“DOWNTON ABBEY” Food Styles

Below are images of culinary dishes created by food stylist/chef, Lisa Heathcote, for the 2010-2015 ITV series, “DOWNTON ABBEY”

 

“DOWNTON ABBEY” FOOD STYLES

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“THE YOUNG VICTORIA” (2009) Review

“THE YOUNG VICTORIA” (2009) Review

About a year or so before his popular television series, “DOWNTON ABBEY” hit the airwaves, Julian Fellowes served as screenwriter to the lavish biopic about the early life and reign of Britain’s Queen Victoria called “THE YOUNG VICTORIA”. The 2009 movie starred Emily Blunt in the title role and Rupert Friend as the Prince Consort, Prince Albert.

“THE YOUNG VICTORIA” began during the last years in the reign of King William IV, Victoria’s uncle. Acknowledge as the next ruler of Britain, Victoria became the target of a political tug-of-war between her mother, the Duchess of Kent royal aide Sir John Conroy on one side, and King Leopold I of Belgium on the other. The Duchess of Kent and Sir John want to assume power of the country by having Victoria sign papers declaring a regency. And Leopold I tries to influence the British throne by securing a marriage between Victoria and one of his two nephews – Prince Albrt and Prince Ernst of Saxe-Coburg-Gotha. Meanwhile, King William eventually dies and Victoria becomes Queen. Once she assumes the throne, Victoria becomes beseiged by her mother and many others to assume some kind control over her.

I was surprised to discover that one of the producers for “THE YOUNG VICTORIA” was Hollywood icon, Martin Scorsese. A biopic about the early reign of Queen Victoria did not seem to be his type of movie. Then I remembered that this is the man who also directed an adaptation of an Edith Wharton novel and a movie about Jesus Christ. But for the likes of me, I never could see his interest in this film. Did he ever read Julian Fellowes’ screenplay before he took on the role as one of the movie’s executive producers? Or was there another reason why he became interested in this project? Perhaps Fellowes’ screenplay seemed more interesting before it was translated to screen. Because if I must be honest, I was not that impressed by it.

You heard me right. I did not like “THE YOUNG VICTORIA”. Perhaps it was the subject matter. Aside from being Britain’s longest reigning monarch, until her great-great granddaughter surpassed her record last year, Victoria never struck me as an interesting subject for a motion picture. I am surprised that both the Hollywood and British film and television industries were able to create a few interesting movie and television productions about her. Unfortunately, “THE YOUNG VICTORIA” did not prove to be one of them.

I am not saying that “THE YOUNG VICTORIA” was a total washout. It had a good number of first-rate performances and other technical details to admire. Emily Blunt did an excellent job in portraying the young Victoria by effectively conveying the character from a naive teenager to an emotional, yet slightly matured young mother in her early twenties. Blunt had a decent screen chemistry with Rupert Friend, whom I thought made a superb Prince Albert. If I must be frank, I feel that Friend was the best on-screen Albert I have seen so far. Miranda Richardson gave her usual uber-competent performance as Victoria’s mother, the Duchess of Kent. Actually, I believe that both she and Friend gave the two best performances in the movie. Paul Bettany gave a very smooth, yet ambiguous performance as one of Victoria’s favorite ministers – William Lamb, Viscount Melbourne. Other members of the cast that included Jim Broadbent (as an emotional William IV), Thomas Kretschmann, Julian Glover, Genevieve O’Reilly, Rachael Stirling, Jesper Christensen, Michael Huisman, Jeanette Hain and David Robb all gave solid performances.

I also thought the movie’s physical appearance was sharp, colorful and elegant thanks to Hagen Bogdanski’s beautiful photography. Patrice Vermette did a first-rate job in re-creating royal Britain of the late 1830s and early 1840s, thanks to her elegant production designs; and the art direction team of Paul Inglis, Chris Lowe and Alexandra Walker, who all received an Academy Award nomination for their work. Of course I cannot mention “THE YOUNG VICTORIA” without mentioning Hollywood legend Sandy Powell’s gorgeous costume designs shown below:

Not only were Powell’s costumes gorgeous, they accurately reflected the movie’s setting between 1836 and 1842. It is not surprising that Powell won both the Academy Award and BAFTA for Best Costume Design.

