“JUDITH KRANTZ’S TILL WE MEET AGAIN” (1989) Review

“JUDITH KRANTZ’S TILL WE MEET AGAIN” (1989) Review

One of the most popular romance novelists to emerge during the 1970s and 1980s was Judith Krantz, whose series of novels seemed to be part romance/part family saga. At least six (or seven) of her novels were adapted as television miniseries. One of them was the 1988 novel, “Till We Meet Again”, which became the 1989 CBS miniseries, “JUDITH KRANTZ’S TILL WE MEET AGAIN”

Set between 1913 and 1952, the early 1950s, “JUDITH KRANTZ’S TILL WE MEET AGAIN” (aka “TILL WE MEET AGAIN”) focused on the lives of Eve, the daughter of a French provincial middle-class doctor and her two daughters, Delphine and Marie-Frederique ‘Freddy’ de Lancel. The story began in 1913 when Eve met a traveling music hall performer named Alain Marais. When she learned that her parents planned to agree to an arranged marriage for her, Eve joined Alain on a train to Paris and the pair became lovers and roommates. Within a year, Alain became seriously ill and Eve was forced to find work to maintain their finances. With the help of a neighbor and new friend, Vivianne de Biron, Eve became a music hall performer herself and Paris’ newest sensation. Out of jealousy, anger and embarrassment, Alain ended their romance.

During World War I, Eve met Paul de Lancel, the heir to an upper-class family that produces champagne who had been recently widowed by a suicidal wife. Following Eve’s marriage to Paul, the couple conceived Delphine and Freddy and Paul became a diplomat. The latter also became estranged from his son Bruno, who was eventually raised by his maternal aristocratic grandparents, who blamed Paul for their daughter’s suicide. By 1930, Eve and Paul found themselves in Los Angeles, where he served as that city’s French consul. And over the next two decades, the de Lancel family dealt with new careers, love, the rise of fascism, the movie industries, World War II, post-war economics, romantic betrayals and Bruno’s villainous and malicious antics.

“JUDITH KRANZ’S TILL WE MEET AGAIN” is not what I would call a television masterpiece. Or even among the best television productions I have ever seen. Considering its source, a period piece romance novel – something most literary critics would dismiss as melodramatic trash – it is not surprising that I would regard the 1989 this way. Then again, the 1972 Academy Award Best Picture winner, “THE GODFATHER”, was based on what many (including myself) believe was pulp fiction trash. However, “TILL WE MEET AGAIN” did not have Francis Ford Coppola to transform trash into Hollywood gold. I am not dismissing the 1989 miniseries as trash. But I would never regard it as a fine work of art.

And I did have a few problems with the production. I found the pacing, thanks to director Charles Jarrott, along with screenwriters Andrew Peter Marin and (yes) Judith Krantz; rather uneven. I think the use of montages could have helped because there were times when the miniseries rushed through some of its sequences . . . to the point that I found myself wondering what had earlier occurred in the story. This seemed to be the case with Eve’s backstory. Her rise from the daughter of a provincial doctor to Parisian music hall sensation to a diplomat’s wife struck as a bit too fast. It seemed as if Jarrott, Marin and Krantz were in a hurry to commence on Freddy and Delphine’s story arcs. Another problem I had was the heavy emphasis on Freddy’s post war story arc. Both Delphine and Eve were nearly pushed to the background, following the end of World War II. It is fortunate that the miniseries’ focus on the post-war years played out in its last 20 to 30 minutes.

I also had a problem with how Marin and Krantz ended Delphine’s relationship with her older half-brother Bruno. In the novel, Delphine ended her friendship with Bruno after his attempt to pimp her out to some German Army official during the Nazi’s occupation of France. This also happened in the miniseries, but Marin and Krantz took it too far by taking a page from Krantz’s 1980 novel, “Princess Daisy” . . . by having Bruno rape Delphine after her refusal to sleep with the German officer. I found this unnecessary, considering that the two screenwriters never really followed up on the consequences of the rape. If this was an attempt to portray Bruno a monster, it was unnecessary. His collaboration of the Nazis, his attempt to pimp out Delphine, his sale of the de Lancels’ precious stock of champagne and his participation in the murders of three locals who knew about the sale struck me as enough to regard him as a monster.

My remaining problems with “TILL WE MEET AGAIN” proved to minor. Many of Krantz’s novels tend to begin as period dramas and end in the present time. I cannot say the same about her 1988 novel. The entire story is set entirely in the past – a forty-year period between pre-World War I and the early 1950s. Yet, I managed to spot several anachronisms in the production. Minor ones, perhaps, but anachronisms nevertheless. One of the most obvious anachronisms proved to be the hairstyles for many of the female characters – especially the de Lancel sisters, Delphine and Freddy. This anachronism was especially apparent in the hairstyles they wore in the 1930s sequences – long and straight. Most young girls and women wore soft shoulder bobs that were slightly above the shoulders during that decade. Speaking of anachronism, the actor who portrayed Armand Sadowski, a Polish-born director in the French film industry, wore a mullet. A 1980s-style mullet during those same 1930s sequences. Sigh! The make-up worn by many of the female characters struck me as oddly modern. Another anachronistic popped up in the production’s music. I am not claiming that late 1980s songs were featured in the miniseries. The songs selected were appropriate to the period. However, I noticed that those songs were performed and arranged in a more modern style. It was like watching television characters performing old songs at a retro music show. It simply felt . . . no, it sound wrong to me.

Despite my complaints, I did enjoy “TILL WE MEET AGAIN”. In fact, I believe that its virtues were strong enough to overshadow its flaws. One, Judith Krantz had created a first-rate family saga . . . one that both she and screenwriter Andrew Peter Marin did justice to in this adaptation. Two, this is the only Krantz family saga that I can remember that is set completely in the past. Most of her family sagas start in the past and spend at least two-thirds of the narrative in the present. Not “TILL WE MEET AGAIN”. More importantly, this family saga is more or less told through the eyes of three women. I have noticed how rare it is for family sagas in which the narratives are dominated by women, unless it only featured one woman as the main protagonist. And neither Eve, Delphine or Freddy are portrayed as instantaneous ideal women. Yes, they are beautiful and talented in different ways. But all three women were forced to grow or develop in the story.

Being the oldest and the mother of the other two, Eve was forced to grow up during the first third of the saga. However, she spent a great deal of emotional angst over her daughters’ lives and the fear that her past as a music hall entertainer may have had a negative impact on her husband’s diplomatic career. Eve and Freddy had to deal with a disappointing love (or two) before finding the right man in their lives. Delphine managed to find the right man at a young age after becoming an actress with the film industry in France. But World War II, and the Nazi regime’s anti-Semitic policies managed to endanger and interrupt her romance. Freddy’s love life involved a bittersweet romance with an older man – the very man who taught her to become a pilot; a quick romance and failed marriage to a British aristocrat; and the latter’s closest friend, an American pilot who had harbored years of unrequited love for Freddy until she finally managed to to notice him.

Despite the saga being dominated by Eve, Delphine and Freddy; the two male members of the de Lancel family also had strong roles in this saga. I thought both Krantz and Marin did an excellent job in their portrayal of the complex relationship between Paul de Lancel and his only son and oldest child, Bruno de Lancel, who also happened to be Delphine and Freddy’s half-brother. I also found it interesting how Bruno’s unforgiving maternal grand-parents’ over-privileged upbringing of him and their snobbish regard for Eve had tainted and in the end, torn apart the relationship between father and son. Mind you, Bruno’s own ugly personality did not help. But he was, after all, a creation of the Marquis and Marquise de Saint-Fraycourt. Ironically, Paul also had his troubles with both Delphine and Freddy – especially during their late adolescence. Between Delphine’s forays into Hollywood’s nighttime society behind her parents’ backs and Freddy’s decision to skip college and become a stunt pilot, Paul’s relationships with his daughters endured troubled waters. And I thought the screenwriters did an excellent job in conveying the diplomat’s complex relationships with both of them.

And despite my low opinion of the hairstyles featured in “TILL WE MEET AGAIN”, I cannot deny that the production values featured in the miniseries struck me as quite impressive. Roger Hall did an excellent job in his production designs that more or less re-created various locations on two continents between the years of 1913 and 1952. His work was ably supported by Rhiley Fuller and Mike Long’s art direction, Donald Elmblad and Peter Walpole’s set decorations, and Alan Hume’s cinematography, which did such an exceptional job of capturing the beauty and color of its various locations. However, I must admit that I really enjoyed Jerry R. Allen and Robin Fraser-Paye’s costume designs. I thought they did an excellent job of recapturing the fashions of the early-to-mid 20th century.

