“MANK” (2020) Review

“MANK” (2020) Review

When it comes to biopics about Hollywood history, I must admit that I have a slight addiction to them. I really enjoy reading about Hollywood history. And I especially enjoy reading about the industry’s so-called “Golden Age”. So, when I learned about the upcoming release of “MANK”, a biopic about Hollywood screenwriter, Herman J. Mankiewicz, I was pretty eager to see it.

However . . . I never got the chance to watch “MANK” in movie theaters during the fall/winter of 2020-2021. “MANK” had the bad luck to be released while the entire world was in the grip of the COVID-19 pandemic. Although Netflix had released the film in theaters for a limited period in November 2020, the streaming service/production company eventually released it on its streaming service the following month. Because of this, a good number of months had passed before I had eventually watched it on television.

“MANK” began in 1940, when the then young wunderkind Orson Welles hired veteran screenwriter Herman J. Mankiewicz to write the screenplay for his new movie, “CITIZEN KANE”. Unfortunately, Mankiewicz is in Victorville, CA; recovering from a broken leg he had sustained in a car crash. With the assistance of his secretary Rita Alexander, he becomes aware of the similarities between the movie’s main character and newspaper magnate William Randolph Hearst. This awareness not only inspired Mankiewicz to work on Welles’ screenplay, but also led him to recall his history with Hearst, the latter’s mistress, Marion Davies; and the smear campaign against Upton Sinclair’s 1934 California gubernatorial campaign.

Since “MANK” is not a documentary, but a historical drama, I knew that its narrative would not be completely accurate. However, I do believe that screenwriter Jack Fincher and his brother, director David Fincher, took a lot of liberties in regard to historical accuracies. Perhaps too much. Yes, the movie featured historical accuracies that included Mankiewicz’s car accident and broken leg, his employment with both Paramount Pictures and Metro-Goldwyn-Mayer Studios, Upton Sinclair’s bid for Governor of California in 1934 and of course, Mankiewicz’s collaboration with Welles and John Houseman on “CITIZEN KANE”.

However, the main problem with “MANK” is that Jack Fincher tried to connect the efforts to undermine Upton Sinclair’s gubernatorial campaign with Mankiewicz’s screenplay for “CITIZEN KANE”. And it did not exactly work. It failed to work due to Mankiewicz’s political beliefs. Considering that Sinclair had ran for governor as a Democrat, it seemed implausible that Mank would have been that upset over the state’s business leaders – which included movie studio chief Louis B. Mayer, studio producer Irving Thalberg; and newspaper magnates like Hearst and Harry Chandler – going out of their way to undermine Sinclair’s campaign. Mankiewicz’s politics tend to skewer toward conservative, except when it came to fascism.

It seems quite obvious that Jack Fincher needed an explanation for why Mankiewicz had been willing to write “CITIZEN KANE”, a scathing portrait of William Randolph Hearst. So he invented one. But you know what? I find myself wondering what topic had really caught the Finchers’ attention – Mankiewicz’s connection with Hearst, Davies and “CITIZEN KANE”; or the 1934 California gubernatorial election. Because honestly . . . it seemed as if both screenwriter and director were more interested in the latter. If that was the case, then the Fincher brothers should have solely focused the movie’s topic on the election.

I have another quibble about “MANK”. One I found some of the dialogue in the film’s first half hour a bit too stylized for my tastes. In one early scene, it seemed as if the Finchers had tried too hard to recapture a West Coast version of the Algonquin Round Table. Also, why did the Finchers shot this film in black-and-white? What was the point? Because to me, this decision to film in black-and-white seemed like another attempt at a homage to Hollywood’s Golden Age via a gimmick. And I am getting weary of gimmicks – especially unnecessary ones in Hollywood productions.

Otherwise, I did not have a problem with “MANK”. There are at least three reasons why I ended up enjoying this film. One, the movie featured a first-rate character study of Herman J. Mankiewicz. I have read a good deal about him. Granted, the movie was not completely honest in the writer’s characterization. The latter’s political beliefs would have never led him to get upset, let alone outraged over the campaign against Upton Sinclair. However, David Fincher’s screenplay did a very admirable job in capturing Mankiewicz’s other traits – including his wit, his addictions and air of weariness. If I must be frank, I believe Gary Oldman’s superb performance achieved this even more than the Finchers’ screenplay and direction.

Two, although I found the creation of “CITIZEN KANE” rather interesting, it did not strike me as particularly unique. