Favorite Television Productions Set in the 1800s

Below is a list of my favorite television productions set during the decade between 1800 and 1809:

 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1800s

1. “Death Comes to Pemberley” (2013) – Anna Maxwell Martin and Matthew Rhys starred in this adaptation of P.D. James’ 2011 mystery novel, set six years after the events of Jane Austen’s 1813 novel, “Pride and Prejudice”, featuring the style and characters of the latter. Daniel Percival directed.

 

 

2. “Sense and Sensibility” (2008) – Andrew Davies wrote this adaptation of Jane Austen’s 1811 novel about the experiences of two well-born, yet impoverished sisters following the death of their father. Directed by John Alexander, the miniseries starred Hattie Morahan and Charity Wakefield.

 

 

3. “War and Peace” (2016) – Andrew Davies wrote this adaptation of Leo Tolstoy’s 1869 novel about a group of noble families during the Napoleonic Wars. Directed by Tom Harper, the miniseries starred Paul Dano, Lily James and James Norton.

 

 

4. “War and Peace” (1972) – David Conroy created this adaptation of Leo Tolstoy’s 1869 novel about a group of noble families during the Napoleonic Wars. Directed by John Davies, the miniseries starred Anthony Hopkins, Morag Hood and Alan Dobie.

 

 

5. “Mansfield Park” (1983) – Sylvestra Le Touzel and Nicholas Farrell starred in this adaptation of Jane Austen’s 1814 novel about a young impoverished girl sent to live with her aunt and uncle at their elegant estate. The six-part miniseries was written by Kenneth Taylor and directed by David Giles.

 

 

6. “Jack of All Trades” (2000) – Bruce Campbell and Angela Dotchin starred in this syndicated comedy series about two spies – one American and one British – who operate on a French-controlled island in the East Indies.

 

 

7. “Jonathan Strange & Mr. Norrell (2015) – Bertie Carvel and Eddie Marsan starred in this adaptation of Susanna Clarke’s 2004 novel about the return of magic to Britain through two men during the early 19th century. The series was created by Peter Harness.

 

 

8. “Mansfield Park” (2007) – Billie Piper and Blake Ritson starred in this adaptation of Jane Austen’s 1814 novel about a young impoverished girl sent to live with her aunt and uncle at their elegant estate. The television movie was written by Maggie Wadey and directed by Iain B. MacDonald.

Favorite Television Productions Set in the 1700s

Below is a list of my favorite television productions (so far) that are set in the 1700s:

 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1700s

 

1. “John Adams” (2008) – Emmy winners Paul Giamatti and Laura Linney starred as John and Abigail Adams in this award winning HBO miniseries about the second U.S. President from his years as a Boston lawyer to his death. Tom Hooper directed.

 

 

2. “Turn: Washington’s Spies” (2014-2017) – Jamie Bell starred in this television series that is an adaptation of Alexander Rose’s 2006 book, “Washington’s Spies: The Story of America’s First Spy Ring”. The series was created by Craig Silverstein.

 

 

3. “The Scarlet Pimpernel” (1982) – Anthony Andrews and Jane Seymour starred in this television adaptation of Baroness Emmuska Orczy’s novels about a British aristocrat who adopts a secret identity to save French aristocrats from the guillotine during France’s Reign of Terror. Directed by Clive Donner, Ian McKellen co-starred.

 

 

4. “The History of Tom Jones – A Foundling” (1997) – Max Beesley and Samantha Morton starred in this adaptation of Henry Fielding’s 1749 novel about the misadventures of an illegitimate young man in the mid-1700s, who had been raised by a landowner. Metin Hüseyin directed.

 

 

5. “The Book of Negroes” (2015) – Aunjanue Ellis starred in this television adaptation of Laurence Hill’s novel about the experiences of an African woman before, during and after the American Revolution; after she was kidnapped into slavery. Clement Virgo directed.

 

 

6. “Black Sails” (2014-2017) – Toby Stephens starred in this television series, which was a prequel to Robert Louis Stevenson’s novel, “Treasure Island”. The series was created by Jonathan E. Steinberg
and Robert Levine.

 

 

7. “Garrow’s Law” (2009-2011) – Tony Marchant created this period legal drama and fictionalized account of the 18th-century lawyer William Garrow. Andrew Buchan, Alun Armstrong and Lyndsey Marshal starred.

 

 

8. “Poldark” (1975/1977) – Morris Barry and Anthony Coburn created this series, an adaptation of the first seven novels in Winston Graham’s Poldark literary series. Robin Ellis and Angharad Rees starred.

 

 

9. “Outlander” (2014-present) – Ronald Moore developed this series, which is an adaptation of Diana Gabaldon’s historical time travel literary series. Caitriona Balfe and Sam Heughan starred.

 

 

10. “Poldark” (2015-2019) – Debbie Horsfield created this series, an adaptation of the first seven novels in Winston Graham’s Poldark literary series. Aidan Turner and Eleanor Tomlinson stars.

“VANITY FAIR” (1987) Review

“VANITY FAIR” (1987) Review

I found myself wondering how many adaptations of William Makepeace Thackeray’s 1847-1848 novel there have been. As it turned out, this is one piece of literature that has been adapted countless number of times – in film, radio and television. I have seen at least five adaptations myself. And one of them turned out to be the sixteen-part television miniseries that aired on the BBC in 1987.

Since Thackeray’s novel is a very familiar tale, I will give a brief recount. Adapted by Alexander Baron and directed by Michael Owen Morris, “VANITY FAIR” told the story of one Rebecca “Becky” Sharp, an impoverished daughter of an English art teacher and French dancer in late Georgian Britain. Determined to climb her way out of poverty and into society, Becky manages to befriend Amelia Sedley, the daughter of a wealthy London merchant. When both finally graduate from Miss Pinkerton’s School for Girls, Becky is invited to spend some time with Amelia’s family, before she has to assume duties as a governess to the daughters of a minor baronet and landowner named Sir Pitt Crawley. During her time with the Sedleys, she almost manages to snare Amelia’s older brother, Jos, a “nabob” from India, as a husband. But the interference of George Osborne, the son of another merchant who happens to Amelia’s heart desire, leaves Becky single and employment as a governess. However, upon her arrival at Queen’s Crawley, the Crawleys’ estate, Becky’s charm and wiles inflict a shake-up with the family that would influence lives for years to come.

While viewing “VANITY FAIR”, it occurred to me that it is really a product of its time. Although not completely faithful to Thackeray’s novel, it struck me as being more so than any adaptation I have seen. Most literary adaptations on television tend to be rather faithful – at least between the 1970s and the 1990s. Especially during the decade of the 1980s. Another sign of this miniseries being a product of its age is the quality of its photography. It is rather faded – typical of many such productions during the 1970s and 1980s. But for me, complete faithfulness to a literary source is not a true sign of the quality of a television adaptation. Nor the quality of the film it was shot on. So, how do I feel about “VANITY FAIR”?

Remember the miniseries’ faded look I had commented upon? I really wish it had been shot on better film stock. Stuart Murdoch and Mickey Edwards’ visual effects struck me as too eye-catching to be wasted on film stock that quickly faded with time. Another problem I had proved to be the episode that centered around the Battle of Waterloo. I realize that it would make sense for the most of episode’s narrative to be told from Becky Sharp Crawley’s point of view. Yet, considering that it was able to feature the discovery of one dead character on the battlefield, I wish the episode had been willing to embellish the sequence a bit more. The sequence featured a great deal on Becky and Amelia saying good-bye to their respective spouses, along with Becky bargaining with Jos Sedley over her husband’s horses. Overall, the entire sequence . . . nearly the entire episode seemed to lack a sense of urgency over the entire Waterloo campaign and how it affected the main characters. I have one last complaint about “VANITY FAIR” . . . namely the Maquis of Steyne. To be honest, my complaint against him is rather minor. I have a complaint against his physical appearance. Thanks to Lesley Weaver’s makeup, I could barely make out actor John Shrapnel’s features. He seemed to be a whole mass of hair and whiskers plastered on a slightly reddish countenance.

On the other hand, I really enjoyed how the production went into full detail of Thackeray’s novel. Was it completely faithful? I rather doubt it. I noticed how Alexander Baron’s screenplay did not adhere to Thackeray’s rather nasty portrayal of non-white characters such as Miss Schwartz. Thankfully. On the other hand, Baron, along with director Michael Owen Morris did an excellent job in their portrayals of the novel’s main characters – especially Rebecca Sharp, Rawdon Crawley, Amelia Sedley, Jos Sedley, George Osborne, Mr. Osborne and William Dobbin. I will be honest. My favorite segments of the production . . . are basically my favorite segments of the novel. I enjoyed the production’s re-creation of Becky’s story that began with her departure from Miss Pinkerton’s School for Girls to hers and Amelia’s adventures during the Waterloo campaign.

Despite the miniseries’ limited photography, I must admit there are other aspects of “VANITY FAIR” that impressed me. I enjoyed Gavin Davies and Sally Engelbach’s production designs. Both did an admirable of re-creating the production’s setting of early 19th century Britain, Belgium, France and Germany. They were ably assisted by set decorations created by the art department, led by David Ackrill and Tony Fisher. But I really must commend Joyce Hawkins’ costume designs. I found them colorful and tailor-made. I also thought Ms. Hawkins did an excellent job in her re-creation of the early 19th century fashions.

There is one segment in Thackeray’s story I found difficult to enjoy – namely Becky’s rise in British society, her relationship with the Maquis of Steyne, the exposure of her as a cold parent and ending with the destruction of her marriage to Rawdon. It is not the fault of Baron, Morris or Thackeray. It is simply my least favorite part of the story. During this segment, Becky transformed from a morally questionable anti-heroine to an outright villainess. Perhaps this is why I found it difficult to revel in Becky’s eventual fall. One, I found this portrayal of Becky a bit too one-dimensional for my tastes. Two, there seemed to be this underlying theme in Becky’s downfall that she deserved it for being too ambitious, not knowing her place and not being the ideal woman. I realize that I should sweep these feelings away in the wake of her last crime. But for some reason, I cannot. A part of me wonders, to this day, if Thackeray had went too far in this transformation of Becky’s character.

I did not have a problem with the performances featured in “VANITY FAIR”. If I must be honest, I found them to be very competent. Morris handled his cast very well. The miniseries featured solid performances from Fiona Walker, Shaughan Seymour, Gillian Raine, Tony Doyle, Malcolm Terris, Vicky Licorish, Eileen Colgan, Irene MacDougall, Alan Surtees, and David Horovitch. I also enjoyed the performances from the likes of Freddie Jones, who made a very lively Sir Pitt Crawley; John Shrapnel, who gave an intimidating portrayal of the Maquis of Steyne, underneath the makeup and wig; Siân Phillips, who struck me as a very entertaining Matilda Crawley; David Swift, whose portrayal of Mr. Sedley seemed to reek with pathos; and Philippa Urquhart, who was excellent as the malleable Mrs. Briggs.

But there were those performances that truly impressed me. Robert Lang gave an excellent performance as the ruthless and ambitious Mr. Osborne, who seemed to be handicapped by his own stubborness. Benedict Taylor did a superb job in portraying the varied nature of George Osborne – his charm, his shallowness and selfish streak. James Saxon was equally impressive as the insecure, yet vain Joseph “Jos” Sedley. Simon Dormandy gave a very complex and skillful performance as the priggish William Dobbin, a character I have always harbored mixed feelings about. I personally think that Jack Klaff made the best on-screen Rawdon Crawley I have seen on-screen, so far. Although his character has always been described as an affable, yet empty-headed man who eventually realized he had married a woman beyond his depth. Klaff did an excellent job of conveying those traits more than actor I have seen in the role.

Rebecca Saire seemed perfectly cast as the demure, yet shallow Amelia Sedley, who spent years infatuated with a man she never really knew or understood. It is not often I find an actress who does an excellent of portraying a girl in a woman’s body, who at the end, is forced to grow up due to an unpleasant realization. If Saire seemed perfectly cast as the childish Amelia, Eve Matheson struck me as even more perfect as the charming and manipulative Rebecca Sharp. Unlike other actresses who have portrayed Becky, I would never describe Matheson as a beauty, despite being physically attractive. What I found impressive about Matheson’s performance is the manner in which she conveyed Becky’s ability to charm and seduce others, utilizing her eyes, mannerisms, the ability to cry on cue and her voice. Matheson managed to portray Becky as the most desirable woman around.

I have never seen another on screen Becky Sharp who managed to ooze charm and seduction the way Matheson did. And yet, she also managed to convey Becky’s unpleasant side without being theatrical about it. Someone had once described Matheson’s Beck as “spunky”. Oh please. Spunky? The 1987 Rebecca Sharp was a lot more than that, thanks to Matheson’s performance. Dammit, the woman should have received some kind of award for her performance. She was that good.

I have a few quibbles about “VANITY FAIR”. Basically, I wish the miniseries had been shot on better film stock. And I wish that the Waterloo sequence had been a bit more . . . embellished. Otherwise, I feel that this 1987 adaptation of William Makepeace Thackeray’s novel is the best I have seen so far. I am flabbergasted at how close I came to ignoring this production altogether.

“THE COUNT OF MONTE CRISTO” (1975) Review

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“THE COUNT OF MONTE CRISTO” (1975) Review

There have been numerous adaptations of Alexandre Dumas père’s 1844 novel, “The Count of Monte Cristo”. I have seen at least three adaptations – two theatrical releases and a television movie. I had just recently viewed the latter, which aired on British television back in 1975, on DVD. 

“THE COUNT OF MONTE CRISTO” begins in 1815 with the return of merchant sailor Edmond Dantès to his home port of Marseilles in order to marry his Catalan fiancée, Mercédès Herrera. Before dying during this last voyager, Edmond’s captain Leclère charges Dantès to deliver a letter from Elba to an unknown man in Paris. On the eve of Dantès’ wedding to Mercédès, Dantès’ colleague Danglars, who is jealous of Edmond’s promotion to captain, advises Edmond’s friend Fernand Mondego to send an anonymous note accusing Dantès of being a supporter of the recently exiled Napoleon Bonaparte. Fernand is open to the suggestion due to his own jealousy of Edmond’s engagement to Mercédès, whom he also loves. Edmond is arrested and interrogated by the local chief deputy prosecutor Gérard de Villefort. De Villefort is willing to release Edmond when he realizes that the latter is innocent of being a Bonapartist. But when he discovers that Edmond was charged in delivering a letter to his own father, another Bonapartist, de Villefort has Edmond sent to the Château d’If prison without a trial.

During his fourteen year imprisonment, Edmond meets a fellow prisoner named Abbé Faria, who gives the former a former education. When Faria finds himself on the verge of death, he informs Edmond about a treasure located on the Italian island of Monte Cristo. When Faria dies, Edmond takes his place in the burial sack and makes his escape from the Château d’If. After acquiring the Monte Cristo treasure, Edmond sets about seeking revenge against the three men responsible for his imprisonment.

Many literary and movie fans have complimented this adaptation as being “faithful” to Dumas’ tale in compare to many others. I am a little more familiar with the 1845 novel than I was several years ago, when I had reviewed both the 1934 and 2002 adaptations. Which means I am quite aware that this adaptation is no more faithful than the others. But this did not bother me . . . somewhat. I have one or two issues that I will discuss a bit later. But overall, I found this adaptation, which was produced by a British television production company called ITC Entertainment, both satisfying and entertaining. I realize that my last description of the movie seems slightly tepid. Trust me, I do not regard this adaptation as tepid. It truly is quite good. I thought director David Greene and screenwriter Sidney Carroll provided television audiences with a lively and intelligent adaptation of Dumas’ tale.

Both Greene and Carroll did an excellent job of maintaining a steady pace for the film’s narrative. Starting with Edmond’s return to Marseilles before Napoleon’s Hundred Days return to power, to his fourteen year incarceration inside the Château d’If, and his discovery of the Monte Cristo treasure; I can honestly say that this television movie did not rush through the narrative. Well, most of it. This steady pacing seemed especially apparent in Dantes’ elaborate plots to exact revenge against Mondego, Danglars and de Villefort. However . . . there were aspects of Dumas’ narrative that could have stretched out a bit and I will focus on that later. Greene and Carroll also did a solid job in conveying how those fourteen years in prison, along with his desire for revenge had an impact upon his personality. This topic was not explored as much as I wish it had been, but it was featured in the film’s plot.

I do have a few complaints. Like the 1934 movie, this television movie featured the character of Haydée, the daughter of a pasha who had been betrayed and murdered by Ferdinand Mondego and one of Edmond’s major allies. In the novel, Haydée became Edmond’s lover by the story’s end. In this television movie, she is basically an ally who was limited to two scenes. I suspect that the character’s North African background made the producers unwilling to to be faithful to Dumas’ novel and give Isabelle De Valvert, who had portrayed Haydée, more screen time, aside from two scenes. Pity. Speaking of Edmond’s love life, I noticed that once he became the Count of Monte Cristo, Richard Chamberlain and Kate Nelligan, who portrayed Mercédès Mondego, barely shared any screen time together. In fact, it seemed as if Edmond barely thought about Mercédès. So when the film ended with him rushing toward Mercédès to declare his never ending love for her, it seemed so false . . . and rushed. I do not recall seeing any build up to this scene.

One must remember that “THE COUNT OF MONTE CRISTO” is not only a drama, but also a swashbuckler. And that means action sequences. There were not that many in the movie, but there were a few memorable moments. The final action sequence featured a duel between Edmond and his former friend, Mondego. It never happened in the novel, but I found it interesting to watch a duel between two former onscreen swashbucklers – Richard Chamberlain and Tony Curtis. It was . . . decent. But if I must be honest, I was more impressed by the duel between Carlo Puri and Alessio Orano, who portrayed Andrea Benedetto (a person set up by Edmond to be a part of de Villefort’s past) and Alessio Orano, who portrayed a former cowardly neighbor of Edmond named Caderousse. Neither duel was particularly long, but I found the Benedetto-Caderousse duel to be more physical and exciting.

I have mixed views of the movie’s production values. On one hand, I found myself very impressed by Walter Patriarca’s production designs and Andrew Patriarca’s art direction. I thought both did an excellent job of utilizing the film’s Italian locations to re-create early 19th century France and Italy. I was also impressed by Aldo Tonti’s solid photography for the film. I found it clear and somewhat colorful. My feelings regarding the film’s costumes are not as positive. I noticed that there is no costume designer named for the film. Instead, Luciana Marinucci was hired as the costume/wardrobe “supervisor”. This makes me wonder if a good deal of the film’s costumes came from warehouses in Italy. A good deal of the fabrics used for movie’s costumes struck me as questionable. Cheap. And quite frankly, I found this somewhat disappointing for a first-rate movie like this. I also found the hairstyle worn by actress Taryn Power, as shown in the image below:

It bore no resemblance to the hairstyles worn by women during the early 1830s.

I certainly had no complaints about the film’s cast. All either gave solid or excellent performances. The movie boasted solid performances from the likes of Anthony Dawson, Angelo Infanti, Harold Bromley, George Willing, Alessio Orano, Taryn Power, Dominic Guard, Dominic Barto and Isabelle De Valvert. Although I have a high regard for Kate Nelligan as an actress, I must admit that I was not that overly impressed by her performance as Mercédès Mondego. I thought it was solid, but not particularly mind blowing. It seemed as if she really had not much material to work with, aside from those scenes that featured Edmond’s arrest and her final scene.

But thankfully, “THE COUNT OF MONTE CRISTO” does boast some excellent and memorable performances. One came from Carlo Puri, who gave a very charismatic performance as Andrea Benedetto, a former galleys convict used by Edmond in his scheme against Gérard de Villefort. Speaking of the latter, Louis Jordan was superb as the ambitious prosecutor who was responsible for Edmond’s incarceration in the first place. I was especially impressed by his performance in the scene that featured the revelation about the illegitimate son he had tried to kill years earlier. Another superb performance came from Donald Pleasence as Danglars. I thought he did an excellent job in transforming his character from a resentful and jealous seaman into the greedy banker. Trevor Howard earned a well deserved Emmy nomination for his portrayal of Edmond’s mentor, the imprisoned former soldier-turned-priest. I found his last scene especially poignant to watch. This was probably the first production in which I saw Tony Curtis portray a villain.   And I thought he gave an excellent performance as the broodingly jealous Ferdinand Mondego, who seemed to have no qualms about destroying others for the sake of his feelings and his ambitions. “THE COUNT OF MONTE CRISTO” proved to be Richard Chamberlain’s second (or third) production that was an adaptation of an Alexandre Dumas père novel. Like Howard, he had earned a well deserved Emmy nomination for his portrayal of the revenge driven Edmond Dantès. Chamberlain did a superb job in conveying the growing development of Edmond’s character from the clean-cut, yet ambitious young seaman, to the long-suffering prisoner wallowing in despair and finally, the cool and manipulative man, whose desire for vengeance had blinded him from the suffering of other innocents.

In the end, I have some problems with certain aspects of “THE COUNT OF MONTE CRISTO”, including the portrayal of some characters , a few changes in the narrative’s ending and some of the costumes. Despite them, I can honestly say that I enjoyed the television movie and thought it did a fine job adapting Alexandre Dumas père novel. And this is due to Sidney Carroll’s well-written screenplay, David Greene’s solid direction and an excellent cast led by the always superb Richard Chamberlain.

Favorite Films Set in the 1800s

Below is a list of my favorite movies set during the decade between 1800 and 1809: 

FAVORITE FILMS SET IN THE 1800s

1. “Emma” (1996) – Gwyneth Paltrow starred in this very entertaining adaptation of Jane Austen’s 1815 novel about an upper-class Englishwoman’s attempts to play matchmaker for her friends and neighbors. Co-starring Jeremy Northam, the movie was adapted and directed by Douglas McGrath.

2. “Master and Commander: The Far Side of the World” (2003) – Russell Crowe and Paul Bettany starred in this Oscar-nominated adaptation of several of Patrick O’Brian’s Aubrey–Maturin series. The movie was co-written and directed by Peter Weir.

3. ‘Buccaneer’s Girl” (1950) – Yvonne De Carlo starred in this entertaining romantic adventure about the relationship between a Boston singer and an elite sea trader/pirate in old New Orleans. Directed by Frederick de Cordova, the movie co-starred Philip Friend and Robert Douglas.

4. “Captain Horatio Hornblower” (1951) – Gregory Peck and Virginia Mayo starred in this adaptation of three of C. S. Forester’s Horatio Hornblower novels. The movie was directed by Raoul Walsh.

5. “Mansfield Park” (1999) – Patricia Rozema adapted and directed this adaptation of Jane Austen’s 1814 novel about an impoverished young woman living with her wealthy relations. Frances O’Connor and Jonny Lee Miller starred.

6. “The Duellists” (1977) – Ridley Scott directed this adaptation of Joseph Conrad’s 1908 short story, “The Duel” about a small feud between two Napoleonic officers that evolves into a decades-long series of duels. Keith Carradine and Harvey Keitel starred.

7. “Lloyd’s of London” (1936) – Tyrone Power was featured in his first starring role as a young man who worked for the famous insurance corporation, Lloyd’s of London, during the Napoleonic Wars. Directed by Henry King, Madeleine Carroll and George Sanders co-starred.

8. “Carry On Jack” (1963) – Bernard Cribbins, Kenneth Williams and Juliet Mills starred in this eighth entry in the “Carry On” comedy series, which is a spoof of the high-seas adventure genre. Gerald Thomas directed.

 

 

“POLDARK” Series Two (1977) Episodes Six to Nine

“POLDARK” SERIES TWO (1977) EPISODES SIX TO NINE

I had earlier pointed out, twenty years after the fourth “POLDARK” novel was published, author Winston Graham continued with eight more novels for the series. In 1977, producers Morris Barry and Anthony Coburn adapted the fifth novel, “The Black Moon: A Novel of Cornwall, 1794-1795” with Episodes One to Five. The two producers continued with Episodes Six to Nine, which featured the adaptation of the sixth “POLDARK” novel, “The Four Swans: A Novel of Cornwall, 1795-1797”

Episodes Six to Nine picked up the saga by conveying the consequences of what had occurred in the previous five episodes. The adaptation of “The Black Moon” ended with protagonist Ross Poldark, his brother-in-law Drake Carne and several other men rescuing Ross’ friend Dr. Dwight Enys and other British military types from a prisoner-of-war camp in France. Drake’s love of his life and Elizabeth Warleggan’s cousin, Morwenna Chynoweth, married a young widowed vicar named the Reverend Osborne Whitworth. Also, Ross’ nemesis, George Warleggan, learned from the former’s great-aunt, Agatha Poldark that the father of his infant son Valentine might be Ross and not him.

Due to his rescue of Dwight Enys and a few other military prisoners in France, Ross has become something of a hero in the eyes of many locals. Due to his popularity and his position as a member of the upper-class, Ross is being considered as a political candidate for Parliament by a very prominent landowner named Sir Francis Basset. However, the Warleggans and other business/political colleagues are at odds with Sir Francis’ rival, a political patron and aristocrat named Viscount Falmouth, who seemed to have taken their past support for granted. When Ross refuses to consider running for Member of Parliament (MP), Sir Francis turns to the Warleggans and supports George’s run for the office.

Most fans of the “POLDARK” series have expressed little or no interest in the story arc revolving around the political happenings of late 18th century southeastern Cornwall. In a way, I could understand how they felt. Despite Ross’ occasional rants against the members of his class and concern for the working-class, the saga has never struck me as overwhelmingly political. Graham’s saga seemed to delve more into the saga’s setting from a sociological viewpoint. And to be frank, the saga’s melodramatic narrative has always been the most interesting thing about it. I will say about the 1977 series’ adaptation of “The Four Swans”, it tried to make the story’s political narrative as interesting as possible.

This adaptation featured two scenes that I personally found interesting. One scene featured Nicholas Warleggan informing Viscount Falmouth that he and certain fellow businessmen resented waiting hours for an audience with the peer and the latter’s lack of concern for their interests. I enjoyed how actor Alan Tilvern conveyed Warleggan’s resentment and anger in this scene. The other scene – from Episode Nine – featured the actual election that pitted a victorious Ross against George. The ironic thing is that this particular scene featured the two men and their running mates waiting in a room for the election’s results. And yet . . . the entire scene brimmed with excitement, tension and anticipation, thanks to Robin Ellis and Ralph Bates’ performances. Before the election, Ross found himself designated by Sir Francis as head of the local militia to face the threat of a possible French invasion. The only “threat” Ross and his men ended up facing was local mob violence instigated by starving locals who broke into a miller’s warehouse for much needed grain. This incident led to a disagreement between Ross, who was reluctant to punish those desperate for food and a determined Sir Francis, who wanted the ringleaders arrested. Both Robin Ellis and Mike Hall infused a great deal of energy into this scene. Also, I could not help but wonder if the sight of the hanged body of one of the ringleaders was a foreshadow of the consequences Ross might pay with his newly formed alliance with his two political sponsors – former adversaries Sir Francis and Viscount Falmouth.

Another story arc that materialized in these four episodes proved to be the potential romance between Demelza’s other brother – Sam Carne – and one Emma Tregirls, the daughter of Trolly Tregirls, an old friend of Ross’ father. I had no problems with the performances of David Delve and Trudie Styler. Ironically, both managed to produce a pretty solid screen team. But I could not get emotionally invested in a romance between the pious Sam and the free-spirited Emma, who gave the impression of being free-spirited and sexually independent. I could easily see that they were not that temperamentally not suited for one another. Emma also seemed interested in Drake, who obviously did not return her feelings. Drake remained constantly devoted to Morwenna Whitworth. On the other hand, Emma also seemed to harbor a penchant for the company of Sid Rowse, George Warleggan’s right-hand thug. More importantly, I found myself questioning her taste in clothes:

Could someone explain why the show runners of this series allowed Emma to walk around half-dressed in this ridiculous costume? It is a miracle that she was never arrested for indecent exposure.

However, Episodes Six to Nine are supposed to be the adaptation of “The Four Swans”. The title served as a metaphor for the four major female characters in this particular story:

*Caroline Penvenen Enys
*Morwenna Chynoweth Whitworth
*Demelza Carne Poldark
*Elizabeth Chynoweth Poldark Warleggan

I have a confession to make. The story arc involving Caroline Enys and her husband, Dr. Dwight Enys, proved to be something of a disappointment. The arc began with a large, society wedding in which nearly all of the major characters attended. As much as I enjoyed this scene, which I tend to do for those that feature social gatherings, I came away with the feeling that the Penvenen-Enys wedding was more about the guests than the newly wedded couple. Once the series moved past their wedding, it barely explored the first two years of their marriage. While Episodes Six to Nine explored the lives of the other major characters, Dwight and Caroline seemed to be utilized as minor supporting characters who either appeared at social gatherings or used as ready made therapists for Ross and Demelza. At this point of the story, Caroline had replaced Verity Poldark Blamey as Demelza’s best friend. The only time the narrative touched upon Dwight and Caroline’s personal lives was when the topic of her ability to carry a child came up. In the end, I felt that Judy Geeson and Michael Cadman were truly wasted in these four episodes.

Otherwise, their presence in Episodes Six to Nine proved to be inconsequential. And I believe I know why. Coburn and Barry, along with the four episodes’ screenwriter, deleted the narrative regarding the Caroline and Dwight’s troubles during the early years of their marriage. In “The Four Swans”, this story arc involved Caroline insisting that Dwight give up being a local doctor and behaving like a prosperous landowner. As Caroline’s husband, Dwight assumed full control of the estate she had inherited from her uncle. This story arc revealed that despite her marriage to Dwight, Caroline’s class bigotry and her low regard for his profession had not abated. It had a negative effect on Morwenna Whitworth, who had depended upon him to keep her over-amorous husband from her bed. More importantly, the story arc exposed Ross’ slight infatuation for Caroline and his own class bigotry. For it was Ross who finally convinced Dwight to give up his medical practice and adhere to Caroline’s wishes. Being a member of the elite himself, Ross genuinely believed Dwight’s marriage to Caroline finally gave the latter the opportunity to move up the social ladder and solidify his standing among the upper-class. And while it did, the marriage eventually deprived the neighborhood of a very competent doctor – at least in this story. I personally found the deletion of this aspect in Caroline and Dwight’s narrative very disappointing . . . and cowardly.

Episodes Six to Nine’s handling of Morwenna Whitworth’s story arc proved to be a different kettle of fish. May I be frank? I believe it was one of the two best narratives within the four episodes. There were certain aspects of the portrayal of the Morwenna-Osborne marriage that I found questionable. One, the showrunners of this series seemed a bit reluctant to convey that Morwenna had endured marital rape at the hands of her husband on a regular basis. It also failed to convey that Osborne had raped Morwenna on their honeymoon night during the series’ adaptation of “The Black Moon”. There was a scene of husband and wife having sex on the night following the Penvenen-Enys’ nuptials. It revealed Morwenna quietly submitting to Osborne. And when he turned on his side to sleep, she tried to initiate a conversation with him. Huh? If being married to him was that horrible, why would the series convey this? In fact, there was no sign of marital rape until Episode Seven or Episode Eight, when Osborne assaulted his wife, while she was recovering from childbirth. Why did Corburn and Barry waited so long to portray Osborne as a rapist? And why . . . by this point in the series, merely portray Osborne as a one-time rapist?

Despite this, Morwenna’s pregnancy advanced the story in a way that I found explosive. Enter Morwenna’s younger sister, Rowella Chynoweth. Morwenna came up with the idea to recruit Rowella to help her raise Osborne’s two daughters, while she dealt with her pregnancy. What followed . . . turned out to be rather mind blowing. In a nutshell, Osborne became attracted to his young sister-in-law, especially after Dr. Behenna instructed him to refrain from sexual relations with Morwenna, following the rape. Surprisingly, Rowella became attracted to Osborne and began an affair with him. By Episode Eight (or was it Episode Nine), Rowella revealed to Osborne that she pregnant. He tried to pretend that he was not responsible, but Rowella proved to be a tough, ruthless and persistent adversary. One, she provided Osborne with her plan to marry a local librarian named Arthur Solway, so that he could provide a name for her unborn child. Two, she managed to convince Osborne – via blackmail – to provice her and Arthur with a dowry of five hundred pounds. And three, not long after her wedding to Arthur, Rowella revealed that she had “miscarried” the baby. In other words, she was never pregnant . . . and she had scammed him. I found this scenario rather delicious to watch. And when Osborne attempted to enforce his “marital rights”, Morwenna revealed her knowledge of the affair and threatened to kill their new born son if he touched her again. Osborne took her threat seriously. Like I said . . . despite a few quibbles, I was very impressed by the handling of this narrative. And if I must be honest, the first-rate performances of Jane Wymarck, Christopher Biggins and Julie Dawn Cole contributed to the story arc’s dynamics.

I have mixed feelings about how Coburn and Barry handled Elizabeth Warleggan’s narrative in its adaptation of “The Four Swans”. Let me explain. Following Agatha Poldark’s revelation to George Warleggan that he might not be the biological father of his young son Valentine, the wealthy banker went out of his way to find anyone who could verify his suspicions that his wife had an affair with his nemesis, Ross Poldark. Although George failed to verify his suspicions, he began emotionally distancing himself from both Elizabeth and young Valentine and concentrated on beginning his political career. Elizabeth was initially surprised by George’s chilly attitude. Eventually, she began to suspect that the mystery of Valentine’s paternity was responsible. This led to an effort on her part to save her marriage. However, George’s jealousy toward Ross led him to mistreat the latter’s younger brother-in-law, Drake Carne by ordering his henchman, Sid Rouse, to beat the young blacksmith and torch his place of business. Ironically, it was George’s mistreatment of Drake and not his distant behavior that led to a serious quarrel between the couple.

Elizabeth’s struggles with George led to what I believe were two magnificent scenes between the two characters. The first featured Elizabeth’s attempt to coerce George into revealing the cause behind his chilly behavior. This scene featured a first-rate performance by Ralph Bates, as he conveyed George’s struggle to keep his emotions in check and an excellent performance by Jill Townsend, as she conveyed Elizabeth’s bewilderment and desperation to discover George’s motive behind his reserve. But it was the second scene in Episode Nine that truly impress me. But following Drake’s visit to Penrice, the confrontation between husband and wife proved to be an acting showcase for both Townsend and Bates, leading me to regard them as the most valuable players of this adaptation of “The Four Swans”. It also revealed that Elizabeth could be an intimidating powerhouse, when she chooses to be.

Between these two scenes, Elizabeth had an encounter with Ross at the Sawle churchyard. It was their first scene alone since he had raped her in Episode Fifteen in the 1975 series. Despite the excellent performances from Townsend and Robin Ellis, it left me feeling disappointed. Quite frankly, the screenwriter (whose name evades me) failed to faithfully adapt the scene from the novel, when doing so would have been more interesting . . . and honest. Instead of berating Ross for the rape (which she did in the novel), Elizabeth tried to avoid Ross, due to her fear that George would learn the truth about Valentine’s paternity. This made no sense to me, considering that the series had actually depicted the rape back in 1975. In fact, the 1977 series began with Elizabeth harboring anger at Ross. And yet . . . suddenly, the producers had decided to avoid the topic of the rape by pretending that it never happened? What the hell? They even had the screenwriter changed the scene’s ending by allowing Elizabeth to kiss Ross after he offered her a rather ridiculous solution to abate George’s suspicions. Guess what? In the novel, Ross took Elizabeth by surprise by ending the conversation with a few kisses on her face. Jesus Christ! Once again, Coburn and Barry inflicted another attempt to whitewash Ross’ character for the sake of his reputation.

Ross and Elizabeth’s meeting at the Sawle churchyard also played a role in Demelza Poldark’s story arc. A major role. So did Ross’ rescue of Dwight Enys in “The Black Moon”. One of the prisoners-of-war who returned to France with Ross and Dwight was a young Royal Navy officer named Lieutenant Hugh Armitage, who also happened to be a kinsman of the aristocratic Viscount Falmouth. Television audiences finally got to meet young Hugh in Episode Six, during one of Sir Francis Bassett’s dinner parties, attended by Ross and Demelza. Both the latter and Hugh were immediately attracted to one another and engaged in a friendship with strong romantic overtones. Ross became aware of the attraction between the pair and occasionally made caustic remarks about their friendship. Otherwise, he did nothing. But Demelza eventually learned about Ross’ meeting with Elizabeth at Sawle Church from Jud Paynter in Episode Seven. When Hugh urged her to join him on a walk to a local beach to view sea lions in Episode Eight, the pair’s friendship immediately transformed into a romance that was consummated on that beach, leading Demelza to commit adultery.

Overall, I thought this story arc was well handled by the series’ producers, director Roger Jenkins and screenwriter John Wiles. The story proved to be melodramatic, but in a positive way. More importantly, it was not unnecessarily sensationalized, despite the topic of adultery. And I also found this story arc was well paced – from the moment when Demelza and Hugh first met; to his death from a brain tumor. The story arc also benefited from the performances of three people – Robin Ellis, who conveyed Ross’ jealousy with great subtlety; Angharad Rees, who portrayed Demelza as a woman experiencing a genuine romance for the first time in her life; and Brian Stirner, who gave a complex performance as a charming, young Royal Navy officer who had no qualms about romancing another man’s wife. And yet . . . there was something about this story arc that seemed odd to me.

Most “POLDARK” fans claimed that it was against Demelza’s character to be an adulteress. I found that claim hard to swallow. Unlike many fans, I have never regarded Demelza as some ideal woman who belonged on a pedestal. Like the other characters in the saga, she was a complex individual with both virtues and flaws. Am I giving her an excuse for her adultery? No. But there was a certain aspect to this story arc that struck me. One has to account for the fact that Hugh was the first man who had seriously courted Demelza. Ross had jumped up and married her for a reason other than love after a brief, sexual encounter. Worse, he was in love with another woman at the time. Demelza also had to deal with lustful types like Sir Hugh Bodrugan and Captain McNeil, who viewed her as easy sexual prey, due to her lower-class origins. My problem with this version of the Demelza-Hugh romance is that it failed to match how it was portrayed in “The Four Swans”. Hugh was the first (and only) man of her age to romance Demelza, giving their relationship an aura of youthful aura. I found it difficult to view their relationship in a similar manner in this adaptation. The problem is that Rees looked her age at that time – 33 years old. And Brian Stirner looked younger, which I suspect he was. Because of this, their relationship seemed to have more of a borderline May-December vibe to me, instead of a romance between two young people in their twenties.

Aside from two occasions of whitewashing in order to salvage the Ross Poldark character and a few other quibbles, I must admit that I enjoyed Episodes Six to Nine. Producers Morris Barry and Anthony Coburn, along with director Roger Jenkins and screenwriter John Wiles did a more than satisfactory job in adapting Winston Graham’s 1976 novel, “The Four Swans: A Novel of Cornwall, 1795-1797”. Their work was well supported by an excellent cast led by Robin Ellis in the lead role. This particular adaptation reminded me “The Four Swans” became one of my favorite novels in Graham’s literary series in the first place.

“POLDARK” Series Three (2017) Episodes One to Five

 

“POLDARK” SERIES THREE (2017) EPISODES ONE TO FIVE

Series Two of “POLDARK” ended on a dark note for me. The last six of its ten episodes featured the adaptation of Winston Graham’s 1953 novel, “Warleggan: A Novel of Cornwall, 1792-1793”. And if I must be brutally honest, I was not happy with it. Not one bit. Due to my low opinion of Series Two’s second half, I did not look forward to Series Three. 

The first five episodes of Series Three focused on showrunner Debbie Horsfield’s adaptation of Graham’s 1973 novel, “The Black Moon: A Novel of Cornwall, 1794-1795”. That is correct. Following the publication of “Warleggan”, Graham waited twenty years to continue his “Poldark” series. Many fans of Graham’s novels consider “The Black Moon” and the two novels that followed as the best in the series. I certainly did. I still do.

Episode One of Series Three picked up after Series Two’s last episode. The episode opened with a very pregnant Elizabeth Warleggan and her husband George Warleggan galloping across the countryside. When it looked as if Elizabeth’s horse might be in danger of running away, up popped a concerned Ross Poldark, the series’ protagonist, to come to her rescue. Only Elizabeth was not in the mood to offer her gratitude. She remained angry over the events of late Series Two. Ross’ feelings for Elizabeth and the fact that she might be carrying his child, has not disappeared. While the War of the First Coalition raged on, Ross arranged for the secret wedding of his close friend, Dr. Dwight Enys to heiress Caroline Penvenen. Before the newlyweds could enjoy their honeymoon, Elizabeth went into labor, forcing Dwight to deliver the new Warleggan offspring, Valentine Warleggan . . . on the night of a “black moon”. And Caroline’s Uncle Ray Penvenen passed away on the same after giving his blessing to the newly married couple.

The first five episodes of Series Three also introduced several new characters. One of them happened to be Morwenna Chynoweth, Elizabeth Warleggan’s younger cousin. She was hired by the Warleggans to serve as governess to Elizabeth’s older son, Geoffrey Charles Poldark. Demelza Carne Poldark’s two brothers, Sam and Drake Carne, were also introduced in Series Three. Following the death of the Carne family’s patriarch, Tom Carne, the pair decided to seek their fortunes in the parish where Ross and Demelza resided. Not long after their introductions, both Morwenna and Drake became acquainted with one another and fell in love . . . fully supported by the young Geoffrey Charles. Other newcomers included the Reverend Osborne Whitworth, a young vicar from an local elite family; Tholly Tregirls, an old roguish friend of Ross’ late father; Sir Francis Basset, a high-born landowner who wants to sponsor Ross as a political candidate; Lord Falmouth, a local aristocrat also interested in finding a political candidate to sponsor; and Hugh Armitage, Dwight Enys’ fellow prisoner of war, a Royal Navy officer and kinsman to Lord Falmouth. However, there seemed to be a missing character in Series Three – namely Ross’ old servant, Jud Paynter. Due to showrunner Debbie Horsfield and the BBC deciding that dear old Jud would be underused, they gave actor Phil Davis the boot.

I noticed that a few story arcs had emerged between Episodes One and Five:

*Dwight Enys’ capture by the French and Ross’ efforts to find and rescue him
*Sam Carne’s efforts to establish a Methodist congregation in the parish
*The growing romance between Morwenna Chynoweth and Drake Carne
*The effect upon Valentine Warleggan’s birth upon the Trenwith household
*George Warleggan’s efforts to acquire political office

I like Dwight Enys. A lot. One of the reasons why I like him so much is that he has been willing to accept responsibility for his actions – namely his affair with Keren Daniels back in Season One. But for some reason, I could not get excited over Ross’ efforts to both find and rescue him from a French military prison. One, I knew he would be eventually rescued. And two, it is possible that I was not that interested in watching Ross Poldark play “Action Jackson in France” – not in Episode Three or Episode Five. One major result from the rescue mission proved to be the death of Captain Henshawe, Ross’ right hand man. Episode Five made a big deal of his death. So did the media and a good number of fans. However, I just could not summon any sense of grief on my part. I barely remember the guy. I am sorry, but I did not. All I remember is Captain Henshawe’s funeral, which Horsfield had transformed into a major production scene, and gave Ross another opportunity to engage in more of his brooding man pain.

And unless I am mistaken, I do not recall Ross’ first trip to France (shown in Episode Two) being that eventful . . . or long. Nor did it help that during Episode Five, Horsfield’s transcript had shifted between scenes of the actual rescue mission in France, and a soirée hosted by Lord Falmouth that the Warleggans, Morwenna, Demelza and Caroline attended. Why Horsfield made this narrative decision, I have no idea. It merely increased my disinterest in the rescue mission. The only aspect of this story arc that I found interesting were Horsfield’s additional scenes featuring Dwight’s struggles as a prisoner of war. I thought these scenes effectively conveyed the urgency for his rescue. But as I had earlier stated, I found it difficult to experience any interest in the actual rescue sequence.

Horsfield made even more additions to this story arc by having both Caroline Penvenen (Dwight’s lady love) and Verity Blamey (Ross’ cousin) discover that their significant others were missing at sea in Episode Three. However, this failed to drum up my interest in this story arc. And why did Horsfield allow Caroline and Dwight to get married in Episode One? The pair did not become man and wife until one of the early chapters of “The Four Swan”. And their wedding was a large one that included George and Elizabeth Warleggan as guests. So . . . what was the point of this secret wedding ceremony? So that Ray Penvenen would have the opportunity to give his blessing to the union before he died? How maudlin.

Then there was Sam Carne’s religious fervor and his desire to establish a Methodist congregation in the local neighborhood. I sympathized with Sam, especially when he tried to find a building for his growing congregation. But I found his earlier efforts to enforce Methodist worshiping practices during an Anglican service struck me as slightly off putting. There were moments when I found myself supporting George Warleggan’s opposition to Sam’s efforts – for a different reason. On the other hand, I found it odd that Ross had originally expressed no interest in helping Sam. He seemed to regard his two brothers-in-law as nuisances and mere extended versions of his father-in-law, Tom Carne. I should not have been surprised by Demelza’s willingness to help one of her younger brothers. But I was. For in Graham’s 1973 novel, she barely made any effort to help Sam find a building for his new congregation. I can only assume this was one of Horsfield’s excuses to push Demelza’s character to the forefront of this adaptation.

As for the younger Carne brother, Drake, an interesting story emerged, featuring his romance with Elizabeth Warleggan’s cousin, Morwenna Chynoweth. From a cold eye, Drake and Morwenna’s relationship seemed to be a remake of William Shakespeare’s play, “ROMEO AND JULIET”. None of the other major characters seemed to be interested in supporting this relationship, due to the ever lasting feud between Ross and George. Ross’ interest in Drake’s feelings for Morwenna seemed to be as non-existent as his interest in helping Sam. At least not until after Drake had accompanied him on the rescue trip to France in Episode Five. Apparently, poor Drake had to prove his manhood in order to attract Ross’ sympathy. George simply wanted to use Morwenna to further his own ambitions. Eager to find an elite sponsor to help him kick start a political career, George pushed Morwenna forward as a possible bride to a widowed vicar named the Reverend Osborne Whitworth. As his wife, Elizabeth naturally was willing to help him in his efforts.

