“ADAM BEDE” (1991) Review

“ADAM BEDE” (1991) Review

Recently, I had come across an old BBC production that I have not seen in years. The production was a television movie based upon author George Eliot’s first novel, “Adam Bede”.

This adaptation of Eliot’s 1859 novel told the story of four young people from the rural English community of Hayslope around the end of the 18th century. This “love rectangle” revolved around a local carpenter named Adam Bede; a beautiful, yet self-absorbed milkmaid named Hetty Sorrel; the local squire’s charming grandson and heir, Captain Arthur Donnithorne; and Hetty’s cousin Dinah Morris, a beautiful Methodist lay preacher who is also attracted to Adam. How did this “rectangle” come about? Although highly regarded by the Hayslope community as an intelligent and talented carpenter, Adam has a weakness . . . namely his passionate and unrequited love for the beautiful Hetty. Unfortunately for Adam, Hetty was deeply in love, lust or simply dazzled by the handsome and charming Arthur. Did Arthur love Hetty? I honestly do not know.

As I had stated earlier, “Adam Bede” was George Eliot’s first novel. Eliot’s earlier skill as a writer is very apparent in this television adaptation. Do not get me wrong. I rather enjoyed “ADAM BEDE” very much. But it did not strike me as . . . fascinating or complex as other George Eliot adaptations I have seen. If one must be honest, the whole “servant girl get seduced by rich young man” scenario is not particularly new. I suspect that it was not new when Eliot wrote this novel back in the 1850s. I believe that Eliot had used this trope again when she wrote “Silas Marner”, which was published two years after this first novel. Both stories featured “fallen women” and both portrayed the latter in a slightly unsympathetic light. Mind you, Eliot did a good job in conveying Hetty’s struggles between the discovery of her pregnancy and the verdict during her trial. But I could not help but suspect a slight taint of Victorian morality in Eliot’s portrayal of Hetty. I believe screenwriter Maggie Wadey tried her best to overcome that rigid morality, but thanks to the narrative, I do not think she had fully succeeded. Especially when one considers how “ADAM BEDE” ended.

If I have a real problem with “ADAM BEDE”, it is the ending. If the production had been a two-part movie, perhaps . . . You know what? I suspect that stretching out the running time would not have solved what I believe was the narrative’s main problem. I believe changing the ending would have helped. One problem proved to be Hetty’s fate. After being found guilty of infanticide, Hetty was sentenced to execution. Her sentence was commuted to penal transportation to Australia at the last moment, thanks to Arthur Donnithorne. Ye-ee-ea-ah . . . I found this scenario a bit improbable. It seemed as if Eliot had tacked on this last minute fate for Hetty to avoid a truly tragic ending. Another problem I had with the ending proved to be the main protagonist’s relationship with the Dinah Morris character. The movie featured a brief scene in which Adam Bede regarded Dinah as an attractive woman. Despite this, he spent most of the production harboring a passionate, almost possessive love for Hetty Sorrel. Once Hetty was sent away for transportation, Adam became romantically interested in Dinah. Rather fast. Too fast, if you want my opinion. I realize that he was urged to consider Dinah as a romantic partner by others, but . . . yeah, I thought the final romance between the pair happened too fast.

However, “ADAM BEDE” had its virtues. One, the production did an excellent job in conveying the mores and traditions of a rural town in Britain at the end of the eighteenth century. I found it amazing how the town’s middle and lower classes were judged a bit more harshly than the upper-class residents. I noticed that although Adam is not regarded as morally questionable, many others tend to judge him based upon his moral compass . . . a lot. I also noticed that many seemed to regard Arthur’s morals with a wary eye, they seem willing to give him a pass. I doubt they would have been that generous with Adam. But that is always the case, is it not . . . at least for those who are not part of an elite social group.

If middle and lower-class men had it bad, women of all classes had it worse. Dinah Morris is portrayed as a decent and pious woman. Yet, there seemed to be a slight air of disapproval directed toward Dinah, due to her role as a Methodist lay preacher. But no one is judged more harshly than Hetty Sorrel. Even by Eliot. Audiences are expected to harshly judge Hetty for her desire for a life “above her station”. But I will give credit to both Eliot and screenwriter Maggie Wadey for injecting a great deal more of ambiguity and sympathy toward Hetty . . . especially after she became pregnant.

I also have to commend the movie’s performances. There was not a bad one in the bunch. Susannah Harker made a very serene Dinah Morris, even I did not find the character particularly interesting. James Wilby had a more interesting character to portray, namely the shallow and sensual Arthur Donnithorne. However, I do not think Wadey’s screenplay really gave the actor much of a chance to explore Arthur’s ambiguity, aside from one or two scenes. “ADAM BEDE” also featured excellent performances from Jean Marsh, Paul Brooke, Robert Stephens, Freddie Jones, Michael Percival and Alan Cox.

Julia McKenzie struck me as particularly memorable as Mrs. Poyser, the aunt of both Dinah and Hetty. Although Eliot had written her as a comic figure, the actress managed to inject a good deal of pathos and emotion into the character, thanks to the screenplay. Patsy Kensit was superb as the flighty, yet hard-luck Hetty Sorrel, who proved to be the most interesting character in this tale. Kensit managed to skillfully rise the character’s one-dimensional portrayal in the movie’s first half and embrace the ambiguous quagmire that poor Hetty ended up in the second half. Superficially, Adam Bede did not seem as ambiguous as Hetty. Superficially. But underneath the stalwart and industrious carpenter existed a proud and emotional man, whose world centered around a woman who did not love him. And man did the producers select the right man to portray young Adam – namely Iain Glen. I have been aware of the actor for several decades. And I have noticed that whether he was playing a hero, a villain, anti-hero – you name it – Glen has always managed to convey the emotional depths behind his characters on a level that very few actors have managed to achieve . . . whether through his voice or expressions. Or perhaps both. And he utilized the same level of skill in his portrayal of the emotional and lovelorn Adam. No wonder I have been a fan of his for years.

Overall, I would never regard “ADAM BEDE” as one of my favorite George Eliot adaptations. The problem is that the movie reflected too much of the novel’s narrative flaws. But not all was lost with Maggie Wadey’s adaptation. I still managed to enjoy the movie, thanks to its intriguing plot and first-rate cast led by Iain Glen. In the end, I believe it had more virtues and flaws.

Favorite Television Productions Set in the 1800s

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

 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1800s

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

 

 

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

 

 

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

 

 

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

 

 

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

 

 

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

 

 

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

 

 

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

“THE LAST TYCOON” (2016-2017) Episodes Ranking

Below is my ranking of the episodes from “THE LAST TYCOON”, Amazon Studios’ 2016-2017 loose adaptation of F. Scott Fitzgerald’s 1941 unfinished novel that was published posthumously. Developed by Billy Ray, the limited series starred Matt Bomer as Monroe Stahr:

 

“THE LAST TYCOON” (2016-2017) EPISODES RANKING

 

1. (1.08) “An Enemy Among Us” – While production chief Monroe Stahr commence upon a campaign to secure Brady-American Pictures first Oscar nominations, studio chief Pat Brady seeks for a solution to balance the studio’s account books and get the Board of Directors off his back. Meanwhile, starlet-to-be Kathleen Moore plots to escape from her dangerous deception.

 

2. (1.03) “More Stars Than There Are in Heaven” – Brady proves his worth as studio chief as he plans to woo film star Margo Taft to sign up with Brady-American. Due to the loan he had given Brady, MGM studio boss Louis B. Mayer tries to interfere in the studio’s projects. Brady’s daughter Celia forms a connection with office boy Max Miner. And Monroe’s relationship with Kathleen blossoms.

 

3. (1.09) “Oscar, Oscar, Oscar” – In this season finale that focuses on the Academy Awards ceremony, Brady makes a decision that causes a rift between him and Monroe and Celia. Monroe and Kathleen grapple with the emotional fallout of her deception.

 

4. (1.06) “A Brady-American Christmas” – During the Christmas holiday, Stahr encourages Kathleen to join Fritz Lang’s secluded rehearsal, leaving him alone on Christmas Eve. Brady schemes to boost ticket sales for “Angels on the Avenue”. Celia and Max are brought closer by tragedy.

 

5. (1.01) “Pilot” – The series premiere and pilot introduces Monroe as Brady-American Pictures’ production chief, who constantly clashes with Brady over the content of the studio’s films, fends of Celia’s infatuation with him and falls in love with Kathleen, whose nationality reminds him of his late wife, Minna Davis.

 

6. (1.06) “Eine Kleine Reichmusik” – Stahr orchestrates an extravagant Hollywood party that masks a secret agenda involving Austrian-Jewish musicians. Brady continues to courts Margo Taft to become Brady-American’s permanent leading lady. And Celia becomes aware of director Fritz Lang’s provocative private life.

