, Resolute; proved to be even equally effective. In the scene, a house slave named Nancy spills coffee on Madeline’s sleeve. While the latter disappears into the office to change clothes, a tense moment ensues when La Motte punishes Nancy with a brutal slap and a warning.

The conflict between North and South first reared its ugly head in a confrontation between Orry and a Ohio-born cadet named Ned Fisk, who resented the financial competition that his father faced from Southern planters who used slave labor. But I thought there were two scenes that I believe more effectively conveyed the conflict between the two regions. One featured a scene in which Orry toured the grounds of Hazard Irons during his visit to Lehigh Station and commented rather negatively on the white immigrant labor used by the Hazard family at their foundry. His little comment nearly sparked the first argument between the two friends. But Virgilia’s confrontation with Orry during a Hazard family dinner scene not only emphasized the Hazards’ disregard toward the abolitionist movement, but also the conflict between abolition and the country’s pro-slavery faction . . . especially in regard to American politics in the 1840s.

Production wise, Episode One looked gorgeous. Archie J. Bacon did an excellent job in bringing Antebellum America to the screen – both North and South. The miniseries was shot mainly in South Carolina and Mississippi and cinematographer Stevan Larner did justice to the locations, providing scenes with sharp color and elegance. I was especially impressed by the tracking shot that not only kick-started the miniseries, but also gave viewers a sweeping view of the operations at Mont Royal. Vicki Sánchez’s costumes were beautiful to look at. I was especially impressed by the following dress worn by Lesley-Anne Down in one scene:

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The cast provided solid performances in the miniseries. Mind you, the performances by some of extras struck me as rather wooden and amateurish. But the main cast seemed to know what they were doing. Both James Read and Patrick Swayze formed a perfect screen team as the two best friends – George Hazard and Orry Main. I enjoyed Lesley-Anne Down’s portrayal of the New Orleans-born Madeline Fabray. Although she had decent chemistry with Swayze, I was never a fan of the Orry-Madeline romance. It always struck me as a bit too ideal or Harlequin Romance for my tastes. David Carradine was both smooth and menacing as neighboring planter, Justin La Motte. Andrew Stahl nicely balanced both Ned Fisk’s resentment toward the Southern planter class and wariness toward Elkhannah Bent. Olivia Cole provided solid support as the Fabrays’ free housekeeper, Maum Sally. And Lee Bergere gave a subtle performance as Madeline’s manipulative, but well meaning father, Nicholas Fabray. But the two performances that really made me sit up and notice were Philip Casnoff’s intense portrayal of the borderline insane Elkhannah Bent and Kirstie Alley’s equally intense performance as the dedicated abolitionist Virgilia Hazard.

So far, “NORTH AND SOUTH” seemed to be off to a good start. Mind you, there were a few setbacks in regard to historical accuracy and characterization. With the episode ending with Orry and Madeline’s declaration of love for one another, along with her marriage to Justin La Motte, viewers were bound to be drawn to the next episode.