Morwenna and Drake also received no support from Aunt Agatha Poldark and Demelza. Both had pointed out that marriage would difficult or near impossible between two people from different classes. I had expected this from an old snob like Aunt Agatha. Demelza’s opposition to the romance – at least according to Horsfield – proved to be mind-boggling and a little false to me. Especially since she had married a man outside of her class and supported another mixed marriage involving class – Dwight and Caroline. Drake and Morwenna’s only support came from Elizabeth and Francis’ son, Geoffrey Charles. However, the latter seemed more focused on Morwenna’s feelings, instead of Drake’s. Considering that Geoffrey Charles was only nine to ten years old at the time, the young couple’s desire to be together struck me as doomed. It did not surprise me that Morwenna eventually caved in and decided to end her romance with Drake. Her decision to end the romance led him to join Ross’ rescue expedition to France.

One of the aspects of Debbie Horsfield’s adaptation of “Warleggan” that I had despised so much was her handling of the night Ross and Elizabeth conceived their only son, Valentine Warleggan. I still despise it because Horsfield had transformed an act of rape on Ross’ part to barely disguised consented sex in order to save his reputation with the series’ viewers. In doing so, Horsfield managed to rob some of the tragic aspects of Elizabeth’s story – aspects filled with a gender theme. Thanks to Ross’ male ego and rage, Elizabeth found herself trapped in a situation in which she was forced to pass off his son as George’s. At least in the novel. In Horsfield’s version, Elizabeth is not really a victim of Ross’ ego, but merely of her own lust. In other words, Elizabeth brought upon this situation regarding Valentine upon herself. Horsfield managed to literally rob the gender aspect of Graham’s story arc for Elizabeth . . . for the sake of the leading man’s reputation. That a woman would write such a thing struck me as rather disgusting. But what Horsfield did to Elizabeth in regard to the latter’s relationship with Valentine lowered my opinion of the show runner even further. For reasons I cannot explain, Horsfield thought it would be more dramatic if Elizabeth Chynoweth Poldark Warleggan was portrayed as a cold parent, who resented her newly born son for forcing her to constantly lie to her husband George about his paternity. Elizabeth Warleggan . . . a cold parent? What a joke! I certainly do not recall her being a cold parent to either of her sons – not in the novels or in the 1975-77 series. More on this character arc later.

Horsfield also changed Ross’ reaction to Valentine’s birth. Following his rape of Elizabeth and Valentine’s birth in the novel, Ross went out of his way to ignore his second son. He wanted nothing to do with Valentine. Yet, Horsfield had Ross galloping after a pregnant Elizabeth in some effort to save her and make up for ignoring her following the night of Valentine’s conception. What on earth? On the night of Valentine’s birth – the night of the “black moon” – Ross spent most of his time silently brooding not far from Trenwith like some emotionally immature schoolboy. Aunt Agatha’s gloom-filled declaration that young Valentine was cursed, due to being born on the night of a “black moon” added what I believe was one ridiculous element to this story arc. There was another aspect of Ross’ character arc that I disliked and it had a lot to do with his relationship with Francis and Elizabeth’s son, Geoffrey Charles. In “The Black Moon”, young Geoffrey Charles had developed a hero worship of Drake Carne, while Morwenna Chynoweth was serving as his governess. This led him to be the sole supporter of the pair’s romance. However, Horsfield seemed to believe it was necessary to have Geoffrey Charles develop a hero worship of Ross . . . to the point that his attitude toward his stepfather reeked with as much snobbery as Ross and Aunt Agatha’s. And Geoffrey Charles’ relationship with Drake, which remained relevant even in the series’ later novels, seemed to have diminished a bit. Why? Why did Horsfield do this? To make Ross’ role in this adaptation of “The Black Moon” more relevant? To further ease the taint of rapist that clouds his character? Who knows.

Following the birth of his “son”, George Warleggan took the opportunity to kick start his political ambitions. I never understood why Graham had George follow this path. The character was an extremely wealthy man and the owner (or part-owner) of one of the most powerful banks in Cornwall. If anything, George has always struck me as the type who would financially sponsor a politician to serve his needs in Parliament. Instead, George attempted to court the attention of the likes of Lord Falmouth and Sir Francis Basset to finance his candidacy in Parliament. He had already managed to become a magistrate after Ross had rejected the position. George’s new role as a magistrate featured him handing down judgments – including one in which he dismissed rape charges against a scion of a high-born family. When I viewed this scene, I could only shake my head in a mixture of disgust and disbelief. One, I believe this . . . rape trial was never in “The Black Moon”. And two, it struck me as nothing more than a hypocritical attempt by Horsfield to erase the rape or rape-fantasy taint of Ross’ actions against Elizabeth in Series Two. George’s role as a magistrate also struck me as odd, considering that he seemed to be the lead magistrate during the Truro assize. Despite being the youngest . . . and least experienced man on the bench.

After becoming a magistrate, George eventually set his sights upon becoming a Member of Parliament (M.P.). His efforts to do so led to his attempt to push his cousin-in-law into a marriage with the Reverend Whitworth, who has blood connections to the Godolphin family. However, his and Elizabeth’s efforts at matchmaking hit a roadblock, thanks to Morwenna’s romance with Drake Carne and her refusal to regard the widowed vicar as a future husband. Instead, George turns to Lord Falmouth as a possible sponsor and manages to secure invitations for himself, Elizabeth and Morwenna at the peer’s soirée in Episode Five. Needless to say, between George’s clumsy attempts at character assassination of Ross and the news of the latter’s rescue of Dwight and other prisoners of war, his efforts to impress Lord Falmouth failed. Especially since one of those prisoners happened to be one Hugh Armitage, a relative of the peer. Horsfield’s portrayal of George’s embarrassment at Lord Falmouth’s soirée seemed rather heavy-handed to me. And I found it odd that Falmouth was introduced in the story by this point. He was first introduced in “The Four Swans: A Novel of Cornwall, 1796-1797” . . . and Horsfield has yet to finish her adaptation of “The Black Moon”. Very confusing.

Episode Four also featured a ridiculous sequence in which Caroline Penvenen tried to raise money to purchase food for locals starving from a drought and failed crops. In the novel, George and other local landowners donated money and the food was purchased. In this version, George did donate money to the fund. And then . . . oh God, I cannot believe I am writing this. Ross used the money to purchase goods that had to be smuggled on shore. This led to a contrived scenario in which George organized a troop of militia to catch and arrest Ross and the smugglers for free trading. Needless to say, George’s plans failed and he ended up looking like a fool. And I ended up shaking my head in disbelief in this heavy-handed and puerile attempt by Horsfield to villify George even further. Ever since Series Three began, Horsfield seemed hellbent upon transforming George into a one-note moustache-twirling villain. The complex man from Series One and Two seemed seemed to have disappeared. And poor Jack Farthing sometimes looks as if he is drowning in Horsfield’s gradual one-note portrayal of his character.

Some of the characters in the series seemed to have change for the worst in Series Three. Well, in Ross’ case, he had regressed to the Gary Stu hero from Series One and early Series Two. Well . . . not completely. His refusal to serve as a local magistrate (giving George the opportunity to fulfill the position) and unwillingness to help his brothers-in-law may have saved him from being a complete Gary Stu. And yet, I thought that Horsfield had focused a bit too much on Ross’ French adventures – especially in Episode Three. Most people would wonder why I found this unsatisfying. One, I found the portrayal of his first trip to France rather laughable. I do not know. Perhaps I see this regression as some effort by Horsfield to make him heroic and ideal in the viewers’ eyes, following his transgression against Elizabeth in Series Two.

Ross may not have completely regressed into a Gary Stu. But I thought Demelza Poldark had become the epitome of a Mary Sue during these first five episodes of Series Three. Before Series Three had aired in Britain, Horsfield had complained about the limited number of scenes featuring the leading lady in Graham’s 1973 novel. However, I suspect that Horsfield may have overdone it a bit . . . to the point of Demelza emerging as a world-class Mary Sue. The show runner had allowed Demelza become more involved in helping her brother Sam establish a Methodist church than she was in the novel. Instead of Caroline collecting funds to purchase food for the starving locals, Horsfield had Demelza joining her in this endeavor. Demelza also recruited the help of Caroline, her brothers and Sam’s Methodist congregation to divert George and the militia from Ross’ smuggling operation for the starving locals. I also noticed that Demelza seemed rather controlling in these episodes – especially toward Ross. I suppose this was Horsfield’s idea of Demelza paying back Ross for that night with Elizabeth. In fact, Demelza’s whole demeanor in these first five episodes seemed to be that of an early 21st century female, instead of a late 18th century wife and mother. Not only has Demelza become a Mary Sue, but also an anachronism.

