“GEORGE WASHINGTON” (1984) Review

 

“GEORGE WASHINGTON” (1984) Review

Twenty-four years before the award-winning HBO miniseries “JOHN ADAMS” aired, the CBS network aired a miniseries about the first U.S. President, George Washington. Simply titled “GEORGE WASHINGTON”, this three-part miniseries was based upon two biographies written by James Thomas Flexner – 1965’s “George Washington, the Forge of Experience, 1732–1775” and 1968’s “George Washington in the American Revolution, 1775–1783”

“GEORGE WASHINGTON” spanned at least forty years in the life of the first president – from 1743, when his father Augustine Washington died from a sudden illness; to 1783, when Washington bid good-bye to the officers who had served under him during the American Revolutionary War. The miniseries covered some of the major events of Washington’s life:

*His training and profession as a surveyor of Western lands
*His experiences as an officer of the Virginia militia during the Seven Years War
*His friendship with neighbors George William and Sally Cary Fairfax between the 1750s and the 1770s
*The romantic feelings between him and Sally Fairfax
*His marriage to widow Martha Dandridge Custis and his role as stepfather to her two children
*His life as a Virginia planter
*His role as a member of Virginia’s House of Burgesses
*His growing disenchantment with the British Parliament
*His brief experiences as a representative of the Second Continental Congress
*And his experiences as Commander-in-Chief of the Continental Army

Actually, one half of the miniseries covered Washington’s life from his childhood to his years as a Virginia planter. The other half covered his experiences during the American Revolution. Glancing at the list above, I realized that “GEORGE WASHINGTON”covered a great deal in Washington’s life. More importantly, Jon Boothe and Richard Fielder did a first-rate job by delving into the many aspects of the man’s life and his relationships with great details and depth. This was especially apparent in Washington’s relationships with his controlling mother, Mary Ball Washington; his friendship with George William Fairfax; his light romance with Sally Fairfax; his relationships with his military aides during the American Revolution and especially his marriage to Martha Custis.

I found it interesting that the miniseries managed to convey how difficult and controlling Mary Washington was as a parent. However, I found it slightly disappointing that the miniseries did not further explore Washington’s relationship with his mother, once he became swept up into the Seven Year’s War – especially since she had survived long enough to witness him become the first U.S. president.

Washington’s relationship with George William “Will” Fairfax proved to be a complex matter for two reasons. One, Will Fairfax had remained loyal to the British Crown throughout his life. During the decade leading to the outbreak of the American Revolution, that relationship threatened to fall apart due to the two friends’ different political belief – something I was happy to see that the miniseries had conveyed. Another aspect that posed a threat to Washington’s friendship with Fairfax was his romantic feelings for the man’s wife, Sally Fairfax . . . and her feelings for him. There have been rumors that Washington’s relationship with Sally had led to physical adultery, but no proof. But there is proof that they had strong feelings for one another and the miniseries; due to Fiedler and Boothe’s screenplay, along with the performances of Barry Bostwick and Jaclyn Smith; did an excellent job of conveying the pair’s emotional regard for each other in a subtle and elegant manner. What I found even more amazing was the miniseries’ portrayal of Washington’s courtship of and his marriage to Martha Custis. I was surprised that Boothe and Fiedler had portrayed Washington’s feelings toward her with such ambiguity. This left me wondering if he had married her for love . . . or for her fortune. By the last half hour or so of the miniseries, Washington finally admitted to Martha that he did love her. However, the manner in which Bostwick portrayed that scene, I found myself wondering if Washington was himself amazed by how much his feelings for Martha had grown.

I do not know what to say about the miniseries’ portrayal of Washington’s relationships with his military aides during the American Revolution. I do not doubt that his aides were loyal to him or probably even worship him. But I must admit that it seemed the miniseries’ portrayal of this relationship seemed to make Washington’s character just a touch too ideal for my tastes. In fact, one of the miniseries’ main problems seemed to be its idealistic portrayal of the main character. Aside from Washington’s bouts of quick temper, his ambiguous affections for his wife Martha, and his cold relationship with his less than ideal stepson, John “Jacky” Parke Custis; the miniseries made very little effort to portray Washington in any negative light. In fact, Washington’s demand for higher rank within the Virginia militia and British Army during the Seven Years War is portrayed as justified, thanks to Fiedler and Boothe’s screenplay. Personally, I found his demand rather arrogant, considering his young age (early to mid-20s) and limited training and experience as a military officer at the time. Not only did I found his demand arrogant, but also rather astounding. What I found even more astounding was the miniseries’ attitude that television viewers were supposed to automatically sympathize with Washington’s demands.

The miniseries’ portrayal of Washington in the second half – the period that covered the American Revolution – nearly portrayed the planter-turned-commander as a demigod. Honestly. Aside from his occasional bursts of temper, General George Washington of the Continental Army – at least in this miniseries – was a man who could do no wrong. And at times, I found this rather boring. I cannot recall any moment during the miniseries’ second half that questioned Washington’s decisions or behavior. Most of his military failures were blamed on either military rivals or limited support from the Continental Congress.

And then . . . there was the matter of black soldiers serving in the Continental Army. According to “GEORGE WASHINGTON”, Southern representative in Congress wanted blacks – whether they were former slaves or freemen – banned from serving in the army. It was Washington who demanded that Congress allow black men to fight alongside white men in the country’s rebellion against the British Empire. By the way . . . this was a complete lie. Despite black men fighting in the Massachusetts militias during the Battles at Lexington and Concord and the Battle of Bunker Hill, Washington signed an order forbidding them to become part of the Continental Army when the white New England militiamen did. Come to think of it, when it came to racism and slavery, “GEORGE WASHINGTON” presented a completely whitewashed portrait of the future president. The miniseries even featured a pre-war scene in which Washington prevented his overseer from breaking apart slave families at Mount Vernon by selling some of the slaves for needed funds for the plantation. In reality, Washington was not above selling off slaves or breaking up families for the sake of profit or punishing a slave. At a time when historians and many factions of the American public were willing to view the Founding Fathers in a more ambiguous light; Fiedler and co-producers Buzz Kulik and David Gerber lacked the guts to portray Washington with a bit more honestly . . . especially in regard to race and slavery. If they had been more honest, they could have portrayed Washington’s growing unease over slavery and race, following Congress’ decision to allow them within the ranks of the Continental Army in 1777. Unfortunately, putting Washington on a pedestal seemed more important than allowing him some semblance of character development.

Production wise, “GEORGE WASHINGTON” struck me as first-rate. The miniseries had been shot in locales in Virginia and Southern Pennsylvania, adding to the production’s 18th century Colonial America atmosphere. I cannot say whether Harry Stradling Jr.’s cinematography also contributed to the miniseries’ setting. If I must be honest, I did not find his photography that memorable. But I was impressed by Alfred Sweeney’s production designs, along with Sig Tingloff’s art direction and Arthur Jeph Parker’s set decorations. However, I had a problem with the costume choices selected by a costume team supervised by Michael W. Hoffman. To be honest, I did not have much trouble with the costumes for the men. The women’s costumes proved to be another man. A good deal of the story is set among the colonial Virginia gentry. I hate to say this, but I found a good deal of the women’s costumes less than impressive. They looked as if they came straight from a costume warehouse in the middle of Hollywood. I especially had a problem with Jaclyn Smith’s wardrobe as Sally Fairfax. I realize that she is supposed to be an 18th century version of a Southern belle. But there were one or two costumes that seemed to be some confusing mixture of mid 18th and mid 19th centuries. Yikes.

I certainly had no problem with the performances featured in the 1984 miniseries. The latter featured solid performances from legendary actors like Lloyd Bridges, Jose Ferrer, Trevor Howard, Jeremy Kemp, Clive Revill, Anthony Zerbe, Robert Stack and Hal Holbrook. However, I really enjoyed James Mason’s energetic portrayal of the doomed General Edward Braddock; Rosemary Murphy’s skillful performance as the future president’s demanding mother, Mary Ball Washington; Richard Kiley’s emotional portrayal of Washington’s neighbor, planter George Mason; and John Glover’s ambiguous performance as the ambitious Revolutionary officer, Charles Lee. I was also impressed by Stephen Macht’s performance as the ambitious and volatile Benedict Arnold. I could also say the same about Megan Gallagher’s portrayal of Arnold’s wife, Peggy Shippen. Ron Canada provided a good deal of depth in his limited appearances as Washington’s slave valet, Billy Lee. Philip Casnoff, who was a year away from his stint in the “NORTH AND SOUTH” miniseries, gave a very charming and humorous performance as Washington’s French-born aide and close friend, the Marquis de Lafayette. And Leo Burmester gave an excellent performance as Eban Krutch, the New England born Continental soldier, who served as the viewers’ eyes of both Washington and the war throughout the miniseries’ second half.

I really enjoyed David Dukes’ performance as Washington’s neighbor, mentor and close friend, Will Fairfax. I found it quite energetic and charming. And he managed to develop a first-rate chemistry with Barry Bostwick. Come to think of it, so did Jaclyn Smith, who portrayed Fairfax’s wife and the object of Washington’s desire, Sally Fairfax. I also found Smith’s performance rather complex as she had to convey her character’s feelings for Washington in a subtle manner. At first, I found Patty Duke’s portrayal of the future First Lady, Martha Washington, solid but not particularly interesting. Thankfully, the last quarter of the miniseries allowed Duke to prove what a first-rate actress she could be, as it explored Mrs. Washington’s reaction to the privations suffered by the Continental Army’s rank-and-file. Her performance led to an Emmy nomination. And finally, I come to the man of the hour himself, Barry Bostwick. Despite the miniseries being guilty of whitewashing some of Washington’s character, I cannot deny that Bostwick gave a superb performance. The actor skillfully conveyed Washington’s character from the callow youth who was dominated by his mother and his ambition to the weary, yet iconic military general who carried the rebellion and the birth of a country on his shoulders. It is a pity that he did not receive any award nominations for his performance.

I may have my complaints about “GEORGE WASHINGTON”. Despite its detailed account of the first president’s life, I believe it went out of its way to protect his reputation with occasional whitewashing. And some of the miniseries’ production values – namely the women’s costumes – struck me as a bit underwhelming. But despite its flaws, “GEORGE WASHINGTON” proved to be a first-rate miniseries that delved into the history of the United States during the mid-and-late 18th century, via the life of one man. It also benefited from excellent direction from Buzz Kulik and superb performances led by the talented Barry Bostwick. Not surprisingly, the miniseries managed to earn at least six Emmy nominations.

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

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

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

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

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

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

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

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

 

Peggy Olson’s Promotion in “MAD MEN” (1.13) “The Wheel”

PEGGY OLSON’S PROMOTION IN “MAD MEN” (1.13) “THE WHEEL”

Many fans of the show have made a big deal of Peggy Olson’s promotion in the “MAD MEN” Season One finale, (1.13) “The Wheel”. Actually, many have focused upon Peggy’s upward mobility from the secretarial pool to her new position as one of Sterling-Cooper’s copywriters – a professional. I had just finished watching this episode and another thought came to mind. 

It finally occurred to me that the firm’s Creative Director, Don Draper, had given Peggy that promotion in order to spite Pete Campbell, an Accounts executive who wanted to fill in the position of Head of Accounts. When Pete learned that the firm’s two partners – Bert Cooper and Roger Sterling – had directed Don to find a new Head of Accounts for the firm, he made sure to inform Don that he had acquired the Clearsil account due to his father-in-law being an executive of that company. One could say that Pete was simply being an asshole by trying to shove the achievement in Don’s face. But I think that it was simply another tactic of Pete’s to win Don’s approval and gain the promotion to Head of Accounts.

Unfortunately for Pete, the tactic backfired. I suspect that Don – feeling satisfied and perhaps a little smug over winning the Kodak account – decided to strike back at Pete for the latter’s blackmail attempt in the previous episode, (1.12) “Nixon vs. Kennedy”. Pete had not only discovered that Don was an identity thief, but also the latter’s real name. But when Pete informed Bert Cooper, the latter dismissed the former’s revelation and maintained Don’s employment at Sterling Cooper. In an act of vengeance, Don promoted Peggy to copywriter and handed the Clearisil account over to her in order to embarrass Pete. He also found someone else – namely Herman “Duck” Phillips. It was one of the most childish and despicable acts I have ever seen on that show. And yet, because Pete was unpopular with many of the series’ fans, a good number of them failed to notice that Don had used Peggy to get back at Pete.

I find it amazing that both the critics and fans have accused both Betty Draper (Don’s first wife) and Pete of being immature characters. Time and again, Don had proven he could be just as childish or even more so than either of these two or any other character in the series. But so many had been blinded by his “man’s man” facade and good looks that they have failed to realize how emotionally stunted Don could truly be.