 

7. (1.04) “Burying the Boy Genius” – The death of MGM production chief Irving Thalberg sends shock waves throughout the Hollywood industry and leaves Brady pondering over Monroe’s shaky health. Meanwhile, the latter risks his budding relationship with Kathleen to save a movie and Brady American.

 

8. (1.07) “A More Perfect Union” – Brady hatches a bold business ploy that has sweeping consequences for the studio’s employees and forces Monroe to contain the repercussions. Kathleen struggles to manage her tangled web of half-truths.

 

9. (1.02) “Nobody Recasts Like Monroe” – Monroe continues his pursuit of Kathleen, who rejects the idea of being a replacement for Minna. Pat Brady’s pet project has a devastating debut, forcing him to accept Monroe’s help. Celia gets cozy in her role as producer, so Hackett takes it upon himself to give her an education.

“FLAME OVER INDIA” (1959) Review

“FLAME OVER INDIA” (1959) Review

I have seen my share of movie and television productions set during the heyday of the British Empire over the years. They have featured narratives that range from being rabidly pro-Imperial to being highly critical of British Imperial policies and society. Recently, I re-discovered an old movie that seemed to straddle between the two styles of this genre, the 1959 adventure film, “FLAME OVER INDIA aka NORTH WEST FRONTIER”.

Directed by J. Lee Thompson, “FLAME OVER INDIA” began in the North West Frontier of 1905 British India, when a Hindu Maharajah asks British Army Captain William Scott to take his young son and heir, Prince Kishan, to the safety of the British Governor’s residence in Haserabad, due to a Muslim uprising in his province. Accompanying them is the prince’s nanny/governess, an American widow named Mrs. Catherine Wyatt. They leave shortly before the rebels storm the palace and kill the Maharajah. Upon their arrival in Haserabad, Captain Scott and Mrs. Wyatt learn that Muslim rebels threaten to overrun the Residency, due to knowledge of the young prince’s arrival. The Residency’s Governor, Sir John Wyndham, informs Captain Scott that he must take Prince Kishan to the safety of Kalapur. Scott discovers an old train, the Empress of India, and decides to use it to get Kishan and Mrs. Wyatt to safety. Because of the danger of developing siege in Haserabad, other passengers join Scott, Mrs. Wyatt and Kishan on the journey:

*Gupta – the Empress of India’s driver
*Lady Wyndham – Sir John’s wife
*Peter van Leyden – a Dutch biracial anti-Imperialist journalist
*Mr. Bridie – one of Sir John’s government aides
*Mr. Peters – an arms dealer who does business with all sides
*Two Indian sergeants acting as Captain Scott’s aides

There are some aspects of “FLAME OVER INDIA” that did not particularly impress me. Actually, I can only think of two. In one scene, the Empress of India’s passengers had come across a train that had departed Haserabad earlier in the film. Apparently, the rebels had massacred all of the train’s passengers, leaving behind one infant still alive. Now, I realize that this scene is supposed to be some kind of allegory of the religious strife that marred Britain’s partition from India in 1947 and its role in that strife. The problem is that this scene would have been more suited for a story set during that period, instead of a movie set in 1905. I also had a problem with the film’s final action sequence. It is not terrible, but it struck me as a bit anti-climatic. Especially since it ended with the Empress of India’s passengers evading capture by the train’s entrance into a two-mile long hillside tunnel that led to the safety of Kalapur.

Overall, I thought “FLAME OVER INDIA” was a first-rate movie that seamlessly combined the elements of two genres – action and drama. At first glance, it seemed Captain Scott using a train to convey young Kishan to the safety of Kalapur offered no real challenges – especially against pursuers on horseback. Scott and Gupta had initially planned to sneak the passengers out of Haserabad by freewheeling the Empress of India down a gradient and out of the rail yard, but the train’s whistle unexpectedly blows, alerting the rebels to their departure. The screenwriters ensure that the Empress and its passengers encounter other obstacles to make it difficult to evade their pursuers – including torn up tracks, the train’s nearly empty water tank, the train full of massacred passengers, a bomb-damaged viaduct/bridge and a spy in their midst. If I had a choice for my favorite action sequence, it would be the one in which the Empress of India passengers attempt to fix the sabotaged tracks in the middle of a gun battle. It is a pity that this incident occurred midway in the film.