If I must be honest, I cannot think of any performance that blew my mind. I am not claiming that the acting featured in “TILL WE MEET AGAIN” were terrible, let alone mediocre. Frankly, I believe that all of the major actors and actresses did a great job. Courtney Cox gave a very energetic performance as the ambitious and aggressive Freddy de Lancel. Bruce Boxleitner also gave an energetic performance as Jock Hampton, the best friend of Freddy’s husband . . . but with a touch of pathos, as he conveyed his character’s decade long unrequited love for the red-headed Mademoiselle de Lancel. Mia Sara gave a spot-on portrayal of Delphine de Lancel from an ambitious, yet insecure adolescent to a sophisticated and more mature woman. And again, I can the same about Lucy Gutteridge’s portrayal of Eve de Lancel, who developed the character from an impulsive adolescent to a mature woman who proved to be her family’s backbone. Hugh Grant was sufficiently sophisticated and hissable as the villainous Bruno de Lancel without turning his performance into a cliche. Charles Shaughnessy skillfully managed to convey to portray the worthy man behind director Armand Sadowski’s womanizing charm. John Vickery gave a interested and complex portrayal of Freddy’s British aristocrat husband, Anthony “Tony” Longbridge. And Maxwell Caufield was excellent as the charming, yet ego-driven singer Alain Marais. I believe one of the best performances came from Michael York, who was excellent as the emotionally besieged Paul de Lancel, struggling to deal with a stalled diplomatic career, two strong-willed daughters and a treacherous son. I believe the other best performance came from Barry Bostwick, who was excellent as Freddy’s first love Terrence ‘Mac’ McGuire. I thought he did a great job of portraying a man torn between his love for Freddy and his guilt over being in love with someone who was young enough to be his daughter.

Look, I realize that “JUDITH KRANTZ’S TILL WE MEET AGAIN” is basically a glorified period piece melodrama disguised as a family saga. I realize that. And I realize that it is not perfect. Nor would I regard it as an example of the best American television can offer. But at its heart, I thought it was basically a well written family saga that centered around three remarkable women. Thanks to Judith Krantz and Andrew Peter Marin’s screenplay; Charles Jarrott’s direction and a first-rate cast, the 1989 miniseries proved to be first-rate piece of television drama.

 

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“A POCKETFUL OF RYE” (1985) Review

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“A POCKETFUL OF RYE” (1985) Review

There have been two adaptation of Agatha Christie’s 1953 novel, “A Pocket Full of Rye”. Well . . . as far as I know. I have already seen the recent adaptation that aired on ITV’s “AGATHA CHRISTIE’S MARPLE” series in 2009. Recently, I watched an earlier adaptation that aired on the BBC “MISS MARPLE” series in 1985.

Directed by Guy Slater, this earlier adaptation starred Joan Hickson as the story’s main sleuth, Miss Jane Marple. The story begins in the London office of financier Rex Fortescue, who suddenly dies after drinking his morning tea. At first suspicion falls upon the employees of Fortescue’s firm. But the police coroner discovers that Fortescue had died from taxine, n alkaloid poison obtained from the leaves or berries of the yew tree. Due to this discovery, Detective-Inspector Neele realizes that someone within the Foretescue household may have poisoned the financier during breakfast. Suspicion falls upon Fortescue’s second and much younger wife, Adele after Neele learns of her affair with a local golf pro at a resort. However, Adele is murdered during tea, via poison. Even worse, a third victim, a maid named Gladys Martin, is found in the garden, strangled to death and with a peg on her nose. After Adele and Gladys’ murders are reported by the media; Miss Marple, who used to be Gladys’ employer, pays a visit to the Fortescue home to discover the murderer’s identity among the list of suspects:

*Percival Fortescue – Rex’s older son, who was worried over the financier’s erratic handling of the family business
*Jennifer Fortescue – Percival’s wife, who disliked her father-in-law
*Lance Fortescue – Rex’s younger son, a former embezzler who had arrived home from overseas on the day of Adele and Gladys’ murders
*Patricia Fortescue – Lance’s aristocratic wife, who had been unlucky with her past two husbands
*Mary Dove – the Fortescues’ efficient and mysterious housekeeper
*Vivian Dubois – Adele’s lover and professional golf instructor
*Aunt Effie Ramsbottom – Rex’s fanatically religious ex-sister-in-law

Despite Inspector Neele’s initial inclination to dismiss the elderly Miss Marple, he comes to appreciate her help in solving the three murders.

I like “A POCKETFUL OF RYE”. I like it a lot. I have always been a fan of Christie’s 1953 novel. And if I must be honest, I also enjoyed the 2009 adaptation, as well. Originally, one would be inclined to believe that this earlier adaptation is more faithful to Christie’s novel. Surprisingly, it is not. Screenwriter T.R. Bowen eliminated at least three characters from the novel and changed the murderer’s fate in the end. Otherwise, this adaptation was pretty faithful. But it is not its faithfulness to Christie’s novel that made me enjoy this production. I have read plenty of first-rate novels that translated badly to the television or movie screen. Fortunately, “A POCKETFUL OF RYE” does not suffer from this fate. At least not too much.

Overall, “A POCKETFUL OF RYE” is an entertaining and solid story that left me intrigued. It is also one of the few Christie stories in which the revelation of the murderer’s identity left me feeling very surprised . . . and a little sad. However, even sadder was the third murder . . . that of Gladys Martin. She was the only one of the three victims that was likable. Not only did I find her death sad, but also cruel. But it was also good drama. The movie also featured some strong characterization that I believe enhanced the story. Between the interactions between the members of the Fortescue family members, the interactions between Miss Marple and Inspector Neele, and the interaction between the latter and his assistant Sergeant Hay; this production reeked with strong characterization.

“A POCKETFUL OF RYE” did have its problems. One, I thought the movie’s pacing dragged a bit, following the death of Rex Fortescue. And because of this, the story took its time in reaching Miss Marple’s arrival at the Fortescues’ home. Another problem with Bowen’s script is that it strongly hinted the killer’s identity before Miss Marple could to the police. This problem has been a problem with the Joan Hickson movies throughout its run. For me, the real problem with “A POCKETFUL OF RYE” proved to be the killer’s fate. Apparently, Bowen and director Guy Slater decided that Christie’s version of what happened to the murderer was not enough. Instead, they decided to kill off the murderer in a convoluted manner via a traffic accident. Frankly, I found Christie’s original version more emotionally satisfying.

I certainly had no problem with the movie’s performances. Joan Hickson was top-notch as usual, as Jane Marple. I also enjoyed Tom Wilkinson’s very entertaining performance as Inspector Neele. I find it hard to believe that it took another 13 years or so for him to achieve stardom. There were three other performances that I truly enjoyed. One came from Rachel Bell, who was first-rate in her portrayal the victim’s enigmatic daughter-in-law. Selina Cadell’s portrayal of housekeeper Mary Dove proved to be just as enigmatic and impressive. Both Peter Davidson and Clive Merrison gave interesting performances as the two Fortescue brothers, Lance and Percival, who seemed such complete opposites of one another. I also enjoyed Fabia Drake, who gave an excellent performance as the victim’s religious, yet observant sister-in-law, Effie Ramsbottom. The movie also featured solid performances from Timothy West (whose appearance was sadly too brief), Annette Badland, Stacy Dorning, Jon Glover, Frances Low and Martyn Stanbridge.

“A POCKETFUL OF RYE” proved to be an entertaining and solid adaptation of Christie’s novel, thanks to director Guy Slater and screenwriter T.R. Bowen. The movie also featured excellent performances from a cast led by the always incomparable Joan Hickson. However, I do feel that the movie was somewhat marred by a slow pacing in the middle of the story and an early and unsatisfying revelation of the killer’s identity. Oh well. At least “A POCKETFUL OF RYE” was not a bust or even mediocre.

Ranking of “AGATHA CHRISTIE’S POIROT” Movies

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With one more season of “AGATHA CHRISTIE’S POIROT” left with David Suchet as the famous literary Belgian detective, I thought it would be nice to rank some of the series’ feature-length movies that aired between 1989 and 2010. I have divided this ranking into two lists – my top five favorite movies and my five least favorite movies: 

 

RANKING OF “AGATHA CHRISTIE’S POIROT” MOVIES

Top Five Favorite Movies

1-Five Little Pigs

1. “Five Little Pigs” (2003) – In this beautifully poignant tale, Hercule Poirot investigates a fourteen year-old murder in which his client’s mother was erroneously convicted and hanged for.

