“SILAS MARNER” (1985) Review

“SILAS MARNER” (1985) Review

I have seen a handful of television and movie adaptations of novels written by George Eliot. But the very first adaptation I ever saw was “SILAS MARNER”, the 1985 version of Eliot’s third novel published back in 1861. My recent viewing of the production led me to reasses it.

“SILAS MARNER” begins with an English weaver living with a small Calvinist congregation in Lantern Yard, a slum street in a Northern England city. His life falls apart when he is framed for stealing the church’s funds, while watching over the congregation’s ill deacon. Worse, his fiancee leaves him for his so-called best friend, the very man who may have framed him. Shattered and embittered, Silas leaves Lantern Yard and arrives at a rural village in the Midlands called Raveloe. Although he resumes his trade as a weaver, Silas’ traumatized past leads him to achieve a reputation as a miser and a loner in the community.

Silas’ move to Raveloe eventually leads him to cross paths with the community’s leading citizens, the Cass family. The head of the latter is the elderly Squire Cass who has two sons – Godfrey and Dunstan. Godfrey, who is the squire’s heir is secretly married to one Molly Farren, a lower-class woman and opium addict from another town, who has given birth to his young daughter. Godfrey is also engaged to a young middle-class woman named Nancy Lammeter. Dunstan is a dissolute wastrel who constantly loses money via excessive gambling. One night, a drunken Dunstan breaks into Silas’ cottage, steals the gold coins that the latter has been hoarding and disappears. Through a series of events, Molly plots to expose her marriage to Godfrey and their child during the Cass family’s New Year party, but dies in the snow before she can reach it. Silas, who is emotionally upset over the loss of his coins, finds both the dead Molly and the child. Although he informs the partygoers of Molly’s death and the child, he assumes guardianship of the latter (renamed Hephzibah “Eppie”), much to the relief of Godfrey, who can now legally marry Nancy. All goes well until Godfrey and Nancy’s failure to have children threaten Silas’ newfound happiness as Eppie’s father years later.

What can I say about “SILAS MARNER”? I can honestly say that it was not one of the best adaptations of a George Eliot novel. Then again, I do not consider the 1861 novel to be one of her best works. I realized that Eliot had set the story either around the end of the 18th century or around the beginning of the 19th century. It was her prerogative. But both the novel and the movie seemed to reek of Victorian melodrama that I found myself feeling that Eliot or any adaptation could have set the story around the time it was originally written and published – the mid 19th century. The story is, at best, a good old-fashioned Victorian melodrama. I would never consider it as particularly original in compare to the likes of “MIDDLEMARCH” or “DANIEL DERONDA”.

“SILAS MARNER” tries its best to be profound on the same level as the other two Eliot stories I had mentioned. But I had a few problems with the narrative. What was the point behind Dunstan Cass’ disappearance and theft? Yes, he stole Silas’ hard earned money before he disappeared. I got the feeling that the stolen coins seemed to serve as a prelude to Silas’ emotional attachment to Eppie. But why have Dunstan take it? How else did his disappearance serve the story . . . even after his dead remains were found close by, years later? In Eliot’s novel, the discovery of Dunstan led brother Godfrey to form a guilty conscience over his own secret regarding young Eppie and confess to his wife. But in the movie, it was Godfrey and Nancy’s inability to conceive a child that seemed to finally force the former to confess. Unless my memories have played me wrong. Frankly, Dunstan struck me as a wasted character. Anyone else could have stolen Silas’ money.

I also noticed that Giles Foster, who had served as both screenwriter and director for this production, left out a few things from Eliot’s novel. I have never expect a movie or television to be an accurate adaptation of its literary source. But I wish Foster had shown how Eppie’s presence in Silas’ life had allowed him to socially connect with Raveloe’s villagers. Eliot did this by allowing her to lead him outside, beyond the confines of his cottage. The only person with whom Silas managed to connect was neighbor Dolly Winthrop, who visited his cottage to deliver him food or give advice on how to raise Eppie. I also noticed that in the movie, Silas had never apologized to another villager named Jem Rodney for his false accusation of theft. And Jem had never demanded it. How odd. I also wish that Foster could have included the segment in which Silas had revisited his former neighborhood, Lantern Yard. In the novel, Silas’ visit revealed how the neighborhood had transformed into a site for a factory and its citizens scattered to other parts. Silas’ visit to his old neighborhood served as a reminder of how his life had improved in Raveloe and it is a pity that audiences never saw this on their television screens.

Yes, I have a few quibbles regarding “SILAS MARNER”. But if I must be really honest, I still managed to enjoy it very much. Eliot had written a very emotional and poignant tale in which a lonely and embittered man finds a new lease on life through his connection with a child. Thanks to George Eliot’s pen and Giles Foster’s typewriter, this story was perfectly set up by showing how Silas Marner’s life fell into a social and emotional nadir, thanks to the betrayal of a “friend” and the easily manipulated emotions of his neighbors.

Once Silas moved to Raveloe, the television movie did an excellent, if not perfect, job of conveying how he re-connected with the world. It was simply not a case of Silas stumbling across a foundling and taking her in. Even though he had formed a minor friendship with Mrs. Winthrop, having Eppie in his life managed to strengthen their friendship considerably. The movie’s narrative also took its time in utilizing how the Cass family dynamics played such an important role in Silas’ life in Raveloe. After all, Godfrey’ secret marriage to Molly Farren brought Eppie into his life. And Dunstan’s theft of his funds led Silas to re-direct his attention from his missing coins to the lost Eppie. And both Godfrey and Nancy Cass proved to be a threat to Silas and Eppie’s future relationship.

The production values for “SILAS MARNER” proved to be solid. But if I must be honest, I did not find any of it – the cinematography, production designs and costume designs – particularly memorable. The performances in the movie was another matter. “SILAS MARNER” featured solid performances from the likes of Rosemary Martin, Jim Broadbent (before he became famous), Nick Brimble, Frederick Treves, Donald Eccles, Rosemary Greenwood; and even Elizabeth Hoyle and Melinda White who were both charming as younger versions of Eppie Marner.

Angela Pleasence certainly gave a memorable performance as Eppie’s drug addicted mother, Molly Farren. Patsy Kensit not only gave a charming performance as the adolescent Eppie, I thought she was excellent in one particular scene in which Eppie emotionally found herself torn between Silas and the Casses. Freddie Jones gave his usual competent performance as the emotional Squire Cass, father of both Godfrey and Dunstan. I was especially impressed by Jonathan Coy’s portrayal of the dissolute Dunstan Cass. In fact, I was so impressed that it seemed a pity that his character was only seen in the movie’s first half.

I initially found the portrayal of Nancy Lammeter Cass rather limited, thanks to Eliot’s novel and Foster’s screenplay. Fortunately, Nancy became more of a central character in the film’s second half and Jenny Agutter did a skillful job in conveying Nancy’s growing despair of her inability to have children and her desperation to adopt Eppie. I thought Patrick Ryecart gave one of the two best performances in “SILAS MARNER”. He did an excellent job of conveying Godfrey Cass’ moral ambiguity – his secrecy over his marriage to Molly Farren, the passive-aggressive manner in which he “took care” of Eppie through Silas and his willingness to use Eppie as a substitute for his and Nancy’s failure to have children. Ryecart made it clear that Godfrey was basically a decent man . . . decent, but flawed. The other best performance in “SILAS MARNER” came from leading man Ben Kingsley, who portrayed the title character. Kingsley did a superb job of conveying Silas’ emotional journey. And it was quite a journey – from the self-satisfied weaver who found himself shunned from one community, to the embittered man who stayed away from his new neighbors, to a man experiencing the joys and fears of fatherhood for the first time, and finally the loving man who had finally learned to re-connect with others.

Overall, “SILAS MARNER” is more than a solid adaptation of George Eliot’s novel. I did not find its production designs particularly overwhelming. I did enjoy Eliot’s narrative, along with Giles Foster’s adaptation rather enjoyable . . . if not perfect. But I cannot deny that what really made this movie work for me were the first-rate performances from a cast led by the always talented Ben Kingsley. Victorian melodrama or not, I can honestly say that I have yet to grow weary of “SILAS MARNER”.

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.

Top Five Favorite Episodes of “THE CROWN” Season One (2016)

Below is a list of my favorite episodes from Season One of the Netflix series, “THE CROWN”. Created by Peter Morgan, the series starred Claire Foy and Matt Smith as Queen Elizabeth II and Philip, Duke of Edinburgh: 

TOP FIVE FAVORITE EPISODES OF “THE CROWN” SEASON ONE (2016)

1. (1.02) “Hyde Park Corner” – Due to King George VI’s poor health, Princess Elizabeth and her husband Philip, Duke of Edinburgh embark upon a tour of the Commonwealth on his behalf. However, a family tragedy forces the couple to end their tour in Kenya and return home to Britain.

2. (1.05) “Smoke and Mirrors” – This episode focuses on the death of Queen Mary, Queen Elizabeth II’s grandmother and on her own coronation over two months later. Meanwhile, the Queen’s uncle, the Duke of Windsor, clashes with her private secretary, Tommy Lascelles, after being asked not to attend the coronation.

3. (1.08) “Pride & Joy” – While Elizabeth and Philip embark upon a stressful Commonwealth tour in 1954, the Queen’s younger sister Princess Margaret takes on more royal engagements, much to the consternation of Prime Minister Winston Churchill.

4. (1.07) “Scientia Potentia Est” – While the Soviet Union tests their new H-bomb, both Prime Minister Churchill and Deputy Prime Minister experience major health crisis, unbeknownst to the Queen. Meanwhile, she becomes aware of her limited education and hires a tutor.

5. (1.06) “Gelignite” – When Princess Margaret and her divorced lover, Peter Townsend, ask Elizabeth’s permission to get married, the latter promises to give her support. Unfortunately, Private Secretary Lascelles and the Queen Mother advise against supporting the marriage.

 

“POLDARK” Series Two (2016): Episodes Five to Ten

 

“POLDARK” SERIES TWO (2016): EPISODES FIVE TO TEN

Sometime ago, I had expressed my feelings about “POLDARK”, the 1975 adaptation of Winston Graham’s 1953 novel, “Warleggan: A Novel of Cornwall, 1792-1793”. Needless to say, my opinions were not overall positive. Then I focused my attention of Debbie Horsfield’s recent adaptation of the novel. Considering the writer/television producer’s boast that this new adaptation would be more faithful to Graham’s literary saga, I found myself wondering how she would handle the writer’s most contoverisal entry in his series. 

Series Two of the new “POLDARK” stretched out in ten episodes. While the first four adapted the 1950 novel, “Jeremy Poldark: A Novel in Cornwall, 1790-1791” the last six episodes adapted “Warleggan”. Episode Five focused on the last months of the life of Francis Poldark, protagonist Ross Poldark’s cousin – his emotional reconciliation with his wife, Elizabeth Chynoweth Poldark; his duties as a local magistrate; and his excitement over his investment in the Poldark family’s revived Wheal Grace. In the end, it was Francis’ interest in Wheal Grace and a possible copper lode that led him down into the mine and to his death by drowning.

Despite its tragic ending, I must confess that Episode Five might possibly be my favorite one from Series Two. In a way, it represented the “calm before the storm” that eventually overwhelmed the lives of Ross, Demelza, Elizabeth and other characters. Unlike certain fans of the saga, I never had a problem with the “storm” that overwhelmed the main characters in this chapter of the saga. I never had a problem, as long as it was well-written. And I believe Episode Five was truly a fantastic one, thanks to Debbie Horsfield’s writing and Kyle Soller’s last and superb performance as Francis Poldark. Episode Five also featured an engagement party in which Ray Penvenen held for his niece Caroline and her foppish fiance, a politician named Unwin Trevaunance. During this party, Elizabeth had quietly confessed in a misguided moment that she still harbored feelings for Ross and sometimes regret marrying Francis in the first place. It was a moment that would rear its ugly head, later in the season. As for the episode itself, it seemed to be the only one featuring the adaptation of “Warleggan” that really impressed me. Because Horsfield’s adaptation of the “storm” proved to be very disappointing to me. And I truly missed Soller’s presence in the series after this.

Following Francis’ death, Episodes Six to Ten focused on a collection of story arcs:

*Ross’s continuing financial struggles
*Ross’ continuing attempts to wield riches from the Wheal Grace mine
*the courtship between Ross’ close friend, Dr. Dwight Enys and heiress Caroline Penvenen
*Elizabeth’s financial struggles to manage the debt-ridden Trenwith estate
*Antagonist George Warleggan’s attempts to woo the widowed Elizabeth
*Ross and Elizabeth’s close relationship and its effect upon Demelza

Despite the six hundred pounds investment he had received from his cousin Francis for Wheal Grace, Ross continued to struggle with finding a cache of copper. And because of this failure, his financial problems continued to persist for the next several episodes. At one point, Ross found himself on the brink of financial disaster when his nemesis George Warleggan had purchased the promissory note he had signed after borrowing money from his banker, Harris Peascoe. Worse, Wheal Grace proved to be an unsafe working environment and collapsed, causing the deaths of two workers. And all because Ross was desperate to find the copper he believed would alleviate his financial woes.

Many fans and critics seemed to lack the patience to watch Ross struggle financially. They seemed more interested in his personal – especially his romantic – life. In a way, I could understand. But I thought Debbie Horsfield handled his financial struggles rather well. However, I was annoyed by two things. One, his mine workers seemed very reluctant to blame him for the Wheal Grace accident. I get the feeling that Horsfield seemed reluctant as well. I admire the fact that she allowed Ross to feel remorse for the accident. But I found it unrealistic that not one Poldark miner was willing to blame Ross, let alone resent him for failing to provide a safe working environment for them. This whole scenario smacked of some management-worker fantasy in order to make Ross look good in the eyes of the fans. As icing on the cake, Horsfield made sure – in a ham-fisted scene – that series villain George Warleggan criticized Ross over the Wheal Grace disaster. If it had been someone else, chances are the audience would be more inclined to criticize Ross.

Unsure over the value of Wheal Grace, Ross made a quick trip to the Isles of Scilly to seek out the fugitive Mark Daniels, the miner who had murdered his wife near the end of Series One. I wish I could say that I found this sequence rather interesting. But to be honest, it lacked the pathos of the 1975 adaptation. Frankly, I have to blame actor Matthew Wilson. For me, he simply failed to convey Mark’s guilt and grief over his wife’s murder with any real poignancy or effectiveness. The only interesting aspect of this story arc proved to be Ross’ return to Cornwall, where he found himself in the middle of a situation between the local smugglers using his cove as a landing spot and the militia. Frankly, I found it more than satisfying and rather exciting. The sequence ended on an exciting note with the death of informer Charlie Kempthorne. Ross managed to avoid the consequences of that night and his role in the smuggling by committing perjury in court and buying witnesses to do the same on his behalf. Unfortunately, poor Dwight Enys not only angered his blue-blooded fiancée by failing to rendezvous for their elopement, the local court fined him fifty pounds for starting a bonfire – which had alerted the smugglers to the presence of the militia.

In the end, a series of events helped Ross and Demelza rise above their poverty-stricken state. One, Caroline Penvenen secretly provided Ross with two thousand pounds, enabling him to pay off the promissory note that George had purchased from Harris Peascoe and prevent the former from eventually taking possession of the Nampara estate. Ross finally struck a lode withing the Wheal Grace . . . but it proved to be tin, not copper. And a neighbor to whom Ross had lent money years ago repaid his debt and allowed Ross to become an investor in his business. By Episode Ten, I came to the conclusion that Ross was not exactly an exceptional businessman and estate manager. It seemed pretty obvious that sheer blind luck was responsible his rising fortune by Episode Ten.

I realize that I had earlier stated that Episode Five was the last time I truly enjoyed Series Two. Well . . . perhaps not. I had no troubles watching the circumstances involving Ross, Elizabeth, Demelza and George unfold. And unlike the 1970s series, this current series did not rush through a good deal of the narrative in order to reach the sequence involving Ross’ return to Cornwall on the night of the smugglers’ conflict with the militia. I suspect that is due to the fact that the 1975 adaptation of “Warleggan” had stretched through four episodes and the 2016 adaptation stretched through six.

Amidst the turmoil that seemed to engulf the Poldark family and George Warleggan, the romance between the lowly-born Dr. Dwight Enys and upper-class heiress Caroline Penvenen continued its rocky path. Although the pair finally managed to admit their love for one another and become engaged (behind the back of Caroline’s uncle, Ray Penvenen). They even managed to form a plan to elope on the night of Ross’ arrival from France. However, their plans went nowhere when Dwight ditched them in order to warn the smugglers that a local named Charlie Kempthorne had ratted them out to Captain McNeil and the militia. Do not get me wrong. I do believe that Luke Norris and Gabriella Wilde have some kind of chemistry together. The problem is that I found it difficult to really care about their relationship. The problem was . . . Wilde. She did not strike me as a charismatic actress. There were times when I found her performance rather stiff and rote-like. Even when her character had expressed disappointment and anger over Dwight’s failure to rendezvous for an elopement, Wilde did not seemed to be selling these emotions with any real conviction. Series Two ended on a happy note for Dwight and Caroline, when Ross arranged their reconciliation before Dwight was scheduled to set sail with the Royal Navy. Sometime earlier, the War of the First Coalition had started, the first of several conflicts between Great Britain and France for the next twenty years or so.

Ross and Demelza were not the only members of the Poldark family who struggled financially. With Francis dead, Elizabeth and the other inhabitants at Trenwith found themselves in a financial bind. The six hundred pounds that Francis had received from George Warleggan were invested in Wheal Grace. This left Elizabeth cash poor and unable to hire a bailiff to manage the Trenwith estate. She could not manage it, due being only trained to manage a household as mistress of the house. Thanks to Ross’ never ending infatuation with her, he seemed willing to help her manage the estate every now and again. He even provided her and Geoffrey Charles with six hundred pounds from the money he had acquired through the sale of his remaining shares of Wheal Leisure. I believe these acts were Ross’ way of attempting to rekindle the romance between himself and Elizabeth, now that Francis was gone. Ross became so focused upon Elizabeth that he failed to notice Demelza’s growing awareness and concerns over his visits to Trenwith. But Ross was not the only one interested in romance with Elizabeth. George Warleggan, who has harbored romantic feelings for her since the beginning of the series, finally decided to make his move with her. At first, he used tentative steps – the occasional friendly visit to Trenwith, offering her advice on handling the estate’s employees and tenants and presenting gifts to young Geoffrey Charles. The only fly in George’s ointment was Francis’ great-Aunt Agatha Poldark, who disliked him just as much as he disliked her.

As much as I had enjoyed parts of the adaptation of “Warleggan”, it was not perfect. And where did it all go wrong for me? Well, the first hint occurred when Demelza complained to her cousin-in-law Verity Poldark Blamey about Ross ignoring her in favor of visits to Elizabeth. And what did Verity do? Talk to Ross about Demelza, which would have been the sensible and direct thing to do? No. She visited Elizabeth at Trenwith and gently convinced her sister-in-law to spend less time with Ross. Sigh. How passive-aggressive. And sexist. Matters grew worse with Horsfield’s ridiculous portrayal of Elizabeth as some incompetent woman incapable of maintaining the Trenwith estate matters. This was utterly ridiculous. As a woman and a member of the upper-class, Elizabeth was probably trained by her mother to be the wife of a landowner – namely manage the household of an estate manor. She was never trained to manage an estate or a mine. The same could be said for Verity and Caroline. And although Demelza, who was born into the working-class, could manage a smaller house without servants; also knew nothing about managing an estate. But thanks to Horsfield, only Elizabeth’s lack of experience in this matter was emphasized.

It grew worse. Horsfield treated viewers to this ridiculous sequence involving George Warleggan hiring some local thugs to frighten Elizabeth by squatting on Trenwith land. He hoped that this would finally drive Elizabeth to being opened to the idea of becoming Mrs. George Warleggan. I found this incredibly heavy-handed and unnecessary. In the novel, Elizabeth had already begun considering George as a potential spouse, thanks to her financial situation. Apparently, Horsfield thought Elizabeth required a more direct (and heavy-handed) reason to depend more on George. And why did she not turn to Ross? Well . . . she did. She had sent a note to Ross explaining the situation. And here, matters became very silly and childish. The Poldarks’ housekeeper, Prudie Paynter, did not bother to hand over the note to Demelza. Ross was at the Isles of Scilly at the time. The entire scenario smacked of a scene from a teen romance novel. A desperate Elizabeth appeared at Nampara asked for Ross’ whereabouts. Prudie kept her mouth shut and said nothing about keeping the note. And a cold and obviously jealous Demelza merely informed Elizabeth that the note was never received and Ross was away on business. Both Demelza and Prudie were so busy regarding Elizabeth as “the enemy” that they were obviously too stupid to notice Elizabeth’s desperate air. In the end, the latter turned to George to deal with the squatters. From George hiring thugs to squat on Trenwith land to Elizabeth’s desperate visit to Nampara – this was one of the silliest and unnecessary sequences I have ever seen in this series.

Then came Episode Eight, which I now regard as the nadir of this “POLDARK” series . . . so far. Earlier in the episode, Demelza encountered Elizabeth in Truro, where the following exchange occurred:

Elizabeth: I’ve been meaning to call upon you to thank you for your kindness these past few months.

Demelza: In lending you my husband?

Elizabeth: . . . in a manner of speaking.

Demelza: Oh, you’re welcome to him, just so long as you remember where he belongs and send him back to me when you’re done with him.

While many viewers were hooting with laughter at Elizabeth’s expense or raising their fists in the air crying, “Demelza! You go girl!”, I merely rolled my eyes in disgust. One, this scene was never in “Warleggan”. Two, once again, Debbie Horsfield managed to slut shame Elizabeth in preparation for what happened later in the episode. And three, she managed to make Demelza look like a passive-aggressive bitch. Good going, Ms. Horsfield!

But what happened between Demelza and Elizabeth was nothing in compare to what was to come. Mrs. Chynoweth, Elizabeth’s mother, fell ill and the latter realized she would have to care for her mother. At long last, George proposed marriage, promising both his riches and to clear the Trenwith estate of any debts for Geoffrey Charles. A very desperate Elizabeth accepted and very reluctantly, wrote a letter to Ross, informing him of her engagement. For once, Prudie did not withhold this second letter from Elizabeth and handed it over to Ross. Well, we all know what happened. He lost his temper and ignoring Demelza’s pleas, rode over to Trenwith in the middle of the night to end Elizabeth’s engagement to George.

The one good thing I could say about this scene between Ross and Elizabeth is that it featured outstanding performances from both Aidan Turner and Heida Reed. I found it interesting that only a few people managed to notice. Otherwise, I loathed it. The novel’s version of this scene was ugly enough, considering what Ross did to Elizabeth. But Horsfield’s version of the scene was uglier. As in the novel, Ross broke into the house, ignored Elizabeth’s protests and confronted her inside her bedroom. He tried to slut shame hr Then he forced himself upon her with kisses and later, forced her on the bed with the intent to rape her. Before he could rape her, Elizabeth embraced Ross, signalling her consent to have sex with him. What made this scene so ugly to me? By having Elizabeth consent at the last moment, Debbie Horsfield seemed to be endorsing the concept of “Rape Fantasy”. I had never felt so disgusted in my life.

With the exception of one particular scene, Horsfield provided others following the Ross/Elizabeth scene that either annoyed or disgusted me. Upon Ross’ return to Nampara the following morning, Demelza greeted him with a punch to the face and a great deal of hostility. The only aspect of this scene that would have made me cheer was Eleanor Tomlinson’s first-rate performance. In the end, I could not because this scene was never in the novel. Worse, Horsfield used this scene to transform Demelza from a passive-aggressive bitch to an anachronistic character. Sigh! In the novel, Elizabeth was reluctant to proceed with her marriage to George, due to the trauma of being raped. At the same time, she wanted Ross to explain himself and apologize . . . which never happened. In Episode Nine, Horsfield attempted to solidify Elizabeth’s guilt by having her spend her days at Trenwith, waiting for Ross to leave Demelza for her, thanks to Agatha Poldark’s ludicrous suggestion that Ross might actually do this. Despite Caroline Blakiston’s very skillful performance, Agatha Poldark proved to be very annoying to me, throughout this entire season. In the end, Elizabeth married George.

Demelza, on the other hand, made the misguided decision to punish Ross by attending a house party given by that old lech, Sir Hugh Bodrugan and engage in revenge sex with Captain McNeil of the militia. Remember that one scene of which I had no problems? Well, it was not Sir Hugh’s party. Unlike the 1975 version, it seemed to lack any atmosphere whatsoever of a debauched late Georgian party. Instead, the party sequence seemed to consist of every man admiring Demelza’s beauty and desiring her, transforming her into television’s ultimate Mary Sue. In the end, Demelza and McNeil retired to a room, where she decided that she did not want to engage in revenge sex, after all. Unlike the 1975 version, which featured McNeil attempting to rape Demelza, this version closely followed Graham’s novel by having McNeil deciding not to force himself on her. For once, Horsfield did the right thing. Like Graham, she was willing to show that unlike Ross Poldark, here was a man capable of not forcing himself on a woman.

Unfortunately, Episode Ten returned to the revised crap that Horsfield had inflicted upon Graham’s saga. Like the producers of the 1975 series, Horsfield had Demelza contemplating leaving Ross for his infidelity and lack of remorse. Worse, she planned to return to her father’s home . . . with young Jeremy. Was this scene in Graham’s novel? I do not remember. I do know that she would have never gotten away with taking Jeremy with her to Tom Carne’s home. As a man and a member of the landed gentry in the late 18th century, Ross could have easily used the courts to stop her. And I doubt very much that he would have tolerated Jeremy being raised in his father-in-law’s household. He detested Tom Carne’s bullying and religious fanaticism too much. Once again, Horsfield transformed Demelza into an anachronistic character. And like the 1975 series, Horsfield allowed Trenwith to be threatened by a mob after George had the estate closed off from its tenant farmers. This sequence began with Demelza confronting the newly married Elizabeth in the woods and slut shaming the latter for what happened on the night of May 9, 1793. Again, this was not in Graham’s novel. I found it misogynistic and unnecessary. And I suspect that Horsfield added another ham-fisted scene to solidify Elizabeth guilty of adultery in the viewers’ eyes.

In the end, the mob led by Jud Paynter did not burn down Trenwith. Demelza arrived at the Warleggans’ home to warn them about the mob. Horsfield had Ross behave like romance novel hero and appear at Trenwith – on a white horse (ugh!) – to prevent Demelza from getting swept up by the mob and to prevent the latter from burning Trenwith and harming the Warleggan newlyweds. By the time Episode Ten ended with another scene straight from a romance novel. It featured Ross and Demelza reconciling near the edge of a cliff . . . again. Ugh.

Episodes Five to Ten, which featured the adaptation of Graham’s 1953 novel, “Warleggan: A Novel of Cornwall, 1792-1793”, had started on such a promising note. But since the novel was controversial, due to the saga’s protagonist becoming a rapist, producer Debbie Horsfield and the BBC slowly transformed the adaptation of the novel into a pile of shit. Like their 1975 predecessors, Horsfield and the BBC lacked the balls to closely adhere to Winston Graham’s ambiguous portrayal of Ross Poldark. The worst they were willing to do was simply portray him as an adulterer. Because of this, Episodes Five to Ten of Series Two for “POLDARK”seemed to be filled with heavy-handed revisions of Graham’s novel and a rape fantasy scene that left me feeling completely disgusted.

“POLDARK” Series Two (2016) Episodes One to Four

 

“POLDARK” SERIES TWO (2016) EPISODES ONE TO FOUR

Following my viewing of the 1975 series, “POLDARK” and its adaptation of Winston Graham’s 1950 novel, “Jeremy Poldark: A Novel of Cornwall, 1790-1791”, I decided to view Debbie Horsfield’s recent adaptation of the same novel, spread out in four episodes during its second series. Needless to say, my experience with this adaptation of “Jeremy Poldark” proved to be a different kettle of fish.

Series Two’s first episode began a day or two after the final scene of Series One – namely Ross Poldark’s arrest by the local militia for instigating a riot between his tenants/employees and the citizens of another town, who were salvaging the goods from a shipwrecked ship. The ship happened to belong to a noveau riche family named Warleggan and one of its members, one George Warleggan, went out of his way to ensure that the law would charge Ross with the crime. To make matters worse, Ross and his wife, Demelza Carne Poldark, had to endure the death of their only daughter from Putrid’s Throat.

At the beginning of the second series’ Episode One, Ross faced one of his old nemesis, the Reverend Dr. Halse , in court in order for the latter to determine whether Ross would stand trial for his crime. Considering the two men’s previous clashes, it was not surprising that Halse ordered Ross to stand trial during the next assize in Bodmin. Not only that – audiences were treated with an energetic scene between star Aidan Turner and former Poldark leading man, Robin Ellis. After Ross returned to his estate, Nampara, he set about getting his business in order. Meanwhile, Demelza tried to encourage him to seek help or patronage in order to ensure his acquittal. Being an incredibly stubborn and self-righteous ass, Ross refused. Demelza was forced to go behind his back to seek help from the judge assigned to his case and a wealthy neighbor named Ray Penvenen. Needless to say, Demelza failed to gather support from both men. Her cousin-in-law and Ross’ former love, Elizabeth Chynoweth Poldark attempted to acquire George Warleggan’s help by arranging a meeting between the men at her husband’s estate, Trenwith. She also failed, due to Ross’ unwillingness to speak to the latter. George’s major henchman, Tankhard, managed to recruit Ross’ former farmhand, Jud Paynter, to testify against Ross. Although Jud had intially agreed to testify, he changed his mind at the last minute, while on the stand. Due to a rousing pro-labor speech, Ross was acquitted by the end of Episode Two.

During those first two episodes that focused on Ross’ trial, other events occurred. His close friend, Dr. Dwight Enys met Ray Penvenen’s flighty niece, Caroline Penvenen during the azzis and election in Bodmin and sparks flew between the pair … despite the latter’s arrogant demand that he treat her pug. Francis, while in despair over estrangement from Ross, Verity and Elizabeth, attempted suicide in Bodmin and failed, due to a falty pistol. Elizabeth also appeared in Bodmin for the trial. Although she had appeared to support Ross, she and Francis ended up reconciling. Unfortunately, I was not pleased by this development. I wish Elizabeth had never forgiven Francis, since he had never bothered to offer any apology for the five to six years of emotional abuse and the loss of his fortune and their son Geoffrey Charles’ future. Unless I am mistaken, Elizabeth never really forgave Francis in the novels, despite his “new lease on life”, following his suicide attempt. Good. I never thought he deserved forgiveness.

I have read a few articles and reviews of the episodes that covered the adaptation of “Jeremy Poldark”. While everyone else seemed impressed by the hullaballoo over Ross’ trial, I felt more impressed by the third and fourth episodes. One, I was never that impressed by the trial storyline in the first place. Due to Ross’ social standing as a member of the landed gentry, I suspected he would be acquitted, when I first read the novel. Unless he had committed murder (against someone from his own class) or treason against the Crown, I never really believed he would be convicted. If Ross had been a member of the working-class or middle-class, chances are his closing speech would have guaranteed conviction of the charges made against him. By the way, was that a closing speech? Or was that merely a speech inserted into Ross’ own testimonial? I hope it was the latter, because he seemed to possess a barrister who barely said a word.

And if I must be brutally honest, there was an aspect of the first two episodes – especially Episode Two – that I found disappointing. I had been more impressed by the 1975 adaptation of Ross’ trial, due to its strong ability to recapture the atmosphere of an assize during the eighteenth century. I never sense that same level of atmosphere from this latest adaptation. Showrunner Debbie Horsfield seemed more intent upon creating tension over the possibility conviction. In a way, this seemed appropriate considering that the story should matter. But would it have hurt for Horsfield to add a little color or flavor in her portrayal of the Bodmin assize? For me it would have made up for my disinterest in Ross’ trial.

While many complained about the “dullness” of Episodes Three and Four, I found it interesting. Once Ross and Demelza dealt with his arrest and trial, they were forced to deal with the aftermath of their daughter Julia’s death. While Demelza openly faced her grief, Ross finally got the chance to focus his attention on dealing with his possible financial ruin. But in doing so, he ended up emotionally distancing himself from his wife. It was easy to see that the honeymoon was over for Ross and Demelza. Like many couples in real life, they found it difficult to deal with a child’s death, which they were forced to face after Ross’ acquittal. And like many couples, their relationship suffered, due to their grief. Although Demelza had discovered she was pregnant, Ross made it clear that he was not ready to deal with another child before she could reveal her news. I have to commend both Aidan Turner and Eleanor Tomlinson in conveying the growing estrangement between Ross and Demelza with great skill and subtlety. And I suspect that they benefited from Debbie Horsfield’s writing, who managed to capture this roadblock in the couple’s relationship without turning it into an over-the-top ham fest.

Both Episodes Three and Four also focused on Ross’ financial problems. Many critics seemed uninterested in this turn of events. Apparently, they were more interested in watching Ross and Demelza behave like “the perfect couple”. I was not bored. It was interesting to watch an upper-class landonwer deal with looming poverty without the benefit of securing the hand of an heiress. You know … like aspiring politician Unwin Trevaunance. And what many had failed to point out was that the Nampara Poldarks’ financial situation was a result of Demelza’s matchmaking efforts for Verity, Francis’ resentment and anger, and George’s malice. The die was cast in Series One’s eighth episode and the consequences reared its ugly head in Series Two. Ross and Demelza were bound to face these consequences sooner or later. Worse, Ross found himself dealing with a vindictive George Warleggan, who was finally able to purchase enough shares to assume control over Wheal Leisure, Ross’ mine.

I never understood why Demelza had kept her fishing trips (to provide food for Nampara’s larder) a secret from Ross. Personally, I thought she could have informed him that someone needed to fish to prevent them from starving, due to their money problems. If Ross had dismissed the idea, then I could have understood her need for secrecy. But knowing Ross, he probably would not have supported the fishing trips or bothered to find someone to provide fish for Nampara’s inhabitants. He could be rather stubborn and proud. And I must admit that I did not care for how Debbie Horsfield changed the circumstances behind Demelza’s last fishing trip. Instead of allowing her to reach shore on her own, while going into labor; Horsfield had an angry Ross come to her rescue and carry her ashore:

 

 

It looked like a scenario from a second-rate romance novel. And I found it a touch sexist. Ugh.

Other matters threatened to endanger Ross and Demelza’s marriage even further. One, Demelza seemed to have become the center of attraction for men like fellow landowner Sir Hugh Bodrugan, who has set his eyes on Demelza ever since the Warleggan ball back in Series One; and the Scottish-born militia officer, Captain McNeil, who happened to be one of Ross’ former military comrades from the Revolutionary War. Mr. Poldark seemed unaware of Sir Hugh’s attention, but did not seem particularly thrilled by Captain McNeill sniffing around his wife. Yet … he did nothing. Two, Ross gave permission to allow a smuggling ring led by a Mr. Trencomb to use the cove on his beach to store their stolen goods. Fearful that Ross might face arrest again and this time, prison, Demelza expressed her disapproval.

However, she seemed relieved that Ross and Francis had finally made their peace following their estrangement over Verity Poldark’s (Francis’ sister) marriage to a former alcoholic sea captain in Episode Three, thanks to Elizabeth’s machinations. In fact, she was more than happy to attend Francis’ harvest ball at Trenwith. What she did not like was the conversation she had overheard between Ross and Elizabeth, later that evening. A part of me was fascinated by Ross’ bold attempt to seduce Elizabeth. Especially since it featured some excellent acting from both Aidan Turner and Heida Reed. Another part of me felt disgusted by his actions. Ross had not merely flirted with his cousin-in-law. He made a strong effort to seduce her … after her husband had retired to his bedroom, upstairs. Fortunately, Elizabeth put a stop to his action before it could get any worse.

Interesting consequences resulted from Ross’ attempt at seduction. It finally led Demelza to reveal her pregnancy to Ross … who did not seem particularly thrilled. And although Demelza seemed willing to dismiss her husband’s behavior, her cool attitude toward Elizabeth during their encounter in the woods seemed to hint that she seemed willing to place most of the blame on her cousin-in-law. In other words, Demelza seemed willing to use Elizabeth as a scapegoat for Ross’ indiscretion. Or … perhaps Ross’ attempt to seduce Elizabeth had simply increased Demelza’s insecurity. After reading several articles on this story arc, I was … not particularly surprised that most fans and critics had ignored this little scene between the two cousins-in-law, especially since Demelza is such a popular character and Elizabeth is not. Many years have passed since I last read “Jeremy Poldark”. But I do not recall such a scene in the novel. What made Horsfield add it? Was this the producer’s attempt to portray Demelza in a more ambiguous light than she did in previous episodes? Or was this an attempt to set up Elizabeth as partially responsible for an upcoming event in a later episode? I have no idea. I am confused.

Many fans seemed thrilled by the budding romance between Dr. Dwight Enys and heiress Caroline Penvenen. Personally, I found it rather interesting … and romantic in a way. Both Luke Norris and Gabriella Wilde seemed to have a strong screen chemistry. My problem with this relationship is that I am not a fan of Caroline. I never have been. I have the oddest feeling that although she may be in love with Dwight, she also regards him as something new or different that she wants to acquire … or collect. Her constant requests for his medical services and her assistance in acquiring oranges to help him deal with an outbreak of scurvy strikes me as seductive foreplay on her part and nothing else.

However, the reunion between the Nampara and Trenwith Poldarks resulted in two positive consequences. Following the loss of Wheal Leisure, Ross recalled Mark Daniels’ (one of the saga’s two wife killers) claim of discovering copper inside his family’s other mine, Wheal Grace and managed to convince Francis in investing in the mine. And the latter invested the six hundred pounds that he had received from George Warleggan for exposing the Carnmore Copper Company investors (the majority of whom were indebted to the Warleggan Bank), back in Series One.

Speaking of Francis’ six hundred pounds, I am confused about something. When George Warleggan learned about Francis’ investment in Wheal Grace, he vindictively revealed to Ross how Francis had acquired the money in the first place. Naturally, Ross lost his temper and the pair engaged in a brawl. But I could have sworn that Ross had figured out Francis’ betrayal of the company ever since he learned about Demelza’s meddling in Verity’s love life around the same time that Carnmore Copper Company had folded. The sequence from Episode Eight seemed to hint this. Unless I had misread it. Judging from Ross’ reaction to George’s revelation in Episode Four of this season, apparently I did. However, I need to re-watch that Series One sequence again.

George’s revelation of Francis’ betrayal did give Ross the opportunity to manipulate the latter into finally accepting Verity’s marriage to Andrew Blamey in a very clever scene that featured first-rate performances from both Kyle Soller and Aidan Turner. As for that brawl between Ross and George … the scene sizzled from Aidan Turner and Jack Farthing’s performances. And many fans and critics cheered over Ross emerging victorious over his nemesis. However, I noticed that George made that victory difficult for Ross to achieve. I guess George’s boxing lessons proved to be beneficial after all. Some have expressed confusion over why George went through so much trouble to bring down Ross. Perhaps these fans had forgotten Ross’ rude and insulting response to George’s genuine offer of condolences over young Julia’s death near the end of Series One. Not only had Ross dismissed George’s sympathetic overture, he also insulted the latter’s cousin Matthew Stinson, who had drowned when the Warleggans’ ship foundered. Apparently George never did.

It was nice to see Ruby Bentall as Verity Poldark Blamey again … even though her presence in the production was diminished in compare to Series One. Verity served as a reminder of Francis’ unwillingness to accept her marriage to the former alcoholic (and wife killer) Captain Andrew Blamey … which I can understand. Episode Three (or was it Four) featured a minor story arc that featured Verity’s problems with her stepdaughter, Esther Blamey. I must admit that it was not that difficult to understand Esther’s hostility. Her father had killed her mother in a fit of alcoholic rage (during an argument). Although he had served a few years in prison, he was released, managed to rebuild his profession as a sea captain and marry a woman from an upper-class family. If dear Esther was seething with inner rage over this series of events, I honestly could not blame her. However, her brother James, a midshipman in the Royal Navy, seemed more than willing to accept Verity. Oh well.

I have one last topic to discuss … Jud Paynter. As many know, Jud was bribed by George Warleggan’s minion, Tankard, to testify against Ross about the riot on the beach. Instead, Jud refrained from doing so once he had reached the stand. In retaliation, George hired a couple of thugs to give him a beating. Only they went too far and nearly beat Jud to death. I say nearly, because for some stupid reason, everyone from his wife Prudie to both Ross and Demelza believed that Jud had died. No one had bothered to check his body to see whether he was alive or not. I have liked this little story arc. Mind you, it revealed that Jud had taken money from George to testify against Ross. But the whole “poor Jud is dead” routine struck me as completely ridiculous and hard to believe. I alway enjoy Phil Davis’ portrayal of Jud and even Beatie Edney gave a rather funny performance in this story arc as the “grieving” Prudie Paynter. But I still dislike this story arc. Yet, I am grateful that Horsfield did not allow it to stretch out over a long period of time, as the producers of the 1975-77 series did. Thank goodness for some miracles.

I might as well be frank. I am not really a fan of Winston Graham’s 1950 novel, “Jeremy Poldark: A Novel of Cornwall, 1790-1791”. For me, it seemed like a transitional novel. It concluded the story arc that began with Ross’ arrest for inciting a riot and it set up the Poldark/Warleggan family drama that eventually exploded in Graham’s next novel. I realized that Debbie Horsfield and the cast did all they could to make this adaptation of “Jeremy Poldark” work. There were some scenes that I found interesting – especially in Episodes Three and Four. But I must be honest … I did not find it particularly captivating. How could I when the source material had failed to captivate me, as well?