More importantly, “FLAME OVER INDIA” is an excellent drama in which the political situation – the rebellion within Kishan’s province – served as a reflection of the divisions in British India around the turn of the 20th century and the Britons’ role in its origin. In fact, this topic manifested in a tense scene featuring an argument between Captain Scott and Peter van Leyden following the passengers’ discovery of the train massacre. Earlier, I had commented that “FLAME OVER INDIA” seemed to straddle between those rabidly pro-Imperial movies to those highly critical of British Empire. The quarrel between Captain Scott and van Leyden over the train massacre and British Imperial policy seemed to personify this “no Man’s Land” between the genre’s two styles. But the movie also featured other characters who seemed to represent not only these two positions on Imperial policies, but also that middle ground. Even Captain Scott’s characters seemed to be on the verge of that middle ground by the film’s end.

I have seen “FLAME OVER INDIA” on many occasions, but it finally occurred to me that it reminded me of another film. I noticed that one of the screenwriters was Frank Nugent, who had written the screenplays for several of John Ford’s movies between 1948 and 1963. Although Nugent never worked on one of Ford’s best films, “STAGECOACH”, I realized that “FLAME OVER INDIA” bore a strong resemblance to the Oscar winning 1939 film. Like “STAGECOACH”, this film is about a group of people who undertake a long-distance journey through dangerous territory. And like the 1939 movie, it is also a strong character study of people from different backgrounds, personalities and philosophies. Whereas “STAGECOACH” seemed more like an exploration of class (and regional) differences between late 19th century Americans, “FLAME OVER INDIA” is more of an exploration of the impact of the British Empire upon the movie’s main characters – the Europeans, one American, one Eurasian and two Asians. The ironic aspect of the film’s theme is that even young Kishan, who served mainly as the movie’s catalyst, had the last word about the British presence in India, near the end.

“FLAME OVER INDIA” struck me as a colorful looking film, thanks to its technical crew. The movie was shot at Pinewood Studios, and also on location in India and Spain. And I must say that cinematographer Geoffrey Unsworth did a beautiful job with his photography for both locations. And I must admit that I really admired how he balanced his close-up, far-shots and zooming . . . especially during the film’s opening sequence that depicted the Muslim rebels overrunning the palace of Kishan’s father. I was also impressed by Frederick Wilson’s editing of J. Lee Thompson’s direction of the action sequences – especially the opening sequence and that featuring the repair of the damaged tracks. Between Thompson and Wilson, they managed to fill the movie with a great deal of action, suspense and drama. I also enjoyed Yvonne Caffin’s Edwardian costumes for the film. But like her work for the 1958 movie, “A NIGHT TO REMEMBER”, they did not strike me as particularly mind-blowing, but they certainly did not look cheap or straight out of a costume warehouse.

The 1959 movie did not exactly have a large cast . . . unless one would consider the number of extras. But I have to say that I did not have anything negative to say about the performances in “FLAME OVER INDIA”. The movie featured solid performances from the likes of Ian Hunter, Jack Gwillim, and Basil Hoskins. Both S.M. Asgaralli and Sam Chowdhary, who portrayed the two sepoys under Scott’s command, had spoken at least two or three lines between them and still managed to effectively convey the idea of competent soldiers. And Govind Raja Ross gave a very charming performance as the young Prince Kishan. He was not the best child actor I have ever seen, but I found him charming.

However, the film’s best performances came the major supporting cast members and the two leads. I cannot say that Ursula Jeans gave a complex performance. After all, I could never regard her character, Lady Windham, as flexible. But Jeans did an excellent job in conveying the conservative, yet ladylike “memsahib” of the British Empire. Eugene Deckers gave a very entertaining performance as the witty and cynical arms dealer, Mr. Peters. In fact, I would say that Deckers gave the most entertaining performance in the film. Wilfrid Hyde-White gave a charming, yet poignant performance as the mild-mannered, yet very open-minded government aide, Mr. Bridie. Hyde-White did such a good job in conveying his character’s likability that even a hostile character like Peter van Leyden recognized him for the tolerant person he was. While checking I.S. Johar’s filmography on the IMDB site, I noticed that he made very few English-speaking films, one of them being the 1978 Agatha Christie movie, “DEATH ON THE NILE”. Personally, I believe his role as the effervescent, yet skilled train engineer/driver, Gupta, to be a breath of fresh air, in compare to his role in the 1978 murder mystery. Johar not only gave a first-rate performance, he managed to create a crackling screen chemistry with leading man Kenneth More.