For reasons that still astound me, Horsfield had added scenes of Demelza trying to convince Morwenna to end her romance with Drake. I found this mind boggling for two reasons. One, Demelza and Morwenna did not interact with each other until the second half of the 1977 novel, “The Angry Tide”. And two, Horsfield’s efforts to paint Demelza with as much sympathy as possible in these scenes did not work for me. Considering that Morwenna was Elizabeth’s cousin and Demelza remained hostile toward her former cousin-in-law, the series’ leading lady came off as hypocritical to me. Apparently, she believed there was nothing wrong with her, a former miner’s daughter and kitchen maid, to marry a landowner. It was okay for an heiress like Caroline Penvenen to marry an impoverished doctor from a working-class family. But apparently, her working-class brother marrying a young woman from an impoverished, yet upper-class family was a bad idea. If Demelza had simply used the current feud between Ross and George as a reason, I could understand. But she never did. According to Horsfield, Demelza believed Morwenna was too fragile to withstand a marriage to someone from Drake’s class. Many viewers bought this argument. I did not. Demelza did not know Morwenna well enough to make this assumption.

One of the aspects of Horsfield’s adaptation of “The Black Moon” that I found puzzling was her decision to switch back and forth between scenes of the rescue mission in France and Lord Falmouth’s soirée. What was suppose to be the connection between the two scenes? The only connection I could summon was that one of the prisoners rescued by Ross was Lord Falmouth’s kinsman, Lieutenant Hugh Armitage. And George learned about this piece of bad news (for him) from Elizabeth during the soirée. But George, Elizabeth and Morwenna were not the only guests at the soirée. Demelza and Caroline also attended. And from the moment when Demelza first laid eyes upon Elizabeth and George, she made a snide comment, criticizing the couple for attending a party during wartime. I do not believe Demelza could ever be more hypocritical than she was at that moment. Especially since she was also attending the soirée . . . during wartime. But Horsfield needed another moment to make George look bad and Demelza to seem more ideal. What is even worse is that many fans lapped up this shit.

WHAT IN THE HELL DID DEBBIE HORSFIELD DO TO THE CHARACTER OF ELIZABETH WARLEGGAN? Why did Horsfield inflict these extreme changes upon the character? Why? What was the point of portraying Elizabeth in this ugly manner? It was bad enough that Horsfield refused to allow Elizabeth to remain angry at Ross for the rape. Oh I forgot. We are supposed to believe that he did not rape her, despite the fact that he had literally forced himself on her,until the last moment. Instead, Elizabeth is angry at Ross for abandoning her, following that night on May 9, 1793. And here is where I shake my head in disbelief at Horsfield’s failure to remember that this story is set in the late 18th century and not the 20th or 21st centuries. I have already complained about Horsfield portraying Elizabeth as an indifferent and cold parent to her second son. Why did the show runner do this? Someone had tried to explain that Elizabeth was suffering from postnatal depression. For how long? She had remained indifferent to Valentine months after his birth – even when he was diagnosed with rickets. Are we supposed to believe that this negative portrayal of Elizabeth was supposed to make her interesting? I did not find it interesting. I found this portrayal heavy-handed and infantile. Right now, I find myself doubting Debbie Horsfield’s talent as a writer.

I am not stating that Elizabeth was an ideal or perfect person. She was not. Elizabeth was definitely guilty of supporting George’s efforts to convince Morwenna to marry the odious Reverend Osborne Whitworth. In the novel, Elizabeth genuinely thought Whitworth would be a fine match for Morwenna – being unaware of the man’s true nature. She also believed that an arranged marriage for Morwenna would work as well as her marriage of convenience to George had worked for her. And to be honest, I believe that Elizabeth did not want to get into a conflict with George, especially since they had only been married for two years. But this production seemed to hint that Elizabeth’s efforts to play matchmaker for Morwenna and Whitworth stemmed from her resentment and jealousy toward Geoffrey Charles’ regard for her young cousin. Which was never the case in the novel.

But there was one change to Elizabeth’s character that truly irritated me. Horsfield had transformed Elizabeth into an addict who relied upon laudanum and wine to help her endure her marriage to George. Despite her occasional bouts of insecurity, Elizabeth never had to resort to using drugs and alcohol to endure marriage to George or her life in general. Two, Elizabeth may have been insecure at times, but I have always regarded her as a strong-willed person, despite her “fragile” appearance. Three, she never had to “endure” being married to George. Elizabeth realized that George was no picnic and had his flaws in the novel. But she found her second marriage more satisfying than she did being married to Francis. Unfortunately, Debbie Horsfield seemed incapable of understanding this. And apparently, so did many fans. Perhaps Horsfield and the fans could not endure any character preferring marriage to George over Francis . . . or any Poldark.

And I cannot help but wonder if was this addiction story line Horsfield’s way of kowtowing to those fans who wanted Elizabeth punished for marrying the wealthy George Warleggan in the first place? Was it really a crime to marry someone for money . . . especially when that person is aware that he or she has been chosen for their wealth? In the late 18th century, when such a marriage was common? Once more, Horsfield failed to understand that the “POLDARK” series was set in the Georgian Era and not in modern times? Ross did not marry Demelza for love. I believe he had married her as some middle-finger gesture to his upper-class neighbors, following Jim Carter’s conviction for poaching. And he would have never married her back in Series One if Demelza had not seduced him in the first place. Demelza’s reason for her act of seduction had more to do with giving Ross a reason to keep her at Nampara (as a kitchen maid and mistress) and not send her back to the home of her abusive father. Yet, neither Ross or Demelza has ever been condemned for their actions by Winston Graham, the producers from the 1970s series, Debbie Horsfield or the saga’s fans. Personally, I found Elizabeth’s reason to marry George a lot more practically and easier to understand than Ross’ reason for marrying Demelza.

Most of the performances in these first five episodes of Series Three seemed to be solid. I noticed that Robin Ellis made another appearance as the Reverend Doctor Halse in a scene in which he expressed regret at Ray Penvenen’s death. I like Ellis, but I find myself wondering over his continued appearances in this series, considering that Halse is no longer relevant in the saga, by this point. Aidan Turner and Eleanor Tomlinson were competent as usual. But there were moments when I found Tomlinson’s portrayal of Demelza rather anachronistic. I do not know whether to blame the actress or Horsfield’s writing. I read somewhere that the BBC and Horsfield had fired Phil Davis, who had portrayed Jud Paynter, because they felt that his character was no longer relevant. I found this assumption rather odd, considering that Jud played a major role in a plot development in “The Four Swans”. Ellise Chappell, Harry Richardson, Harry Marcus, Josh Whitehouse, Tom York and especially veteran James Wilby all made solid debuts in the series. But I found Christian Brassington’s debut as the slimy Reverend Osborne Whitworth rather fascinating. I understood he gained a few pounds for the role. I hope he will be able to lose those pounds, once the series ends. However, I have to give special kudos to Jack Farthing and Heida Reed for their portrayals of George and Elizabeth Warleggan. It must have been difficult for both actors to rise above the shitty material dumped into their laps by Horsfield. They may have struggled at times, but in the end, I believe they may have risen above it.

You know, it is one thing to make occasional changes, while adapting a novel, play, etc. for a movie or television production. With her adaptation of “The Black Moon”, Debbie Horsfield no longer seemed to be making the occasional changes. She seemed to be rewriting Winston Graham’s 1973 novel into this barely recognizable tale reeking with ham-fisted melodrama. And I find myself wondering know how long I can put up with this crap.