“Ross Poldark and Noblesse Oblige”

 

“ROSS POLDARK AND NOBLESSE OBLIGE”

“You are mistaken if you think greed and exploitation are the marks of a gentleman.” – Ross Poldark to George Warleggan, “P0LDARK” (2015) 

When I first heard Ross Poldark speak those words to his nemesis, George Warleggan in Episode Eight of the current “POLDARK”series, I found myself wondering if Ross might be full of shit. Or perhaps he was either illusional . . . or a class bigot. Regardless, I could not help but roll my eyes at his remark.

I realize that some might wonder how I could accuse Ross Poldark . . . Ross Poldark of class bigotry. This man has been a champion of the working-class in his little part of Cornwall. He has managed to befriend his workers. He has spoken out on behalf of them and other members of their class. And he has been willing to make any effort to come to their aid – especially those who work on his land, even if he sometimes come off as patronizing. He has certainly expressed anger when he believed any of them has needlessly suffered, due to the actions of the upper-class or other wealthy types. Ross had spent days in a state of drunken anger after one of his former employees, Jim Carter had died after spending over a year in prison for poaching. He had also married his kitchen-maid, Demelza Carne, despite the tongue-wagging of his elite neighbors and family members.

Also, one cannot deny that the Warleggans deserved Ross’ scorn. George Warleggan’s grandfather had been a blacksmith who eventually became a moderately wealthy man. His sons – George’s father and uncle Cary – acquired even more wealth, leading the family to become their parish’s wealthiest bankers. George was the first in his family to be and his family were a money hungry bunch that resort to grasping ways – legal or illegal – to not only acquire money, but also rise up the social ladder in order to become part of Cornwall’s upper-class. They are pretty much an ambitious and venal bunch who do not seemed to give a rat’s ass about the suffering of the lower classes. They also seemed willing to inflict suffering upon them for the sake of greater profits and social respectability. And yet . . . the interesting thing about the Warleggans is that they had managed to acquire great wealth on their own – meaning without the help of some aristocrat or member of the landed gentry.

So, why did I have a problem with Ross’ words? Were viewers really expected to believe that only noveau riche types like the Warleggans were capable of greed and exploitation? History tells us that the landed gentry and the aristocracy were just as guilty of greed and exploiting not only their workers, but their land, despite occasional moments of taking care of those beneath them when times were tough. And yet, I get the feeling that those moments of compassion stemmed from the idea of “noblesse oblige” – people of noble birth being duty bound to take responsibility for the well being of those under their patronage or employment. However, “noblesse oblige” had not prevented aristocrats and members of the landed gentry from engaging in years of exploiting their land, their tenants and their employees; living greedily from their profits, and doing a poor job of managing their money led to a decrease in their wealth. This was the case for Polarks, the Chynoweths and other upper class families – fictional or not – who found themselves cash poor by the eighteenth and nineteenth centuries. British landowners had been enclosing their lands – forcing tenant farmers to become agricultural laborers – since the late seventeeth century, at least a century before George Warleggan had enclosed the Trenwith estate, following his marriage to Elizabeth Chynoweth Poldark. And they continued to do so well into the nineteenth century.

If Ross regarded himself, his uncle Charles Poldark, his cousin Francis Poldark and other members of the landed gentry like Sir Hugh Bodrugan, the Treneglos, Ray Penvenen and Unwin Trevaunance as “gentlemen”, then his comments to George were spoken in error. Most, if not all, of these gentlemen were capable of greed and exploitation. Ross might occasionally criticize the behavior of his fellow members of the upper-class, just as he had did following the death of his former employee, Jim Carter. But he has never expressed antagonism toward them with the same level that he has toward the Warleggans. It is quite obvious that he regarded these men as “gentlemen”. He seemed to have no problems with socializing or forming a business enterprise with them. And if this is the case, I cannot help but wonder about the true reason behind Ross’ antipathy toward the Warleggans.

Had Ross’ antipathy originated with his exposure of the Warleggans’ cousin, Matthew Sanson, as a card cheat? I rather doubt it. Ross and some of his other acquaintances had been making snide comments about the Warleggans’ rise in wealth since the series began. No matter how many times George tried to befriend Ross throughout most of Series One, the latter would dismiss his effort with a sardonic or nasty comment. Yet, Ross seemed to have no problems with socializing with the likes of the snotty Ruth Teague Treneglos and her ineffectual husband; the money grasping blue-blooded politician Unwin Trevaunance, who sought heiress Caroline Penvenen’s hand for her money; or the self-absorbed Sir Hugh Bodrugan, who seemed to have no concern for anyone or anything, aside from his own pleasures – including Demelza Poldark, whom he pursued like some aged satyr. Even Ross is not the epitome of “gentlemanly” sainthood. He seemed so hellbent upon finding a wealthy source of copper or even tin from his mine, Wheal Grace that he failed to consider that he lacked the funds to ensure a safe environment for his workers. This determination to strike a lode without any safety measures led to an accident and the deaths of a few men. And his aggressive, yet adulterous actions against his widowed cousin-in-law (I might as well be frank – his rape of Elzabeth) in the eighth episode of Series Two made it perfectly clear that “gentleman” or not, Ross can be repulsive.

And yet, despite all of this, Ross seemed to regard the Warleggans as an unworthy lot. I am not saying that George and his uncle are a nice bunch. They can be just as repulsive and greedy as their upper-class neighbors. And on several occasions, the Warleggans have made derisive comments about Demelza, who happened to be a miner’s daughter. All this tells me is that contrary to Ross’ comment to George, the latter’s family is no better or worse than the other upper-class characters in the “POLDARK” saga. They are quite capable of being snobs. But what about Ross? Is he a snob? He may be friendly toward his workers and willing to help them out, but his friendly and compassionate regard for them seemed to have a patronizing taint. In fact, his love toward his working-class wife Demelza seemed to have the same taint.

Although his good friend, Dr. Dwight Enys, managed to rise from his working-class background to become a doctor, he did so with the help of upper-class patronage. And Ross provided his own patronage toward Dwight in helping the latter establish a medical practice in their part of Cornwall. Ross even helped Dwight in the latter’s romance with the blue-blooded Caroline Penvenen. I cannot help but wonder if the Warleggans had the benefit of “noblesse oblige” – namely an upper-class mentor to guide them in their rise to great wealth, would Ross have been less hostile toward them?

Perhaps it is one thing for Ross Poldark to help the lower classes have a better life – by offering them jobs or homes, providing patronage for someone with potential like Dwight Enys, or marrying his kitchen maid. It is another thing – at least for him – to tolerate people from the lower classes like the Warleggans to rise up in wealth through their own efforts and not via the benefit of the “noblesse oblige”. And my gut instinct tells me that the Warleggans’ rise via their own grit, ambition and brains was something that Ross could not stomach.

“POLDARK” Series One (2015): Episodes Five to Eight

 

“POLDARK” SERIES ONE (2015): EPISODES FIVE TO EIGHT

Within the past year, I had developed a major interest in author Winston Graham’s 1945-2002 “POLDARK” literary saga and the two television adaptations of it. Series One of the second adaptation produced by Debbie Horsfield, premiered on the BBC (in Great Britain) and PBS (in the United States) last year. Consisting of eight episodes, Series One of “POLDARK” was an adaptation of 1945’s “Ross Poldark – A Novel of Cornwall, 1783-1787” and the 1946 novel, “Demelza – A Novel of Cornwall, 1788-1790”. Whereas Episodes One to Four adapted the 1945 novel, Episodes Five to Eight adapted the 1946 novel.

Episode Four left off with the death of Ross Poldark’s uncle, Charles; leaving Trenwith, the family’s premiere estate, in the hands of his cousin Francis. Ross’ former kitchen maid and new bride, Demelza Carne Poldark, formed a friendship with Francis’ sister Verity and accompanied Ross to a rather tense Christmas celebration at Trenwith, which was further marred by an unexpected appearance of the noveau-riche Warleggan family and friends. Ross also learned that copper had been discovered inside his mine and that Demelza had become pregnant with their first child.

Episode Five began several months later with the arrival of a traveling theater company that includes a young actress named Keren, who attracts the attention of miner Mark Daniels. The episode also marked the arrival of two other players – Dwight Enys, a former British Army officer and doctor, who happens to be a former comrade of Ross’; and young Julia Poldark, whose birth interrupted her parents’ enjoyment of the traveling theater company’s performance. The four episodes featured a good number of events and changes in Ross Poldark’s life. Julia’s birth led to a riotous christening in which he and Demelza had to deal with unexpected guests. Francis lost his fortune and his mine to George Warleggan’s cousin Matthew Sanson at a gaming party. Ross learned that his former employee Jim Carter was seriously ill at the Bodomin Jail and tried to rescue the latter with Dwight Enys’ help. The tragic consequences of their attempt led to Ross’ ill nature at the Warleggan’s ball. Dwight drifted into an affair with Keren Daniels, with tragic results.

Ross and several other mine owners created the Carnmore Copper Company in an effort to break the Warleggans’ stranglehold on the mineral smelting business, while Demelza plotted to resurrect her cousin-in-law Verity Poldark’s romance with Captain Andrew Blamey. The success of her efforts led to an estrangement between Ross and Frances. Demelza’s matchmaking also led to financial disaster for her husband’s new business venture. A Putrid’s Throat epidemic struck the neighborhood, affecting Francis, Elizabeth and their son Geoffrey Charles. Not long after Demelza had nursed them back to health, both she and Julia were stricken by disease. The season ended with a series of tragic and tumultuous events. Although Demelza recovered, Julia succumbed to Putrid’s Throat. The Warleggans’ merchant ship wrecked off the coast of Poldark land and Ross alerted locals like Jud and Prudie Paynter to salvage any goods that wash up on the shore. This “salvaging” led to violence between those on Poldark lands and neighboring miners and later, both against local military troops. One of the victims of the shipwreck turned out to be the Warleggans’ cousin, Matthew Sanson. After Ross insulted Sanson’s death in George Warleggan’s face, the season ended with the latter arranging for Ross’ arrest for inciting the riot.

I must admit that I liked these next four episodes a bit more than I did the first quartet. Do not get me wrong. I enjoyed those first episodes very much. But Episodes Five to Eight not only deepened the saga – naturally, considering a they were continuation of the first four – but also expanded the world of Ross Poldark.

One of the aspects of Series One’s second half that caught both my attention and my admiration was the production’s continuing portrayal of Britain’s declining economic situation during the late 18th century . . . especially for the working class. Both Episodes Five and Seven featured brief scenes that conveyed this situation. In Episode Five; Ross, Demelza and Verity encounter a starving family on the road to Turo, begging for food or money. A second brief scene in Episode Seven featured Demelza baking bread and later, dispersing it to the neighborhood’s starving poor. However, the series also featured bigger scenes that really drove home the dire economic situation. Upon reaching Truro in Episode Five, both Demelza and Verity witnessed a riot that broke out between working-class locals and the militia when the former tried to access the grain stored inside Matthew Sanson’s warehouse. I found the sequence well shot by director William McGregor. The latter also did an excellent job in the sequence that featured locals like the Paynters ransacking much needed food and other goods that washed ashore from the Warleggans’ wrecked ship. I was especially impressed by how the entire sequence segued from Ross wallowing in a state of grief over his daughter’s death before spotting the shipwreck to the militia’s violent attempt to put down the riot that had developed between the tenants and miners on Ross’ land and locals from other community.

Even the upper-classes have felt the pinch of economic decline, due to the closing and loses of mines across the region and being in debt to bankers like the Warleggans. Following the discovery of copper inside his family’s mine in Episode Four, Ross seemed destined to avoid such destitution. Not only was he able to afford a new gown and jewels for Demelza to wear at the Warleggan ball in Episode Six, he used his profits from the mine to create a smelting company – the Carnmore Copper Company – with the assistance of other shareholders in an effort to break the Warleggans’ monopoly on the local mining industry. One cannot say the same for his cousin Francis, who continued to skirt on the edge of debt, following his father’s death. Unfortunately, Francis wasted a good deal of his money on gambling and presents for the local prostitute named Margaret. In a scene that was not in the novel, but I found both enjoyable and very effective, he lost both his remaining fortune and his mine, Wheal Grambler, to the Warleggans’ cousin, Matthew Sanson, at a gaming party. But this was not the end of the sequence. Thanks to director William McGregor and Horsfield’s script. The sequence became even more fascinating once the Poldarks at Trenwith learned of Francis’ loss, especially Elizabeth. And it ended on a dramatic level with Francis being forced to officially close Wheal Grambler in front a crowd. I realize the sequence was not featured in Graham’s novel, but if I must be honest; I thought Horsfield’s changes really added a good deal of drama to this turn of events. Not only did McGregor shot this sequence rather well, I really have to give kudos to Kyle Soller, who did an excellent job in portraying Francis at his nadir in this situation; and Heida Reed, who did such a superb job conveying the end of Elizabeth’s patience with her wayward husband with a slight change in voice tone, body language and expression.

I was also impressed by other scenes in Series One’s second half. The christening for Ross and Demelza’s new daughter, Julia, provided some rather hilarious moments as their upper-crust neighbors met Demelza’s religious fanatic of a father and stepmother. Thanks to Harriet Ballard and Mark Frost’s performances, I especially enjoyed the confrontation between the snobbish Ruth Treneglos and the blunt Mark Carne. It was a blast. Ross and Dwight’s ill-fated rescue of a seriously ill Jim Carter from the Bodmin Jail was filled with both tension and tragedy. Tension also marked the tone in one scene which one of the Warleggans’ minions become aware of the newly formed Carnmore Copper Company during a bidding session. Another scene that caught my interest featured George Warleggan’s successful attempt at manipulating a very angry Francis into revealing the names of shareholders in Ross’ new cooperative . . . especially after the latter learned about his sister Verity’s elopement with Andrew Blamey. Both Soller and Jack Farthing gave excellent and subtle performances in this scene. Once again, McGregor displayed a talent for directing large scenes in his handling of the sequence that featured the wreck of the Warleggans’ ship, the Queen Charlotte, and both the looting and riot on the beach that followed. Series One ended on a dismal note with Ross and Demelza dealing with the aftermath of young Julia’s death and Ross’ arrest by the militia for leading the beach riot. Although I found the latter scene a bit of a throwaway, I was impressed by the scene featuring a grieving Ross and Demelza, thanks to the excellent performances from series leads, Aidan Turner and Elinor Tomlinson.

If there is one sequence that I really enjoyed in Series One of “POLDARK”, it was the Warleggan ball featured in Episode Six. Ironically, not many people enjoyed it. They seemed put out by Ross’ boorish behavior. I enjoyed it. Ross seemed in danger of becoming a Gary Stu by this point. I thought it was time that audiences saw how unpleasant he can be. And Turner did such an excellent job in conveying that aspect of Ross’ personality. He also got the chance to verbally cross swords with Robin Ellis’ Reverend Dr. Halse for the second time. Frankly, it was one of the most enjoyable moments in the series, so far. Both Turner and Ellis really should consider doing another project together. The segment ended with not only an argument between Ross and Demelza that I found enjoyable, but also a rather tense card game between “our hero” and the Warleggans’ cousin Matthew Sanson that seemed enriched by performances from both Turner and Jason Thorpe.

I wish I had nothing further to say about Episodes to Eight of Series One. I really do. But . . . well, the episodes featured a good number of things to complain about. One, there were two sequences in which Horsfield and McGregor tried to utilize two scenes by showing them simultaneously. Episode Seven featured a segment in which both Demelza and Elizabeth tried to prevent a quarrel between two men in separate scenes – at the same time. And Episode Eight featured a segment in which both Ross and Demelza tried to explain the circumstances of their financial downfall (the destruction of the Carnmore Copper Company and Verity Poldark’s elopement) to each other via flashbacks . . . and at the same time. Either Horsfield was trying to be artistic or economic with the running time she had available. I do not know. However, I do feel that both sequences were clumsily handled and I hope that no such narrative device will be utilized in Series Two.

I have another minor quibble and it has to do with makeup for both Eleanor Tomlinson and Heida Reed. In Episode Eight, the characters for both actresses – Demelza Poldark and Elizabeth Poldark – had been stricken by Putrid’s Throat. Both characters came within an inch of death. Yet . . . for the likes of me, I found the production’s different handling of the makeup for both women upon their recovery from Putrid’s Throat rather odd. Whereas Elizabeth looked as if she had recently recovered from a serious illness or death (extreme paleness and dark circles under the eyes), the slight reddish tints on Demelza’s face made her looked as if she had recently recovered from a cold. Winston Graham’s portrayal of Demelza has always struck me as a bit too idealized. In fact, she tends to come off as a borderline Mary Sue. And both the 1970s series and this recent production are just as guilty in their handling of Demelza’s character. But this determination to make Demelza look beautiful – even while recovering from a near fatal illness – strikes me as completely ridiculous.

If there is one aspect of this second group of Series One’s episodes that really troubled me, it was the portrayal of traveling actress Keren Smith Daniels and her affair with Dr. Dwight Enys. After viewing Debbie Horsfield’s portrayal of the Keren Daniels character, I found myself wondering it Debbie Horsfield harbored some kind of whore/Madonna mentality. Why on earth did she portray Keren in such an unflattering and one-dimensional manner? Instead of delving into Keren’s unsatisfaction as Mark Daniels’ wife and treating her as a complex woman, Horsfield ended up portraying her as some one-dimensional hussy/adultress who saw Dwight as a stepping stone up the social ladder. Only in the final seconds of Keren’s death was actress Sabrina Barlett able to convey the character’s frustration with her life as a miner’s wife. Worse, Horsfield changed the nature of Keren’s death, by having Mark accidentally squeeze her to death during an altercation, instead of deliberately murdering her. Many had accused Horsfield of portraing Keren in this manner in order to justify Mark’s killing of her, along with Ross and Demelza’s decision to help him evade the law. Frankly, I agree. I find it distasteful that the portrayal of a character – especially a female character – was compromised to enrich the heroic image of the two leads – especially the leading man. Will this be the only instance of a supporting character being compromised for the sake of the leading character? Or was Horsfield’s portrayal of Keren Daniels the first of such other unnecessary changes to come?

Despite my disppointment with the portrayal of the Keren Daniels character and her affair with Dwigh Enys and a few other aspects of the production, I had no problems with Episode Five to Eight of Series One for “POLDARK”. If I must be honest, I enjoyed it slightly more than I did the first four episodes. With the adaptation of “Demelza – A Novel of Cornwall, 1788-1790” complete, I am curious to see how Debbie Horsfield and her production staff handle the adaptation of Winston Graham’s next two novels in his literary series.

“POLDARK” Series One (2015): Episodes One to Four

 

“POLDARK” SERIES ONE (2015): EPISODES ONE TO FOUR

In the years between 2010 and 2015, I have not been able to stumble across a new British period drama that really impressed me. Five years. That is a hell of a long time for a nation with a sterling reputation for period dramas in both movies and television. Fortunately, the five-year dry spell finally came to an end (at least for me) with the arrival of “POLDARK”, the BBC’s new adaptation of Winston Graham’s literary series.

I am certain that some people would point out that during this five-year period, the ITV network aired Julian Fellowes’ family drama, “DOWNTON ABBEY”. I must admit that I enjoyed the series’ first season. But Seasons Two to Six merely sunk to a level of mediocrity and questionable writing. I had never warmed to “RIPPER STREET” or “THE HOUR”. And I have yet to see either “PEAKY BLINDERS” or “INDIAN SUMMERS”.

A few years ago, I had tried a stab at the first episode of the 1975-1977 series, “POLDARK”, which starred Robin Ellis. After viewing ten minutes of theatrical acting and dated photography in Episode One on You Tube, I gave up. Last summer, I read all of the hullaballoo surrounding this new adaptation with Aidan Turner in the lead. Utilizing Netflix, I tried my luck again with the 1975 series and ended up enjoying the first four episodes (I have yet to watch any further episodes) and quite enjoyed it. Then I tried the first two episodes of the 2015 series and found it equally enjoyable. I enjoyed both versions so much that I took the trouble to purchase both the entire 1975-77 series and the first series of the new version. In fact, I have decided to watch both versions simultaneously. But I am here to discuss the first four episodes of the 2015 series.

Series One of “POLDARK” . . . well the 2015 version . . . is based upon Winston Graham’s first two novels in the saga – 1945’s “Ross Poldark: A Novel of Cornwall, 1783-1787” and 1946’s “Demelza: A Novel of Cornwall, 1788-1790”. Episodes One to Four seemed to be an adaptation of the 1945 novel. The series begins with a young Ross Poldark serving with the British Army in 1781 Virginia, during the American Revolution. During an attack by American troops, Ross is struck unconscious in the head by a rifle butt. The episode jumps two years later with Ross returning home to Cornwall by traveling coach. He learns from a fellow coach passenger and later, his Uncle Charles Poldark at the latter’s Trenwith estate that his father had died broke. More bad news follow with Ross’ discovery that his lady love, Elizabeth Chynoweth, became engaged to Charles’ son, his cousin Francis, after receiving news of his “death”. The only possessions Ross has left is his father’s estate, the smaller estate Nampara, which is now in ruins, two copper mines that had been closed for some time and two servants – the drunken Jud and Prudie Paynter – to help him work the estate. Even worse, a family named Warleggan, who had risen from being blacksmiths to bankers, were gaining financial control over the neighborhood. Not long after his decision to remain in Cornwall, Ross rescues a miner’s daughter named Demelza Carne from a mob trying to use her dog Garrick as part of a vicious dogfight. Taking pity on her, he decides to hire her as his new kitchen maid.