So, why am I not enamored of this movie? Well . . . I found it boring. Let me rephrase that answer. I found most of the movie boring . . . as hell. I will admit that I found Victoria’s emotional struggles with her mother and the latter’s courtier, Sir John Conroy, rather interesting. There seemed to be some kind of quasi-fairy tale quality to that particular conflict. And I will admit to finding Victoria’s relationship with her first Prime Minister, Lord Melbourne slightly fascinating. Otherwise, the movie bored me. Most of the movie centered around Victoria’s marriage to Prince Albert. But despite Emily Blunt and Rupert Friend’s sterling performances, I was not able to sustain any interest in that particular relationship. It did not help that Fellowes made a historical faux pas by allowing Albert to attend her coronation in 1838 – something that never happened. The most interesting aspect of the royal pair’s relationship – at least to me – was their shitty relationship with their oldest son, the future King Edward VII. Unfortunately, the movie’s narrative ended before his birth.

There were other aspects of “THE YOUNG VICTORIA” that did not appeal to me. Although I found Victoria’s early struggles against the Duchess of Kent and Sir John Conroy rather interesting, I was not impressed by the movie’s portrayal of the latter. I do not blame actor Mark Strong. He still managed to give a competent performance. But his Sir John came off as a mustache-twirling villain, thanks to Julian Fellowes’ ham fisted writing. And could someone explain why Paul Bettany had been chosen to portray Lord Melbourne in this movie? The Prime Minister was at least 58 years old when Victoria ascended the throne. Bettany was at least 37-38 years old at the time of the film’s production. He was at least two decades too young to be portraying Victoria’s first minister.

The one aspect of “THE YOUNG VICTORIA” that I found particularly repellent was this concept that moviegoers were supposed to cheer over Victoria’s decision to allow Albert to share in her duties as monarch. May I ask why? Why was it so important for the prince consort to co-reign with his wife, the monarch? Granted, Victoria was immature and inexperienced in politics when she ascended the throne. Instead of finding someone to teach her the realities of British politics, the government eventually encouraged her to allow Albert to share in her duties following an assassination attempt. This whole scenario smacks of good old-fashioned sexism to me. In fact, I have encountered a similar attitude in a few history books and one documentary. If Victoria had been Victor and Albert had been Alberta, would Fellowes had ended the movie with Alberta sharing monarchical duties with Victor? I rather doubt it. Even in the early 21st century, the idea that a man was more suited to be a monarch than a woman still pervades.

It is a pity that “THE YOUNG VICTORIA” failed to appeal to me. It is a beautiful looking movie. And it featured fine performances from a cast led by Emily Blunt and Rupert Friend. But the dull approach to the movie’s subject not only bored me, but left me feeling cold, thanks to Julian Fellowes’ ponderous screenplay and Jean-Marc Vallée’s pedestrian direction. How on earth did Martin Scorsese get involved in this production?

Top Ten Favorite Movies Set in the 1930s

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

TOP TEN FAVORITE MOVIES SET IN THE 1930s

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

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

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

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

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

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

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

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

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

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

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

The Celebration of Mediocrity and Unoriginality in “STAR WARS: THE FORCE AWAKENS”

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“THE CELEBRATION OF MEDIOCRITY AND UNORIGINALITY IN “STAR WARS: THE FORCE AWAKENS”

Look … I liked the new “STAR WARS” movie, “THE FORCE AWAKENS”.  I honestly do.  Heck, I feel it is better than J.J. Abrams’ two “STAR TREK” films.  But I am astounded that this film has garnered so much acclaim.  It has won the AFI Award for Best Picture.  It has been nominated by the Critics Choice Award for Best Picture.

“THE FORCE AWAKENS”???  Really?  It did not take long for certain fans to point out that the movie’s plot bore a strong resemblance to the first “STAR WARS” movie, “A NEW HOPE”.  In fact, I am beginning to suspect that J.J. Abrams and Lawrence Kasdan had more or less plagiarized the 1977 film, along with aspects from other movies in the franchise.  Worse, it has some plot holes that Abrams has managed to ineffectively explain to the media.  In other words, his explanations seemed like shit in the wind and the plot holes remained obvious.

Then I found myself thinking about “THE MAN FROM U.N.C.L.E.”, Guy Ritchie’s adaptation of the 1964-1968 television series.  I will not deny that the movie had some flaws.  Just about every movie I have seen throughout my life had some flaws.  But instead of attempting a carbon copy of the television series, Ritchie put his own, original spin of the show for his movie.  And personally, I had left the movie theater feeling impressed.  And entertained.  It is not that Ritchie had created a perfect movie.  But he did managed to create an original one, based upon an old source.  Now that was impressive.

But instead of having his movie appreciated, a good deal of the public stayed away in droves.  Warner Brothers barely publicized the film.  Worse, the studio released in August, the summer movie season’s graveyard.  And for those who did see the movie, the complained that it was not like the television show.  Ritchie had made changes for his film.  In other words, Ritchie was criticized for being original with a movie based upon an old television series.

This is incredibly pathetic.  One director is criticized giving an original spin to his movie adaptation.  Another director is hailed as the savior of a movie franchise for committing outright plagiarism.  This is what Western culture has devolved into, ladies and gentlemen.  We now live in a world in which the only movies that are box office hits are those that form part of a franchise.  We live in a society in which glossy and mediocre shows like “DOWNTON ABBEY” are celebrated.  We live in a world in which a crowd pleasing, yet standard movie biopic like “THE KING’S SPEECH”can receive more acclaim than an original film like “INCEPTION”.

In regard to culture or even pop culture, this society is rushing toward conformity, familiarity and mediocrity.  God help us.

 

“UPSTAIRS, DOWNSTAIRS” – Series Two (2012) Retrospective

 

 

 

“UPSTAIRS, DOWNSTAIRS” – SERIES TWO (2012) Retrospective

Poor “UPSTAIRS, DOWNSTAIRS”. Poor Jean Marsh. I am saying this out of pure pity and disappointment. Poor “UPSTAIRS, DOWNSTAIRS”. This revival of the old 1970s series really got the shaft from not only the viewers, but critics and one member from its Series One cast. And I feel that it did not deserve its fate. 

What fate am I referring to? After the BBC aired the third episode from Series Two of “UPSTAIRS, DOWNSTAIRS”, it announced the cancellation of the series after two seasons. Why? Poor ratings and poor reviews. How did it come to this? One could blame Jean Marsh and Heidi Thomas for producing and writing a poorly conceived second season. The problem for me is that I do not view Season Two of “UPSTAIRS, DOWNSTAIRS” as poorly conceived and written. In fact, I consider this second season superior to the first. I also consider it equal to the first season of “DOWNTON ABBEY” and better than its second one (I have yet to see Series Three). But I doubt that the BBC or anyone else would agree with me or care over what I have to say. “UPSTAIRS, DOWNSTAIRS” got cancelled and there is nothing I can do about it, but accept its fate.

Series Two endured a good deal of problems before the cast was ready to shoot its six episodes. One, actress Eileen Atkins publicly expressed her unhappiness with her character, Maud Lady Holland, and her decision not to return for the second season. Both Atkins and Jean Marsh had served as co-creators of both the original series and the recent one. I believe that she had every right to make this decision. Unfortunately, her announcement not only tattered the series’ reputation, but also kept viewers away and ruined her long friendship with Marsh. And in the end, the majority of viewers and critics paid more attention to Atkins, leading toward bad ratings and cancellation by the BBC. When Atkins dropped out of the series, both Marsh and Thomas raced to find a replacement. In the end, they hired Alex Kingston to portray Dr. Blanche Mottershead, Lady Holland’s much younger half-sister and aunt to Sir Hallam Holland. Then disaster struck again when Marsh suffered a minor stroke. The actress recovered long enough for minor appearances as housekeeper Rose Buck in two episodes. Despite these setbacks, Thomas managed to produce six episodes for this second series.

Series Two of “UPSTAIRS, DOWNSTAIRS” focused on the last year before the outbreak of World War II – between September 1938 and September 1939. Sir Hallam Holland’s career with the Foreign Office no longer brings him pleasure, due to the Establishment and the public’s reluctance to consider a war against Nazi Germany. The latter demands control of the Sudetenland in Czechoslovakia. Only Hallam and a few others like his superior Sir Anthony Eden are against the idea of appeasing to the Germans in order to avoid another war – including the former’s wife, Lady Agnes Holland. The latter has no problems with supporting her husband’s career, but like many others, support the idea of appeasement. Mind you, Lady Agnes is dealing with the difficult birth of a second child and the news that she can longer carry a baby to full confinement. Lady Agnes’ younger sister, Lady Persephone Towyn, is still living in Germany, socializing with top-ranking Nazi politicians and military officers. But an unwanted pregnancy and the violence of the Kristallnacht forces Lady Persephone to seek help from her sister and brother-in-law to get her back to Britain. Following the death of Maud, Lady Holland; Sir Hallam’s aunt – an archaeologist named Dr. Blanche Mottershead – arrives to deal with her half-sister’s belongings. When she decides to remain with the Hollands to help raise her mentally challenged niece, Lotte Holland; a secret involving a past relationship threatens her reputation within high society. Along with Prince George, Duke of Kent, the series also featured the real life personages of Joseph, Rose and John Kennedy.

The second series also began with the arrival of a new servant in the Holland household named Beryl Ballard. Chauffeur Harry Spargo becomes attracted to her and commences upon a difficult campaign to win her love. Meanwhile, Rose Buck, the Hollands’ housekeeper, is confined to a sanatorium after contracting tuberculosis. Her absence creates a hole in the servants’ hierarchy and a clash of wills between the butler Warwick Pritchard and the cook Claire Thackeray. Their clash will temporarily lead Mrs. Thackeray to consider leaving service and expose a secret of Mr. Pritchard regarding his World War I experiences, which will affect his private life before the end of the series. Lady Holland’s secretary, Amanjit Singh struggles to establish a livelihood, following his employer’s death. Footman Johnny Proude is encouraged by Harry to consider a minor career as an amateur boxer and the household’s maids – Eunice McCabe and Beryl – struggle to deal with Lady Agnes’ demands.

I still believe that this second series was better than the first. But it was not perfect. I did not mind that some of the series’ story arcs did not last longer than one episode. A good example of this was Mrs. Thackeray’s decision to leave her employment at 165 Eaton Place to live with her nephew. It was a pleasant, yet interesting story. But I was not disappointed that it merely lasted one episode. There were two story arcs that could have lasted beyond one episode. One of them, “A Perfect Specimen of Womanhood” centered around the revelation of Blanche Mottershead’s lesbian relationship with Lady Portia Alresford. Unfortunately, the following episodes merely revealed Blanche’s banishment from “Society” through dialogue. The audience never really got to experience her social downfall on the screen. In the fourth episode, “All the Things You Are”, Mr. Amanjit meets with the teacher of the late Rachel Perlmutter’s daughter, Lotte, in a London tea shop. Although a waitress led them to a decent table, a snotty maitre’d coolly asks them to move to another table near the back of the tea shop. Aside from the Hollands’ servants initial cool response to Mr. Amanjit in Series One, the Indian-born secretary had never encountered any on-screen racism . . . until this scene. It felt . . . out of the blue. Nor was it ever fully explored or referred to again. I feel that Heidi Thomas could have done a lot more in portraying any racism that Mr. Amanjit may have encountered during the television series’ two season run.

Many of the fans had complained about the adulterous affair between Sir Hallam Holland and his fascist sister-in-law Lady Persephone (“Persie”) Towyn. When I first heard about it, I found the idea of an affair between them hard to believe. But after viewing Series Two, I realized that I had only one complaint about the affair – namely that it did not last long enough. After spending two episodes of developing a close and friendly relationship, Hallam and Persie finally dived into a sexual affair by the end of “All Things You Are”. The affair spanned nearly all of the fifth episode, “The Last Waltz”, until Hallam stumbled across a revelation that Persie might be using him for nefarious reasons at the end of that episode. Frankly, I wish their affair had lasted a little longer than one episode. I feel this expansion in running time would have served the story arc a little better. The episode also featured one death – a suicide. And to be honest, I thought Heidi Thomas’ direction of the moment seemed more anti-climatic than dramatic.

One of the aspects of “UPSTAIRS, DOWNSTAIRS” that I like more than “DOWNTON ABBEY” is the portrayal of the relationship between the Hollands and their servants. Yes, the series featured at least two servants that seemed blindingly loyal to the Hollands – Mr. Pritchard and Rose Buck. But Rose spent most of this series in a tuberculosis sanatorium. In an odd way, the series benefited from Rose’s absence and focused even more on the other servants. Both Beryl Ballard and Eunice McCabe were constantly switching roles as Lady Agnes’ personal maid and nurse maid to the Hollands’ children. And both discovered that the socialite could be very demanding in regard to tasks and lack of any real appreciation for their hard work. In the end, Beryl resorted to recruiting help for their situation from the Girls’ Friendly Society, an employment service that upper-class women use to find female servants. Mr. Amanjit also clashed with Blanche over the deceased Lady Holland’s belongings early in the series, until both learned to work together, while helping with refugees from Nazi Germany. The most interesting clash between servant and employer manifested between Sir Hallam and Harry Spago. This clash came from Harry and Beryl’s matrimony plans and desire to emigrate to the United States. Sir Hallam expressed outrage over Harry’s desire to leave Britain, instead of face military service in the upcoming world war. Angry over Hallam’s self-righteous refusal to help him emigrate, Harry blackmailed his employer with his knowledge about the latter’s affair with Lady Persie. Even Beryl’s conflict with Lady Agnes played a role in the two men’s conflict.

But the series also featured conflict between servants and conflicts within the Holland family. Thomas wrote an excellent portrayal of Sir Hallam’s disappointment over Britain’s appeasement policy with Germany and Lady Agnes’ current inability to have more children. This disappointment with his country, the Foreign Office and his marriage eventually led to a friendship and later affair with Lady Persie. Many fans complained that the idea of the moderately liberal Hallam and a fascist like Persie having an affair – especially since they did not seem particularly friendly toward one another. But Thomas skillfully conveyed how helping Persie deal with an unwanted pregnancy, along with jealousy over Lady Agnes’ friendship with a wealthy American named Caspar Landry led him to drift into an affair with his volatile sister-in-law. The Hallan-Persie affair also had an effect on Harry and Beryl’s romance and plans for emigration to the U.S., along with Lady Agnes’ friendship with Landry, which had the potential to develop into a healthy romance. Another strong story arc that stood above the others proved to be Mr. Pritchard’s secret regarding his experiences during World War I. The other servants discovered in the first episode, “A Faraway Country About Which We Know Nothing”, that the butler had opposed military service in the war as conscientious objector. Although this seemed to be a rip off from the Alan Bates story arc from the 2001 movie, “GOSFORD PARK”, Heidi Thomas explored the issue with more depth and skill in “UPSTAIRS, DOWNSTAIRS”. Mr. Pritchard’s secret not only created a bitter feud between the butler and Mrs. Thackeray (who had lost a husband) and Mr. Amanjit (a veteran of the war), but would also have a negative impact on his personal life in the last two episodes.

“UPSTAIRS, DOWNSTAIRS” featured some fine performances from the likes of Art Malik, Alex Kingston, Emilia Fox (as Blanche’s lover), Ellie Kendrick, Nico Mirallegro, Anne Reid, Keeley Hawes and Michael Landes. But there were performances that stood out for me. One came from Blake Ritson’s entertaining performance as Prince George, Duke of Kent. He really was entertaining, especially in the servants’ ball sequence. Another first-rate performance came from Ed Stoppard, who impressed me by his portrayal of Sir Hallam’s emotional crisis. Both Neil Jackson and Laura Haddock really made me care about the fates of Harry Spago and Beryl Ballard, thanks to their poignant performances. And Claire Foy did an excellent job of taking Lady Persie Towyn’s complex character to another level. For me, the best performance came from Adrian Scarborough, who did an excellent job in his portrayal of Warwick Pritchard. He especially stood out in the first, fifth and last episodes.

Looking back on Series Two of “UPSTAIRS, DOWNSTAIRS”, it occurred to me that it came off as somewhat darker than the first series. The series found some of the characters socially ostracized – briefly or otherwise, or enduring some kind emotional crisis. Its portrayal of the relationships between employers and servants struck me as somewhat more realistic than similar portrayals in “DOWNTON ABBEY”. The series also featured a poignant wedding, the end of a marriage – at least emotionally – and a suicide. And the series ended with the loud wail of a siren signaling the beginning of a devastating world war. It is a pity that the BBC decided to end the series. I would have given my right arm to learn of the surviving characters’ fates. Both Harry Spago and Johnny Proude found themselves recruited into the army. Sir Hallam resigned from the Foreign Office, due to the political disaster spawned from his affair with Lady Persie and became a royal equerry for the Duke of Kent (who died in a plane crash in 1942). And Lady Agnes said good-bye to Caspar Landry before sending her children and Rose Buck to the country for safety. Oh well. At least the series ended on an artistic note higher than it began. I am a fan of Eileen Atkins and I always will be. But I did not miss her, while watching Series Two.

“THE SCARLET PIMPERNEL” (1982) Review

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“THE SCARLET PIMPERNEL” (1982) Review

I suspect that many fans of the DC Comics character “Batman” and the “Zorro” character would be nonplussed at the idea that a novel written by a Hungary-born aristocrat had served as an inspiration for their creations. Yet, many believe that Baroness Emmuska Orczy de Orczi’s 1905 novel, “The Scarlet Pimpernel” provided Western literature with its first “hero with a secret identity”, Sir Percy Blakeney aka the Scarlet Pimpernel. 

There have been at least nineteen stage, movie or television adaptations of Orczy’s novel. Some consider the 1934 movie adaptation with Leslie Howard, Merle Oberon and Raymond Massey as the most definitive adaptation. However, there are others who are more inclined to bestow that honor on the 1982 television adaptation with Anthony Andrews, Jane Seymour and Ian McKellen. I have seen both versions and if I must be honest, I am inclined to agree with those who prefer the 1982 television movie.

“THE SCARLET PIMPERNEL” – namely its 1982 re-incarnation – is based upon the 1905 novel and its 1913 sequel, “Eldorado”. Set during the early period of the French Revolution, a masked man and his band of followers rescues French aristocrats from becoming victims of the Reign of Terror under France’s new leader, Maximilien de Robespierre. The man behind the Scarlet Pimpernel’s mask – or disguises – is a foppish English baronet named Sir Percy Blakeney. For reasons never explained in the movie, Sir Percy has managed to gather a group of upper-class friends to assist him in smuggling French aristocrats out of France and sending them to the safety of England. During a visit to France, Sir Percy meets a young French government aide and the latter’s actress sister, Armand and Marguerite St. Just. He eventually befriends the brother and courts the sister.

Sir Percy also becomes aware of Armand’s superior and Marguerite’s friend, Robespierre’s agent Paul Chauvelin. Angered over Marguerite’s marriage to Sir Percy, Chauvelin has the Marquis de St. Cyr – an old enemy of Armand’s – executed in her name. After being sent to England to learn the identity of the Scarlet Pimpernel, Chauvelin discovers that Armand has become part of the vigilante’s band. He blackmails Marguerite – now Lady Blakeney – into learning the identity the identity of the Scarlet Pimpernel. Meanwhile, the Blakeney marriage has chilled, due to the news of the Marquis de St. Cyr’s execution and Marguerite’s alleged connection. But a chance for a marital reconciliation materializes for Marguerite, when she discovers the Scarlet Pimpernel’s true identity.

Thirty years have passed since CBS first aired “THE SCARLET PIMPERNEL”. In many ways, it has not lost its bite. Thanks to Tony Curtis’ production designs, late 18th century England and France (England and Wales in reality) glowed with elegance and style. Not even the questionable transfer of the film to DVD could completely erode the movie’s beauty. The movie’s visual style was aided by Carolyn Scott’s set decorations, Dennis C. Lewiston’s sharp and colorful photography, and especially Phyllis Dalton’s gorgeous costume designs, as shown in the following photographs:

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I feel that screenwriter William Bast made the very wise choice of adapting Baroness Orczy’s two novels about the Scarlet Pimpernel. In doing so, he managed to create a very clear and concise tale filled with plenty of drama and action. He also did an excellent job in mapping out the development of the story’s main characters – especially Sir Percy Blakeney, Marguerite St. Just, Paul Chauvelin and Armand St. Just. I was especially impressed by his handling of Sir Percy and Marguerite’s relationship – before and after marriage. Sir Percy’s easy willingness to believe the worst about his bride provided a few chinks into Sir Percy’s character, which could have easily morphed into a too perfect personality. More importantly, Bast’s script gave Paul Chauvelin’s character more depth by revealing the latter’s feelings for Marguerite and jealousy over her marriage to Sir Percy. Bast’s re-creation of the early years of the French Revolution and Reign of Terror struck me as well done. However, I wish he had not faithfully adapted Orczy’s decision to allow the Scarlet Pimpernel and his men to rescue the Daupin of France (heir apparent to the French throne), Louis-Charles (who became Louis XVII, upon his father’s death). In reality, Louis-Charles died in prison from tuberculosis and ill treatment at the age of ten. Surely, Bast could have created someone else important for the Scarlet Pimpernel to rescue.

“THE SCARLET PIMPERNEL” received a few Emmy nominations. But they were for technical awards – Costume Designs for Phyllis Dalton, Art Direction for Tony Curtis and even one for Outstanding Drama Special for producers David Conroy and Mark Shelmerdine. And yet . . . there were no nominations for Clive Donner and his lively direction, and no nominations for the cast. I am especially astounded by the lack of nominations for Anthony Andrews, Jane Seymour and Ian McKellen. In fact, I find this criminal. All three gave superb performances as Sir Percy Blakeney; Marguerite, Lady Blakeney; and Paul Chauvelin respectively. Andrews was all over the map in his portrayal of the fop by day/hero by night Sir Percy. And yet, it was a very controlled and disciplined performance. Jane Seymour did a beautiful job of re-creating the intelligent, yet emotional Marguerite. At times, she seemed to be the heart and soul of the story. This was the first production in which I became aware of Ian McKellen as an actor and after his performance as Paul Chauvelin, I never forgot him. Not only was his portrayal of Chauvelin’s villainy subtle, but also filled with deep pathos over his feelings for Marguerite Blakeney. He also had the luck to utter one of my favorite lines in the movie in the face of his character’s defeat:

“Oh, the English, and their STU-U-U-UPID sense of fair play!”

The movie also featured some first-rate performances by the supporting cast. Malcolm Jamieson did an excellent job in portraying Marguerite’s older brother, Armand. I was also impressed by Ann Firbank, who was first-rate as the embittered Countess de Tournay; James Villiers as the opportunistic Baron de Batz; Tracey Childs as the lovesick Suzanne de Tournay; and Christopher Villiers as Sir Percy’s most stalwart assistant, Lord Anthony Dewhurst. Julian Fellowes made a very colorful and entertaining Prince of Wales. And Richard Morant proved to be even more subtle and sinister than McKellen’s Chauvelin as Maximilien de Robespierre.

After my latest viewing of “THE SCARLET PIMPERNEL”, I found myself surprisingly less supportive of the Scarlet Pimpernel’s efforts than I used to be. Perhaps I have not only become more older, but even less enthusiastic about the aristocratic elite. It was then I realized that despite the presence of Marguerite and Armand St. Just, “THE SCARLET PIMPERNEL” is based on two novels written by an aristocrat, with views that were probably as liberal as Barry Goldwater. Oh well. I still managed to garner a good deal of entertainment from a movie that has held up remarkable well after thirty years, thanks to some lively direction by Clive Donner, a first-rate script by William Bast and superb performances by the likes of Anthony Andrews, Jane Seymour and Ian McKellen.

“JANE EYRE” (1996) Review

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“JANE EYRE” (1996) Review

According to the Wikipedia website, there have been sixteen film adaptations of Charlotte Brontë’s 1847 novel, “Jane Eyre”. And there have been ten television adaptations of the novel. That is a hell of a lot of adaptations for one novel. A lot. And judging by the numbers, I have no immediate plan to see every movie or television adaptation. But I have seen at least five or six adaptations. And one of them is Franco Zeffirelli’s 1996 movie adaptation. 

Adapted by Zeffirelli and Hugh Whitemore, “JANE EYRE” told the story of a 19th century English orphan named Jane Eyre, who is rejected by her aunt and sent to a strict girls school. After eight years as a student and two years as an instructor, Jane is hired as governess to the French ward of Edward Rochester, the brooding owner of an estate in Yorkshire called Thornfield Hall. Although Jane possesses a mild, unprepossing manner, she also possesses strong internal passions and strength in character that her employer finds attractive. Eventually, Jane and her Mr. Rochester fall in love. But a deep secret that exists at Thornfield Hall threatens their future relationship and forces Jane to mature in a way she did not expect.