“NEMESIS” (1987) Review

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“NEMESIS” (1987) Review

Although not highly regarded by many Agatha Christie fans, I have always been a long time fan of her 1971 novel, “Nemesis”. It possessed a slow, melancholic air about it that has always impressed me. As far as I know, there have been a radio adaptation of the novel and two television movie adaptations. One of the latter was a BBC production that aired in 1987. 

“NEMESIS” began with the death of a millionaire named Jason Rafael, whom Miss Jane Marple had first met in Christie’s 1964 novel, “A Caribbean Mystery”. Through his will, Rafael charges Miss Marple to solve a crime that he believes remain unsolved – the murder of his ne’er do well son Michael’s former fiancée, Verity Hunt. If Miss Marple is successful, she will inherit £20,000. Rafael arranges for Miss Marple to join a bus tour of famous British homes and gardens that includes one Miss Elizabeth Temple, the headmistress of a famous girls’ school that Verity had attended; a Professor Winstead, a psychiatrist who had examined Michael Rafael to judge whether the latter was capable of murder; a young woman named Miss Cooke, whom Miss Marple had spotted in St. Mary’s Mead; and the latter’s companion, a Miss Barrow. Accompanying Miss Marple is her nephew/godson Lionel Peel, a character created by screenwriter T.R. Bowen. During one stop of the bus tour, Miss Marple meets a Mrs. Lavinia Glynne and her two spinster sisters – Clotilde and Anthea Bradbury-Scott. Miss Marple learns that Rafael had arranged for the three sisters to take care of her during the tour’s more physically challenging segments. She also discovers that at least two of the sisters – Clotilde and Anthea – knew both Verity and Michael very well, since the former’s parents knew the Bradbury-Scotts before their deaths.

Despite my high regard for Christie’s novel, I must admit that I am not a major fan of the 1987 adaptation. I managed to enjoy the movie. But I would never regard it as one of my favorite adaptations that featured the Jane Marple character. I have at least three problems with this production. One, “NEMESIS” seemed to move at an incredibly slow pace. Granted, many of the “MISS MARPLE” television movies were guilty of slow pacing. But there were times when it seemed that a snail moved faster than the pacing for this film. Another problem I had with “NEMESIS” is that the story does not feature many suspects. Not really. It seemed pretty obvious in the story that most of the characters that knew Michael Rafael and Verity Hunt – Elizabeth Temple, Professor Winstead, an Archdeacon Brabazon and Lavinia Glynne – made improbable suspects. That only left the two remaining Bradbury-Scott sisters, Clotilde and Anthea, Miss Cooke and Miss Barrow. Actually, Bowen’s screenplay tried to include Michael Rafael as a suspect by placing him in the area when Elizabeth Temple was killed. But that did not really work for me.

Which leads me to my third problem with this production . . . namely Michael Rafael. In Christie’s novel, the latter had been in prison for a decade, convicted of Verity Hunt’s murder (and possible the murder of a local girl named Nora Brent). However, Bowen changed matters by allowing Michael to roam free as a suspect who had never arrested or convicted. Worse, he had Michael roaming the streets of London as a homeless man, acting as some kind of advocate for many of London’s homeless. Every time the story focused on Michael, I had to reach for my remote and push the fast forward button. It was either that or allow the Michael Rafael sequences put me to sleep. Not even Bruce Payne’s performance could keep me interested. If I must be more brutally frank, I thought the 2007 adaptation handled its changes of the Michael Rafael character a lot better. I wish that Bowen had adhered to Christie’s original story by allowing Michael to remain in prison, if he was that intent upon closely following the novel.

However, “NEMESIS” was not a terrible movie. Despite its shortcomings, it proved to be pretty solid adaptation. Bowen and director David Tucker did an admirable job in adapting Christie’s novel for the television screen. More importantly, they did an equally admirable job of adhering to the novel with very few changes. Although I am not particularly thrilled with the changes done to the Michael Rafael character, I have to admit that I liked the addition of the Lionel Peel character. He strongly reminded me of the Arthur Hastings character and actually managed to somewhat assist Miss Marple in her investigation.

The best aspect of “NEMESIS” is that it did not deviate from the novel’s theme . . . namely love. I read another review of the movie that tried to hint that the changes in Bowen’s screenplay emphasized on the topic of decay. Recalling Christie’s original novel, it was an argument that I found hard to accept. More than anything, I believe love played a major role in this story. Due to a series of interviews with other characters in the story, Miss Marple came to the conclusion that Verity Hunt was a much beloved young woman. In fact, her observation led her to question the stark condition of Verity’s resting place. The love Verity shared between Michael Rafael had led to her murder and emotionally ruined his life. The love theme that seemed to permeate the screenplay convinced me that both Bowen and Tucker to maintain the melancholic air that made the novel so interesting . . . and haunting.