If I had my choice for the best performance in “FLAME OVER INDIA”, I would choose Herbert Lom’s portrayal of the biracial journalist, Peter van Leyden. Lom did an excellent job in conveying his character’s intelligence, penchant for confrontations and complex anger toward the British presence in India and European colonialism in general. Lom’s Peter van Leyden may have been an unpleasant character, but what he had to say about colonialism and the British attitude toward the subcontinent’s natives resonated with a great deal of truth. The producers of “FLAME OVER INDIA” had originally considered Olivia de Havilland for the role of Prince Kishan’s widowed governess, Mrs. Catherine Wyatt. However, the former was unavailable and they turned to American actress Lauren Bacall to portray the role. One would not expect an American character in a film set in British India. And yet . . . Bacall gave such a first-rate performance as the forthright, yet slightly cynical Mrs. Wyatt that I never gave it another thought. More importantly, she also managed to create a strong, yet natural screen chemistry with More, which took me by surprise. Speaking of Kenneth More, he gave a strong and intelligent performance as the movie’s leading character, Captain William Scott. In a way, More’s portrayal of Scott struck me as rather odd. Superficially, his Scott seemed like the typical British Army officer who believed in the righteousness of the British Empire and regarded its Indian subjects as children. And yet, Scott seemed to be a bit more complicated. He preached like a typically bigoted colonial and behaved like a more tolerant man who had a tight friendship with the likes of Gupta and treated the two sepoys (soldiers) under him as competent fighting men, instead of children who needed to be constantly supervised. Like I had said, More’s Scott proved to be something different from the usual military character in a British Imperial film. Then again, the movie had been made over a decade after India’s independence.

I may have a few quibbles about “FLAME OVER INDIA”, but overall I really enjoyed the film. It might be one of the few British Empire movies that I truly enjoyed before the more ambiguous Imperial films of the late 20th and early 21st centuries. The film’s screenwriters also created a first-rate adventure film that also proved to be a complex drama and character study. “FLAME OVER INDIA” also benefited from first-rate cinematography from the legendary Geoffrey Unsworth, excellent acting from a cast led by Kenneth More and Lauren Bacall, and superb direction from J. Lee Thompson. I believe there is nothing further for me to say.

Favorite Episodes of “STAR TREK DEEP SPACE NINE” Season Three (1994-1995)

Below is a list of my favorite episodes from Season Three of “STAR TREK DEEP SPACE NINE”. Created by Rick Berman and Michael Piller; the series starred Avery Brooks as Commander Benjamin Siesko:

FAVORITE EPISODES OF “STAR TREK DEEP SPACE NINE” SEASON THREE (1994-1995)

1. (3.26) “The Adversary” – The Federation’s Ambassador Krajensky informs newly promoted Captain Benjamin Sisko that there has been a coup on Tzenketh. During the journey to Tzenketh, Sisko and the crew discover that a Changeling from the Dominion may be hiding aboard and sabotaging Deep Space Nine’s only ship, the U.S.S. Defiant. Lawrence Pressman guest-starred.

2. (3.09) “The Defiant” – Commander William Riker of the U.S.S. Enterprise shows up unannounced and the station’s second-in-command, Major Kira Nerys shows him the Defiant, where he reveals his true motives for coming to Deep Space Nine. Jonathan Frakes and Tricia O’Neil guest-starred.

3. (3.21) “The Die is Cast” – Former Cardassian spy-turned-tailor Elim Garak reluctantly tortures Odo for information to prove his loyalty to his former mentor, Enabran Tain, as a joint Tal Shiar/Obsidian Order attack on the Founders in the Omarian Nebula is underway, without Starfleet’s involvement. Paul Dooley and Leland Orser guest-starred.

4. (3.11-3.12) “Past Tense” – A transporter accident sends Sisko, Dr. Julian Bashir, and Lieutenant Jadzia Dax back to Earth’s dark past in the 21st century, a time just before the Bell riots, a violent civil disturbance in opposition to Sanctuaries which are controlled ghettos for the dispossessed. Bill Smitrovitch, Jim Metzler and Clint Howard guest-starred.

5. (3.19) “Through the Looking Glass” – Sisko is kidnapped and forced to impersonate his deceased mirror universe counterpart in order to convince Jennifer Sisko to defect to the Terran Rebellion. Felecia M. Bell and Tim Russ guest-starred.

Honorable Mention: (3.24) “Shakaar” – Vedek Kai Winn, who has become a political leader on Bajor, needs Kira to convince the former resistance leader Shakaar, now a farmer, to return soil reclamators needed elsewhere in Rakantha, which used to be Bajor’s most productive agricultural region. Duncan Regehr and William Lucking guest-starred.