There have been a few complaints that this first season for the new “POLDARK” series had moved a bit too fast, in compared to the first one in 1975. After all, the latter spanned sixteen episodes in compare to the eight ones for this new first season. However, what many failed to consider is that the first series from 1975 had adapted four novels ranging from “Ross Poldark: A Novel of Cornwall, 1783-1787” to Graham’s fourth novel, 1953’s “Warleggan”. Granted, the Demelza Carne character was first introduced in this version’s first episode, whereas she was introduced in the second episode of the 1975 series. This did not bother me at all . . . in compare to some other viewers.

There were other changes that did not bother me. Many have commented on the warmer nature of Elizabeth Chynoweth Poldark, Ross’ former love and cousin-in-law. Frankly, I am glad that showrunner Debbie Horsfield had decided to go this route with Elizabeth. Unlike many, I have never considered Elizabeth’s character to be cold. Considering that Elizabeth was never a cold parent, I found it difficult to conceive her as a cold woman. I have always suspected that she was simply a very internalized character who kept her emotions close to her chest. Although actress Heida Reed portrayed Elizabeth as a reserved personality, the screenplay allowed more of her emotions to be revealed to the audience in compare to Winston Graham’s first four novels. Elizabeth’s erroneous decision to marry Francis and her personality flaws – namely her penchant for clinging to society’s rules – remained intact. But she was not portrayed as some walking icicle in a skirt, even though a good number of fans had a problem with this. I did not. I never saw the need to demand for this icy portrayal of Elizabeth in order to justify Ross’ love for Demelza. Apparently, neither did Horsfield. Some viewers have complained about Elizabeth’s husband, Francis Poldark, as well. He seemed too weak and hostile in compare to Graham’s portrayal of Francis in his novels. First of all, Francis never really struck me as a strong character to begin with. And thanks to the screenplay and Kyle Soller’s performance, Francis began the series as a rather nice young man who seemed genuinely relieved that Elizabeth had decided to continue with their wedding plans, despite Ross’ return from America. But it was easy to see how his character began its downward spiral, starting with the villainous George Warleggan’s poisonous insinuations that Ross and Elizabeth still had feelings for one another. And when you combine that with Charles Poldark’s equally negative comments regarding his nature, it was not difficult to see how Francis allowed his insecurities to eventually get the best of him.

Horsfield certainly stayed true to the story arc regarding the romance between Francis’ sister Verity Poldark and a hot-tempered sea captain named Captain Blamey. I must be honest . . . I have slightly mixed feelings about the whole matter. A part of me recognized Verity’s loneliness and the fact that her family seemed willing to use her spinster state as an excuse to nearly regulate her to the status of a housekeeper. My problem with this story arc is Captain Blamey. Why oh why did Graham made a character who had killed his wife in a fit of alcoholic rage during a domestic quarrel? When I first learned about his background, I could easily see why Charles and Francis Poldark were so against the idea of Verity becoming romantically involved in this guy. Yes, I realize that people need a second chance in life. Yes, I realized that Blamey was honest about his alcoholism and the details surrounding his wife’s death. But he became the first sympathetically portrayed male character who ends up committing an act of violence against a woman. The first of . . . how many? Two? Three? Frankly, I find this rather disturbing coming from a politically liberal writer like Graham, let alone any other writer.

But if there is one aspect of Graham’s saga that I wish Horsfield had not so faithfully adapted, it was the series of circumstances that led to Ross’ wedding to his kitchen maid, Demelza. By the beginning of Episode Three, audiences became aware of Demelza’s unrequited love for Ross. Audiences also became aware of Ross’ growing dependence of her presence in his household. I find this understandable, considering that both Jud and Prudie proved to be questionable servants. However, two things happened. First of all, one of Ross’ field hands, Jim Carter, got arrested for poaching on the property belonging to another landowner named Sir Hugh Bodrugan. Ross tried to prevent Jim from being sent to prison. Unfortunately, his temper got the best of him at Jim’s trial and he ended up in a heated debate with the narrow-minded judge, Reverend Halse. Meanwhile, Demelza received word from her abusive and newly religious father that he wanted her back in his home after hearing rumors that she and Ross were having an affair. So what happened? Demelza decided to spend her last day appreciating the finer household goods at Nampara . . . while wearing a gown that once belonged to Ross’ late mother. A drunken Ross returns home, finds her in his mother’s gown, chastises her before she seduces him into having sex. A day or so later, Ross decides to marry her in a private wedding ceremony with only Jud and Prudie as witnesses.

What on earth was Winston Graham thinking? What was he thinking? I have never come across anything so unrealistic in my life. What led Ross to marry Demelza in the first place? Many fans have tried to put a romantic sheen over the incident, claiming that subconsciously, Ross had already fallen in love with Demelza. Yeah . . . right. I knew better. I knew that Ross did not fall in love with her, until sometime after the wedding. So, why did he marry her? Someone named Tim Vicary posted a theory that Ross, drunk and still angry over Jim Carter being imprisoned, had married Demelza as a way of thumbing his nose at the upper-classes, whom he blamed for Jim’s fate. To me, this sounds like Ross had entered matrimony, while having a suppressed temper tantrum. Hmmm . . . this sounds like him. But despite Mr. Vicary’s theory, I still have a problem with the circumstances surrounding Ross and Demelza’s nuptials. Why? Let me put it this way . . . if I had returned home and found my servant roaming around the house wearing the clothes of my dead parent, I would fire that person. Pronto. The only way this sequence could have worked for me was if Ross had fallen in love with Demelza by Episode Three. Ross may have been fond of his kitchen maid and grown used to her presence. But he was not in love with her . . . not at this stage.

I really do not have many other complaints about these first four episodes. Well . . . I have two other complaints. Minor complaints . . . really. There was a scene in Episode Two in which Ross and a prostitute named Margaret discussed Elizabeth’s marriage to Francis. Margaret cheerfully consoled Ross with the prediction that he would find someone who will make him forget Elizabeth. The next scene shifted to Demelza strolling across Nampara with her dog Garrick closely at her heels. Talk about heavy-handed foreshadowing. And if there is nothing I dislike more it is ham-fisted storytelling . . . especially when it promises to be misleading. My other complaint centered around the Ruth Teague character and her mother. I could understand why Ruth would be interested in marrying Ross. He is young, extremely attractive, a member of the upper-class and the owner of his own estate – no matter how dilapidated. But why on earth would Mrs. Teague support her daughter’s desire to become Mrs. Ross Poldark? Despite Ross’ status as a member of the landed gentry and a landowner, he has no fortune. Thanks to his late father, he found himself financially ruined upon his return to Cornwall. Why would Mrs. Teague want someone impoverished as her future son-in-law? Especially when she seemed to be just as ambitious for her daughter as Mrs. Chynoweth was for Elizabeth?

Despite the circumstances surrounding Ross and Demelza’s wedding and that ham-fisted moment in Episode Two, I enjoyed those first four episodes of “POLDARK”. Enormously. Watching them made me realize that Winston Graham had created a rich and entertaining saga about complex characters in a historical setting. I have to confess. My knowledge of Great Britain during the last two decades of the 18th century barely exists. So, watching “POLDARK” has allowed me to become a little more knowledgeable about this particular era in Britain’s history. One, I never knew that Britain’s conflict with and the loss of the American colonies had an economic impact upon the country . . . a negative one, as a matter of fact. I had heard of the United States and France’s economic struggles during this period, but I had no idea that Britain had struggled, as well. More importantly for Cornwall, the price of tin and copper had fallen during the 1770s and 1780s, thanks to this economic depression. This economic struggle contributed to the slow decline of the aristocracy and the landed gentry for Cornish families like the Poldarks and the Chynoweths. I read somewhere that this period also marked the increased rise of Methodism throughout the country. Although this phenomenon will play a bigger role later in the series, Episode Three revealed the first hint through Demelza’s ne’er do well father, who ended up becoming a fanatic Methodist after remarrying a widow with children.

But the heart and soul of this series is the drama that surrounds Ross Poldark and the other major characters in the saga. When I say all of the major characters, I meant it. I realize that many would regard both Ross and his kitchenmaid-turned-bride Demelza as the heart and soul of this saga. Well . . . yes, they are. But so are the other characters – including Francis, his father Charles, Verity, Jud, Prudie Cary Warleggan, Jim and Jinny Carter, Captain Blamey, Ruth Teague and especially George Warleggan and Elizabeth. I found them all fascinating. I especially enjoyed how their stories enriched Ross’ own personal arc.

More importantly, these first four episodes provided some very interesting moments and scenes that left a strong impression . . even now. I am certain that only a few would forget that moment when Ross experienced both joy and disbelief when he reunited with his family after three years. And at the same time, discovered that his lady love had moved past the reports of his death and became engaged to his cousin Francis. Wow, what a homecoming. Other memorable moments featured the first meeting between Ross and Demelza at the local street market and the first meeting between Verity and Captain Blamey at an assembly dance. Despite my feelings regarding the circumstances surrounding Ross and Demelza’s wedding, I must admit that I found her seduction of him rather sexy. The scene featuring Demelza and Verity’s growing friendship in early Season Four struck me as very charming and entertaining. I also enjoyed the Episode Three montage that conveyed how Ross had grown accustomed to Demelza’s presence in his household and her ability to sense any of his particular needs. Another montage that I managed to enjoy, featured the community’s reaction to the couple’s wedding in early Episode Four, the poignant death of Charles Poldark in the same episode and the numerous conversations between Ross and George Warleggan that featured their growing enmity. But there were certain scenes – especially those that featured social gatherings – that stood out for me. They include:

*The assembly ball in Episode Two in which Verity met Captain Blamey for the first time. This scene also featured that very interesting and rather sexy dance between Ross and Elizabeth, which made it clear that the former lovers still harbored feelings for each . . . especially Ross. And this scene also marked the first time in which Francis became suspicious of those feelings, thanks to George’s poisonous insinuations.

*Charles and Francis’ confrontation with Ross regarding the latter’s support of Verity and Blamey’s courtship at Nampara. I found this scene to be very emotionally charged, due to the violent confrontation between Francis and Blamey that resulted in an ill-fated duel. It was capped by Elizabeth’s appearance at Nampara and her revelation that she was pregnant with Francis’ child.

*Ross tries to help his farm hand Jim Carter to avoid a prison sentence for poaching. This scene not only revealed Ross’ inability to control his temper and self-righteousness, but also featured a delicious confrontation between him and the judge, the Reverend Dr. Halse. And here is a lovely tidbit, the latter was portrayed by none other than Robin Ellis, who had portrayed Ross Poldark in the 1975-77.

*Episode Four also featured that marvelous Christmas at Trenwith sequence in which Ross and Demelza visit Francis and Elizabeth for the holidays. The entire cast involved in this sequence did a great job in infusing the tensions between the characters. I especially enjoyed the scene that featured the actual Christmas dinner.

Speaking of the cast, I have no complaints whatsoever. Everyone else have their favorites. But for me, the entire cast seemed to be giving it their all. Caroline Blakiston proved to be very witty as the elderly Aunt Agatha Poldark, who seemed bent upon making the other members of her family uncomfortable with her blunt comments. Warren Clarke gave a very memorable performance as Ross’ Uncle Charles. Unfortunately, he had passed away after filming his last scene in Episode Four. At least he went out with a first-rate role. Richard Harington made a very intense Captain Blamey and Harriet Ballard made an effectively bitchy Ruth Teague. “POLDARK” marked the first time I have ever really paid attention to Pip Torrens, who portrayed Cary Warleggan, George’s uncle. Which is not surprising, since he did a first-rate job in his portrayal of the greedy and venal banker, who seemed to be dismissive of both the upper and working classes. There were times when I could not decide whether to find Jud and Prudie Paynter funny or beneath contempt. This was due to the complex performances given by Phil Davis and Edney. I have already mentioned Robin Ellis, who was wonderfully intimidating and self-righteous as the bigoted Reverend Dr. Halse. Even after nine years away from the camera, he obviously has not lost his touch.

I first saw Ruby Bentall in the 2008 miniseries, “LOST IN AUSTEN”. But if I must be honest, I had barely noticed her. I certainly noticed her poignant and emotional performance as Verity Poldark, Ross’ “Plain Jane” cousin, who seemed doomed to spending the rest of her life serving her father’s and later, her brother’s household. Physically, Jack Farthing looks nothing like the literary George Warleggan from Graham’s novels. And I do not recall his character being featured so prominently in the first two novels. Personally, I do not care. I am really enjoying Farthing’s complex performance as the social climbing George, who seemed to resent the Poldarks’ upper-class status and especially Ross personally. Despite being as much of a greedy bastard as his uncle, Farthing did a great job in conveying George’s more humane nature. Fans have been so busy complaining that Kyle Soller’s portrayal of Ross’ cousin, Francis Polark, is nothing like the literary character, I feel they have been ignoring his superb performance. Personally, I suspect that Soller has been giving the best performance in the series. I have been really impressed by how he transformed Francis from a likable, yet mild young man to an embittered one filled with resentment and insecurities. I found myself wondering why Soller’s performance seemed familiar to me. Then it finally hit me . . . his portrayal of Francis reminded me of Robert Stack’s performance in the 1956 melodrama, “WRITTEN IN THE WIND”. Only Soller will be given the chance to take Francis’ character on another path before the series’ end.

The character of Elizabeth Chynoweth Poldark seemed to produce a curious reaction from fans of Graham’s literary series. From my exploration of the Internet, I have noticed that many fans either tend to ignore the two actresses who have portrayed her – Heida Reed and Jill Townsend in the 1970s series – or criticize their performances. For this particular series, I feel that Reed has been knocking it out of the ballpark in her portrayal of the introverted Elizabeth. Yes, Debbie Horsfield’s production has allowed Reed to express Elizabeth’s inner feelings a bit more prominent to the television audiences. Yet at the same time, the actress managed to perfectly capture the internalized and complex nature of Elizabeth’s character. On the other hand, fans and critics have expressed sheer rapture over Eleanor Tomlinson’s portrayal of Demelza Carne Poldark, the kitchen maid who became Ross’ bride. Well, I certainly believe that Tomlinson is doing a hell of a job portraying the earthy Demelza. What makes me appreciate her performance even more is how she manages to combine Demelza’s feisty personality and the insecurities that lurk underneath.

Before “POLDARK” first aired in Great Britain, many of the country’s media outlets had speculated on whether actor Aidan Turner would be able to live up to Robin Ellis’ portrayal of Ross Poldark from the 1970s. I knew it the moment I had heard he had been cast in the lead of this new series, based upon his previous work in “DESPERATE ROMANTICS” and “THE HOBBIT” film series. And Turner prove me right. He turned out to be the right man for the right role. Turner seems obviously capable of carrying the series on his shoulders. He has a very strong presence and seems quite capable of conveying Ross’ strong will. But more importantly, he is doing a top-notch of portraying not only Ross’ virtues – the will to rebuild his life and especially his compassion for other – but also his personal flaws – namely his temper, his arrogance and self-righteousness (which were on full display during Jim Carter’s trial and his assumption that Demelza would immediately know how to become an upper-class wife), and especially his obsessive nature, which has been directed at Elizabeth ever since his return to Cornwall.

Considering that this article is mainly about the first four episodes of “POLDARK”, I am surprised that I have written such a great deal. To be honest, this series has really impressed me. I have not been this enthused about a story since John Jakes’ “NORTH AND SOUTH” series and its television adaptation. I suspect that it is not as highly regarded by critics, due to it being labeled a bodice ripper or a turgid melodrama. But for me . . . personally . . . “POLDARK” is more than that. Yes, it is a costumed melodrama. But it is also a good history lesson of life in Britain in the late 18th century. And more importantly, the melodrama and the historical drama serve as effective backdrops to a first-rate story filled with interesting and very complex characters – especially one Ross Poldark. I cannot wait to see how Debbie Horsfield handles the second half of this first season.

“DUMB WITNESS” (1996) Review

 

“DUMB WITNESS” (1996) Review

There is a belief among fans of the “AGATHA CHRISTIE’S POIROT” series that the episodes and television movies that aired between 1989 and 2001 – ones that featured Arthur Hastings, Chief Inspector Japp and Miss Lemon – were more faithful adaptations of Agatha Christie’s novels that the more recent ones that have aired since 2003. I do not know if I agree with this opinion, especially after viewing the 1996 television movie, “DUMB WITNESS”. 

Screenwriter Douglas Watkinson’s script more or less remained faithful to the 1937 novel’s main narrative. Surrounded by grasping young relatives is a wealthy elderly woman named Emily Arundell. One night, she is injured after suffering a fall on the staircase of her home. Many believe that she had tripped over a ball by pet fox terrier, Bob. Emily later dies of what many believed to be natural causes before Poirot could meet her. And her estate was unexpectedly left to her companion, Miss Lawson. “DUMB WITNESS” remained faithful to that aspect of Christie’s novel. I suspect that many fans of the “POIROT” would be surprised at the number of changes Watkinson and director Edward Bennett made to the story.

I wish I could go into detail about the number of changes Bennett made to Christie’s story, but I suspect that would require an essay. I do know that in the novel, Hercule Poirot never met the victim, Emily Arundell. Instead, she had written a letter to him, claiming that someone was trying to kill her. By the time Poirot arrived at her home, she had been dead for some time, due to a delay in the delivery of her letter. The novel was also set in Berkshire. One of Emily’s nieces, Therese Arundell, was engaged to a Dr. Donaldson. Hastings ended up with Bob, Emily’s pet terrier. And the murderer committed suicide before being exposed by Poirot. Bennett changed the story’s setting to England’s Lake District, due to rewriting the Charles Arundell character into a motor boat racer and speed demon. Therese did not have a fiance in this movie. Instead, the beau of Emily’s companion, Wilhelmina Lawson, is a medical man named Dr. Greinger. Charles Arundell’s new profession led to Poirot and Hastings’ visit to the Arundell home in order to witness the racer attempt a new speed record. Because of this visit, Poirot met Emily Arundell before she was murdered. And the killer never got the opportunity to commit suicide in order to avoid prison.

I have never read Christie’s 1937 novel. But if it turned out to be better than this television adaptation of it, I look forward to reading it. As one would guess, I enjoyed “DUMB WITNESS” very much. It proved to be an enjoyable story that recaptured the provincial charm of the Lake District. The story provided certain elements of rural English life and society in the 1930s that contributed nicely to the story’s main narrative. “DUMB WITNESS”provided peaks into early 20th century’s penchant for speed due to the rise of motorized vehicles and the Charles Arundell character. It also provided glimpses into British spiritualism, due to the Tripp sisters, Emily’s elderly neighbors with an obssession with spiritualism and the occult.

A good number of Christie novels and adaptations have revealed British xenophobia against foreigners – especially in the bigoted attitudes of British characters toward Poirot. But the xenophobic attitude in “DUMB WITNESS”seemed to have grown worse in the characters’ attitude toward Emily’s nephew-in-law, the Greek-born doctor, Dr. Jacob Tanios. He is married to Emily’s other niece, Bella Arundell Tanios. Emily seemed to be the only character who actually liked Dr. Tanios. Poirot seemed to be put off by his brusque manner. One can say the same about Hastings, who also automatically labeled Tanios as Emily’s killer. I had this odd feeling that Hastings’ lack of tolerance toward Tanios not only originated from the latter’s brusque personality, but also the fact that he came from Eastern Europe, which is regarded as the continent’s backwater. The interesting aspect about the xenophobic attitude depicted in “DUMB WITNESS” was that it struck me as very disturbing, yet at the same time, not too heavy-handed. Kudos to both the screenwriter and the director.

“DUMB WITNESS” featured some solid performances by the cast. But there were a few performances that I found rather exceptional. David Suchet was impeccable, as usual, in his portrayal of Belgian detective. Hugh Fraser gave one of his better performances as Captain Arthur Hastings, revealing the character’s mild xenophobia with great subtlety. Ann Morrish did an excellent job in conveying the strong-willed presence of the elderly Emily Arundell. Julia St. John gave a memorable performance as Emily’s mild-mannered niece, Bella, who seemed to be in terror of her foreign-born husband. And I was also impressed by Paul Herzberg’s portrayal of Jacob Tanios. He did an excellent job of revealing how his character’s brusque manner hid a personality intimidated by the hostility he was forced to face in a foreign country. I am not going to pretend that I am a person that likes having pets. I do not. But I could not help but fall in love with Snubby, the fox terrier, who portrayed Bob, one of the cutest dogs I have ever seen on television or in a movie.

Overall, I would say that “DUMB WITNESS” was an entertaining adaptation of Christie’s novel. Thanks to director Edward Bennett and screenwriter Douglas Watkinson and a cast led by David Suchet, it was a solid and classy affair that also provided a surprisingly deeper look into British xenophobia.