2-After the Funeral

2. “After the Funeral” (2006) – When a relative of a deceased man questions the nature of his death at a family funeral, she is violently murdered the following day and the family’s solicitor requests Poirot’s help. Better than the novel, the movie has a surprising twist.

3-The ABC Murders

3. “The A.B.C. Murders” (1992) – In this first-rate adaptation of one of Christie’s most original tales, Poirot receives clues and taunting letters from a serial killer who appears to choose his random victims and crime scenes alphabetically.

murderonthelinks

4. “Murder on the Links” (1996) – While vacationing in Deauville with his friend, Arthur Hastings, Poirot is approached by a businessman, who claims that someone from the past has been sending him threatening letters. One of my favorites.

5-Sad Cypress

5. “Sad Cypress” (2003) – Poirot is asked to investigate two murders for which a young woman has been convicted in the emotional and satisfying tale.

Top Five Least Favorite Movies

1-Taken at the Flood

1. “Taken at the Flood” (2006) – In this rather unpleasant tale, Poirot is recruited by an upper-class family to investigate the young widow of their late and very rich relative, who has left his money solely to her.

2-The Hollow

2. “The Hollow” (2004) – A favorite with many Christie fans, but not with me, this tale features Poirot’s investigation into the murder of a successful doctor at a country house weekend party.

3-Appointment With Death

3. “Appointment With Death” (2008) – In this sloppy adaptation of one of Christie’s novel, Poirot investigates the death of a wealthy American widow, during his vacation in the Middle East.

4-Hickory Dickory Dock

4. “Hickory Dickory Dock” (1995) – In a tale featuring an annoying nursery rhyme, Poirot’s secretary Miss Lemon persuades Poirot to investigate a series of apparently minor thefts in a university hostel where her sister works, but simple kleptomania soon turns to homicide.

5-One Two Buckle My Shoe

5. “One, Two, Buckle My Shoe” (1992) – Poirot and Chief Inspector Japp investigates the alleged suicide of the Belgian detective’s dentist. Despite the heavy political overtones, this movie is nearly sunk by a premature revelation of the killer.

“HICKORY DICKORY DOCK” (1995) Review

“HICKORY DICKORY DOCK” (1995) Review

Every once in a while, Agatha Christie wrote a novel in which she used a nursery rhyme as its title. This turned out to be the case for her 1955 novel, “Hickory Dickory Dock”. Forty years after its publication, ITV aired an adaptation of the novel for its series, “AGATHA CHRISTIE’S POIROT”.

“HICKORY DICKORY DOCK” began with a rash of thefts committed at a student hostel in 1936 London. Since her sister is the hostel’s warden, Miss Lemon recruits her boss, Belgian detective Hercule Poirot, to investigate what appears to be a case of kleptomania. It does not take him long to discover the identity of the thief – a chemistry student named Celia Austin, who had stolen the items to attract the attention of psychiatry student Colin McNabb. However, it seems Celia only stole a few petty items. She was not responsible for a missing stethoscope, light bulbs and boracic powder. She also did not cut up and conceal a rucksack. When Celia is discovered the following morning, dead from an overdose of morphine, Poirot and Chief Inspector Japp of Scotland Yard eventually realize that someone tried to make her death look like suicide.

Although the novel was written and set in the 1950s, screenwriter Anthony Horowitz and director Andrew Grieve transformed the story’s setting to 1936. One, all of the “POIROT” movies and episodes are set in the 1930s, regardless of when they were made. Due to the change in setting, Horowitz and Grieve included a subplot that featured the Jarrow March and Member of Parliament (MP) Arthur Stanley. Also, all non-white and Continental European characters (aside from Greek-born hostel owner Mrs. Nicoletis) were deleted from this television adaptation. Also, the pair replaced an Inspector Sharpe with recurring character Chief Inspector Japp.