I certainly had no problems with the production’s performances. Joan Hickson gave one of her best performances as the truth-seeking Jane Marple. In fact, this particular movie featured one of my favorite Hickson moments on film . . . the moment in which Miss Marple confronts the murderer and reveals the latter’s motive and methods. “NEMESIS” also featured superb performances from Margaret Tyzack, Anna Cropper and Valerie Lush, who portrayed the very interesting Bradbury-Scott sisters. Despite my complaints about the Michael Rafael character, I cannot deny that Bruce Payne gave a very intense performance as the hard-luck drifter. Both Roger Hammond and Patrick Godfrey nearly made a perfect screen team as Jason Rafael’s pair of solicitors, Mr. Broadribb and Mr. Schuster. Peter Tilbury gave an entertaining performance as Miss Marple’s mild-mannered nephew (or godson), Lionel Peel. And I found Helen Cherry’s portrayal of the former school headmistress, Elizabeth Temple, very poignant. Another poignant performance came from Liz Fraser, who portrayed the mother of the missing and presumed dead Nora Brent. The movie also featured solid performances from Ann Queensberry, Jane Booker, Alison Skilbeck, John Horsley and Peter Copley.

I suppose I should be grateful that “NEMESIS” did not prove to be a narrative mess, like the 2007 adaptation of the same novel. Yes, it possessed flaws that made it difficult for me to regard it as one of my favorite Miss Marple adaptations. But it still managed to somewhat closely follow the 1971 novel and maintain its melancholic air. And it also featured excellent performances from a cast led by Joan Hickson as Miss Marple. On a whole, it proved to be a pretty damn good movie.

“POLDARK” (1975) and Misogyny

 

“POLDARK” (1975) AND MISOGYNY

I have just finished the first half of the 1970s adaptation of the “POLDARK” novels. The 1975 series covered the saga’s first four novels in sixteen episodes. And Episodes Thirteen to Sixteen adapted Winston Graham’s 1953 novel, “Warleggan”. And how did I feel about it?

Personally, I was disgusted. Those episodes, especially Episodes Fifteen and Sixteen, struck me as one of the most blatant displays of misogyny I have ever seen on television. Episode Fifteen featured the rape of the character, Elizabeth Poldark by her cousin-in-law and former beau, Ross Poldark, the series’ protagonist. He had raped her out of jealousy and some puerile attempt to stop her from marrying his rival, George Warleggan. And yet, the series went out of its way to demonize Elizabeth’s character in an effort to justify Ross’ rape of her. In Episodes Thirteen to Sixteen, the series transformed Elizabeth into some cold and money hungry bitch concerned only with a life of luxury and no concern for anyone else, including her son by her first marriage, Geoffrey Charles Poldark. This is ridiculous, considering Elizabeth was portrayed in the novel as a loving mother.

The producers and screenwriter Jack Russell clearly wanted to establish the belief that Elizabeth was being punished by Ross for not only rejecting him, but for also being some money-hungry bitch. It was disgusting to watch. What I found even more disgusting was that Russell added a scene in which she and Ross encountered each other a few weeks after the rape. In that scene, he merely regarded her with disgust for marrying George, despite the fact that he had RAPED HER only a few weeks earlier. I was so disgusted by this that I had to turn off the DVD to collect myself before finishing the episode.

Episode Sixteen finally ended with George enclosing the Trenwith estate from tenants. The latter retaliated with an attack on Trenwith, before burning it down. This never happened in the novel and it was quite clear to me that the producers and Russell created this whole scenario as a smoke screen to keep the viewers from remembering the fact that Ross Poldark is a rapist. By the time I finished viewing the 1975 adaptation, I felt ugly, dirty and disgusted.

“THE CHISHOLMS” (1979): Chapter II Commentary

“THE CHISHOLMS” (1979): CHAPTER II Commentary

The first episode of the 1979 miniseries, “THE CHISHOLMS” – otherwise known as Chapter I had focused on the Chisholm family’s last year at their western Virginia farm. The episode also explored the circumstances that led to patriarch Hadley Chisholm’s decision to move the family west to California during the spring of 1844 and their journey as far as Evansville, Indiana. This second episode focused on the next stage of their journey. 

