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.

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.

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“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

image

 

“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:

 

image

 

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?

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

20150726_poldark_6_02

 

“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

image

 

“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.