I could have delved more into the movie’s plot, but why bother? The story of Jane Eyre is so familiar and has been recounted so many times that I believe it would be best to describe how I feel about this adaptation. And how do I feel about it? Honestly, it is not one of my favorite adaptations. Mind you, it is not terrible. In fact, I find it pretty solid. The movie’s production values seemed to be first rate. I was impressed by Roger Hall’s production designs, which did a very good job of re-creating Northern England of the 1830s and 1840s. Jenny Beavan, whom I am beginning to believe is one of the best costume designers on both sides of the Atlantic, did an excellent job in re-creating the fashions for both decades. And I also liked how David Watkin’s photography captured the beauty of Haddon Hall in Derbyshire, which served as the Rochester estate, Thornfield Hall.

I would probably rate Zeffirelli and Whitemore’s adaptation of Brontë’s novel as slightly below above average, but not quite average. I feel they did a first-rate job of re-creating at least three quarters of Brontë’s tale. However, their adaptation fell apart, following Jane’s departure from Thornfield Hall. They allowed Bertha Rochester’s death and the burning of Thornfield to occur not long after Jane’s departure. At first, I found that odd. But now, I realize that Zeffirelli and Whitemore wanted to rush the story as fast as they possibly could. Matters did not improve when Jane met St. John and Mary Rivers. Jane’s inheritance of her uncle’s fortune and St. John’s loveless marriage proposal happened so fast that my head nearly spinned when she finally returned to Thornfield. The movie’s weakest writing proved to be in the last twenty to thirty minutes.

The biggest criticism that “JANE EYRE” received from critics proved to be Zeffirelli’s casting of William Hurt as Edward Rochester. Mind you, I found Hurt’s English accent a little shaky. But I really enjoyed the cynical and world weary air he projected into the character . . . especially in scenes featuring Rochester’s meeting with his brother-in-law, Richard Mason. And he also managed to achieve some kind of screen chemistry with leading lady Charlotte Gainsbourg. I find this quite miraculous, considering my belief that Gainsbourg’s portrayal of Jane Eyre proved to be the movie’s weakest link. I realize that this is not a popular view. But aside from one scene, I found Gainsbourg’s performance to be completelyBORING. All she had to do was open her mouth and her flat tones nearly put me to sleep. The only time she really managed to effectively convey Jane’s deep emotions was in the famous scene in which the character revealed her love for Rochester. Only in this scene did Gainsbourg gave a hint of the acting talent she would eventually develop.

Other members of the cast gave solid performances. I noticed that the movie featured three cast members from 1995’s“PERSUASION” – Fiona Shaw, Amanda Root and Samuel West. Shaw was very emotional, yet vicious as Jane’s cold Aunt Reed. Root gave a warm performance as Miss Temple, Jane’s favorite teacher at Lowood. And West was very effective in his portrayal of Jane’s religious cousin and savior, St. John Rivers. It seemed a pity that the movie’s script did not allow for a further look into his character. John Wood was perfectly hypocrtical and cold as Jane’s religious headmaster, Mr. Brocklehurst. Joan Plowright gave a delightful performance as the outgoing housekeeper, Mrs. Fairfax. And I was surprised by Elle Macpherson’s effective portrayal of the charming and self-involved Blanche Ingram. Edward de Souza gave a solid performance as Rochester’s emotionally delicate brother-in-law, Richard Mason. But like West, he was barely in the movie long enough to make any kind of an impression. Julian Fellowes made an appearance as one of Rochester’s friends, a Colonel Dent; but aside from a few witty lines, he was not that impressive. But the one supporting performance that really impressed me came from Anna Paquin’s portryal of the young and passionate Jane. It seemed a pity that Paquin was only 13 to 14 years old at the time. Because I believe that her performance as Jane seemed ten times better than Gainsbourg.

Franco Zeffirelli’s adaptation of Brontë’s novel is not bad. Despite a shaky English accent, Hurt proved to be an effective Edward Rochester. And the movie also featured fine performances from many supporting performances. The director did a solid job of re-creating Brontë’s tale for at least three-quarters of the movie. However, the adaptation fell apart in the last quarter, when Jane flet Thornfield Hall following her aborted wedding. And Charlotte Gainsbourg’s flat performance as the titled character did not help matters. Like I said, “JANE EYRE” did not strike me as above average, but it seemed a little better than average.