This new episode or Chapter II focused on a short period of the Chisholms’ migration to California. It covered their journey from southeastern Illinois to Independence, Missouri. Due to the addition of a guide named Lester Hackett, who had agreed to accompany them as far as Missouri, the Chisholm family experienced its first crisis – one that led to a temporary split within the family ranks. The family’s journey seemed to be smooth sailing at first. They managed to become used to the routine of wagon train traveling. Lester proved to be an agreeable companion who helped with both hunting for game and cooking. He even managed to save Bonnie Sue Chisholm, who briefly found herself trapped in the family’s wagon being pulled away by their pair of skittish mules. Eventually, Bonnie Sue and Lester began expressing romantic interest in each other.

But alas, the family’s luck began to fade. A lone rider began trailing the Chisholm party. Lester discovered that he was a friend of someone named James Peabody, who believes Lester was responsible for the theft of some valuables that include a pair of Spanish pistols . . . the same pistols that Lester had claimed he lost in a poker match in Louisville. He and Bonnie Sue enjoyed a night of intimacy together before he abandoned the Chisholms . . . while riding Will Chisholm’s horse. Around the same time, Hadley’s violent encounter with a drunken Native American at a local tavern fully revealed his deep-seated bigotry towards all Native Americans and foreshadowed the problems it will cause. Then Hadley made one of the worst decisions of his life by allowing Will and middle son Gideon to pursue Lester to Iowa and recover the former’s stolen horse.

Upon their arrival in Iowa, Will made an equally disastrous decision. Instead of requesting information and help from the local sheriff, he and Gideon appeared at the Hackett farm, asking for Lester’s whereabouts. The two brothers ended up being arrested for the theft of chicken eggs and trespassing. Although the charges of theft were dropped, Will and Gideon were convicted of trespassing and ordered to serve on a prison work gang for a month. This left the rest of the family to continue on to Independence, Missouri – the jump-off point for all westbound wagon trains. During their journey through Missouri, the Chisholms joined with the Comyns, a family from Baltimore. Upon their arrival in Independence, the Chisholms and the Comyns discover that most of the wagons trains had already departed. However, they managed to form a wagon party with a plainsman named Timothy Oates and his Pawnee wife, Youngest Daughter. Unaware that Will and Gideon have been sentenced to a prison work gang, and aware that they are already behind schedule, the Chisholms have no choice but to head west into the wilderness.

For an episode that began in a light-hearted manner, Chapter II ended on a rather ominous note. You know, I have seen this production so many times. Yet, it never really occurred until recently how the turmoil caused by Lester Hackett in this episode, ended up causing so much turmoil for the family. What makes this ironic is that it all began with the sexual attraction that had sprung up between him and Bonnie Sue Chisholm back in Louisville. The first sign of this turmoil manifested in Lester’s abandonment of the family and especially, his theft of Will Chisholm’s horse. The horse theft led to the separation of the family at a time when it would have been more imperative for them to be together as a unit.

Hadley did not help matters by allowing Will and Gideon to search for Lester in Iowa. And the two brothers made the situation worse by failing to immediately contact the local sheriff before appearing at the Hackett farm – an act that led them to be sentenced one month on a prison work gang. Will and Gideon’s situation made it impossible for them to catch up with the rest of the family on the trail. And as Beau Chisholm had pointed out to Hadley in Independence, they were not in a position to wait for the other two. The Chisholms had no choice but to leave with two other westbound parties – the Comyns from Baltimore and the frontiersman Timothy Oates and his wife, Youngest Daughter. Two families and a couple does not seem large enough for a safe journey on the overland trail. But considering they were all behind schedule, they could either take the risk continue west or hang around Independence until the next year.

But I did notice that despite all of this turmoil, the light-hearted atmosphere of the episode’s beginning seemed to have persisted. More importantly, Chapter II seemed to be marked by a good deal of humor. The episode included humorous moments like Hadley’s negative comments about the Illinois and Missouri landscapes, Will and Lester’s lively debate over using mules or oxen to pull wagon overland, Lester’s attempts to win over the family – especially Minerva, and especially his sexy courtship of Bonnie Sue.

Once Lester had abandoned the family near St. Louis, the humor continued. Will and Gideon’s experiences in Iowa were marked with a good deal of sardonic humor. That same humor marked Hadley and Minerva’s low opinion of the Comyn family. Even Hadley’s quarrel with the Independence saloon owner permeated with humor and theatricality. Looking back on Chapter II, I can only think of two moments that really emphasized the gravitas of the Chisholms’ situation – Hadley’s violent encounter with the Native American inside an Illinois tavern and that final moment when the family continued west into the wilderness without Will and Gideon.

When the Chisholms left Virginia in Chapter I, their journey was marked with a good number of interesting settings. That episode featured a detailed re-creation of Louisville and travel along the Ohio River. There seemed to be no such unusual settings for Chapter II. The entire episode focused on the family’s journey through Illinois, Iowa and Missouri. Not once did the episode featured the family in St. Louis. And a few set pieces (or buildings) served as Independence, Missouri circa 1844.

The performances from Chapter I held up very well. Robert Preston and Rosemary Harris, as usual, gave excellent performances as the family’s heads – Hadley and Minerva Chisholm. I was especially impressed by Preston’s performance in the scene involving Hadley’s encounter with the intoxicated Native American. In it, the actor did a superb job in conveying both Hadley’s racism toward all Native Americans and his poignant regret over the tragic circumstances (Allen Chisholm had been killed by a Native American in a drunken fight over a slave woman from the Bailey plantation) behind his toxic attitude. Both Ben Murphy and Brian Kerwin clicked rather well during those scenes that involved Will and Gideon Chisholm’s search for Lester. The episode also featured solid performances from James Van Patten, Susan Swift, Katie Hanley (as the amusingly mild-mannered Mrs. Comyn) and David Heyward (as Timothy Oates). Veteran character actor Jerry Hardin gave an excellent performance the slightly proud, yet finicky Mr. Comyn, who seemed to run his life by his pocketwatch.

But if I must be honest, this episode belonged to Stacy Nelkin and Charles Frank, who did superb jobs in conveying Bonnie Sue Chisholm and Lester Hackett’s burgeoning romance. I was impressed by how both of them developed Bonnie Sue and Lester’s relationship from sexual attraction to playful flirtations and finally, to a genuine romance that was sadly cut short by Lester’s need for self-preservation from a charge of theft.

Overall, I enjoyed Chapter II. In a way, it seemed to be the calm before the storm that threatens to overwhelm the Chisholm family on their trek to California. The episode seemed to be filled with a good deal of humor and romance. On the other hand, Lester Hackett’s past and current choices in this episode seemed to hint an ominous future for the family by the end of the episode.

Favorite Episodes of “A NERO WOLFE MYSTERY” (2000-2002)

Below is a list of my favorite episodes from the A&E series, “A NERO WOLFE MYSTERY”. Based upon the detective stories and novels written by Rex Stout, the series starred Timothy Hutton and Maury Chaykin as Archie Goodwin and Nero Wolfe: 

FAVORITE EPISODES OF “A NERO WOLFE MYSTERY” (2000-2002)

1. (1.02) “Champagne For One” – In this adaptation of Stout’s 1958 novel, detective Nero Wolfe investigates the death of a young unwed mother at a charity dance attended by his assistant, Archie Goodwin. The latter had been standing in for an acquaintance, who was related to the wealthy hostess.

2. (2.08) “Before I Die” – A notorious gangster hires Wolfe to protect his real daughter, who is unaware of her father’s identity, and stop the woman impersonating her from blackmailing him in this adaptation of Stout’s 1947 novella.

3. (2.05) “The Mother Hunt” – In this adaptation of Stout’s 1963 novel, a wealthy young widow hires Wolfe and Archie to identify and locate the birth mother of the baby left in the vestibule of her townhouse.

4. (1.08) “Over My Dead Body” – A Montenegro woman claiming to know Wolfe’s adopted daughter is suspected of theft and murder at a prestigious fencing club in this adaptation of Stout’s 1940 novel.

5. (2.09) “Help Wanted, Male” – In this adaptation of Stout’s 1945 novella, Wolfe receives a death threat regarding a past case and hires a look-a-like double to temporarily impersonate him until he can identify the perpetrator.

Honorable Mentioned: (2.06) “Poison à la Carte” – When Wolfe and Archie attend the annual Ten for Aristology, a gourmet society, one of the members is poisoned. Wolfe suspects one of the female servers of the crime.