What can I say about “HICKORY DICKORY DOCK”? Honestly? I did not like it very much. I find this very interesting, considering that the movie featured two actors that I happened to like very much – Jonathan Firth and Damian Lewis. But their presence in the movie could not save it for me. Frankly, I believe that Horowitz did a piss poor job of adapting Christie’s novel. Mind you, I have never been a fan of the 1955 novel anyway. But Horowitz’s script only made it worse.

Of all the changes in this adaptation, the only one that did not bother me was the addition of Chief Inspector Japp. Mind you, I could not see someone that high up in the Scotland Yard hierarchy investigating a series of murders at a student hostel. But since the City of London is under Scotland Yard’s jurisdiction, for once Japp’s presence does not seem out of place. I wish I could say about some of the other changes . . . but I cannot.

For some reason, Horowitz had decided to include the Jarrow March into the story. Why? It really had nothing to do with the story. Also, the March actually occurred in October 1936. Yet, “HICKORY DICKORY DOCK” was set in April 1936. The screenwriter tried to justify this change by transforming MP Arthur Stanley into a Labour politician (he was a Conservative) and connecting him to the march. Worse, he changed the politician’s year of death from 1947 to 1936. To deepen the connection, Horowitz allowed one of the students to be a Political Science major and discover that another student – the murderer – was Stanley’s offspring. And you know what? It did not work. Because in the end, the Jarrow March still proved to be an unnecessary addition to the story.

By changing the story from the 1950s to the 1930s, Horowitz screwed up with another character’s portrayal. American student Sally Finch claimed to be studying in Britain on the Fullbright Program. The Fullbright Program did not exist until 1946. And although Sally proved to be a spy for British Customs that was investigating a smuggling ring within the hostel, she retained her American accent. Which led me to wonder how an American subject ended up working for a British government agency. And why did Horowitz eliminated all of the non-white characters from Christie’s novel. Mind you, her portrayal of some of them (especially one Mr. Akibombo) struck me as wince-inducing. But I do not see this as a good excuse to eliminate them all together. And one of them – a Jamaican student named Elizabeth Johnson – proved to be a very interesting character. Alas . . .

One last aspect of “HICKORY DICKORY DOCK” really annoyed me. Like other Christie adaptations with a nursery rhyme title (think “ONE, TWO, BUCKLE MY SHOE”), it used heavy-handed literary symbols to connect the story with the title. The real connection between the story and the title proved to be the name of the road where the student hostel was located – Hickory Road. Yet, director Andrew Grieve decided to include the occasional shots of a mouse roaming around the hostel and an old fashioned clock (both make up part of the famous nursery rhyme), with a few voices whispering – “Hickory dickory, hickory dickory!”. I found it very annoying. Grieve finally made use of the mouse by allowing it to scare Miss Lemon, giving the revealed murderer a chance to attempt an escape. This led to a prolonged and ridiculous foot chase that, unfortunately, has been a hallmark of the “AGATHA CHRISTIE’S POIROT” series – especially in the 1990s.

Was there anything about “HICKORY DICKORY DOCK” that I liked? Well, most of the performances stuck me as top notch. I especially enjoyed the performances of Jonathan Firth, Damian Lewis, Polly Kemp, Gilbert Martin and Elinor Morriston as some of the students at the hostel. It was nice to see that Pauline Moran was given a bigger presence in the story as Poirot’s efficient secretary, Miss Lemon. Both David Suchet and Philip Jackson were superb as Hercule Poirot and Chief Inspector Japp. Horowitz included an entertaining subplot in which Japp found himself as a house guest at the detective’s flat, while his wife was out of town. I never felt more sympathy toward the man, as he was forced to endure Poirot’s brand of Haute cuisine. The movie could also boast a first-rate production, thanks to production designer Rob Harris. He did an excellent job of re-creating mid-1930s London. He was ably helped by Peter Wenham’s art direction and Andrea Galer’s convincing costume designs.

Despite a good deal of top-notch performances – especially by David Suchet, Philip Jackson and Pauline Moran, a convincing re-creation of 1936 London and an entertaining subplot featuring Poirot and Japp; I cannot say that “HICKORY DICKORY DOCK” is a favorite mine. To be honest, I found it a bit disappointing, thanks to some unnecessary changes to Christie’s novel by screenwriter Anthony Horowitz. Oh well. You cannot win ’em all.