Favorite Episodes of “INDIAN SUMMERS” (2015-2016)

Below is a list of my favorite episodes from the British television series, “INDIAN SUMMERS”. Created by Paul Rutman, the series starred Henry Lloyd-Hughes, Nikesh Patel, Jemima West and Julie Waters: 

FAVORITE EPISODES OF “INDIAN SUMMERS” (2015-2016)

1. (1.10) “Episode Ten” – In this Season One finale, the fate of convicted Indian businessman Ramu Sood is left in the hands of Civil Service official in Simla, Ralph Whelan, after it is discovered that the latter’s servant had killed the woman named Jaya, who was Ralph’s former lover.

1 - 2.09 Winner Takes All

2. (2.09) “Winner Takes All” – In the Season Two penultimate episode, Civil Service employee Aafrin Dalal sets up his plans to elope with Alice Whelan Havistock, his employer and Ralph’s sister, and rescue her from her abusive husband, Charlie Havistock. Meanwhile, Ralph fails to become India’s next viceroy.

3. (1.01) “Episode One” – The series premiere opened with the arrival of many British citizens, their servants and officials of the Indian Civil Service to Simla. The train to Simla is delayed when a boy is found collapsed on the railway tracks, while a mysterious assassin makes his way to the city.

4. (1.08) “Episode Eight” – Simla’s British community turn out in force for Ramu’s murder trial. The latter’s British employee, Ian McCleod, is wracked with guilt about his part in Ramu’s arrest and an employee of the local orphanage, Leena Prasad, is torn apart in the witness box.

2 - 2.04 The Empty Chair

5. (2.04) “The Empty Chair” – While Aafrin and Alice conduct their affair, the former’s sister, Sooni Dalal forces him to reveal his involvement in the Independence Party and the murder of a fellow activist named Kaira. Meanwhile, Ralph’s wife, Madeleine Whelan organizes a fashion show for the Royal Simla Club. And Lord Hawthorne becomes the target of a violent act and suspicion falls upon a local woman named Leena Prasad, whom he had hired as his children’s nanny and toward whom he has lustful designs.

Favorite Television Productions Set in the 1930s

Below is a list of my favorite television productions (so far) that are set in the 1930s: 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1930s

1. “Agatha Christie’s Poirot” (1989-2013) – David Suchet starred as Agatha Chrsitie’s most famous sleuth, Hercule Poirot, in this long-running series that adapted her Poirot novels and short stories.

2. “Moviola: The Scarlett O’Hara War” (1980) – Tony Curtis starred as David O. Selznick in the second episode of the miniseries, “Moviola”. The television movie featured Selznick’s search for the right actress to portray the leading character in his movie adaptation of “Gone With the Wind”.

3. “Edward & Mrs. Simpson” (1978) – Edward Fox and Cynthia Harris starred the 1978 adaptation of the events leading to the 1936 abdication of King Edward VIII of Great Britain. The seven-part miniseries was based upon Frances Donaldson’s 1974 biography.

4. “Mildred Pierce” – Todd Haynes directed and co-wrote this television adaptation of James M. Cain’s 1940 novel about a middle-class divorcee, who struggles to maintain her family’s position during the Great Depression and earn her narcissist older daughter’s respect. Emmy winners Kate Winslet, Guy Pearce and Emmy nominee Evan Rachel Wood starred.

5. “Upstairs, Downstairs” (2010-2012) – Heidi Thomas created this continuation of the 1971-1975 series about the Hollands and their servants, the new inhabitants at old Bellamy residence at 105 Eaton Place. Jean Marsh, Keely Hawes, Ed Stoppard and Claire Foy starred.

6. “And Then There Were None” (2015) – Sarah Phelps produced and wrote this television adaptation of Agatha Christie’s 1939 novel. Craig Viveiros directed.

7. “The Last Tycoon” (2016-2017) – Billy Ray created this television adaptation of F. Scott Fitzgerald’s unfinished novel about a Hollywood producer during the mid-1930s. Matt Bomer starred.

8. “Indian Summers” (2015-2016) – Paul Rutman created this series about the British community’s summer residence at Simla during the British Raj of the 1930s. The series starred Henry Lloyd-Hughes, Nikesh Patel, Jemima West and Julie Walters.

9. “Damnation” (2017-2018) Tony Tost created this series about the labor conflicts in the Midwest, during the Great Depression. Killian Scott and Logan Marshall-Green starred.

10. “The Lot” (1999-2001) – This series centered around a fictional movie studio called Sylver Screen Pictures during the late 1930s. The series was created by Rick Mitz.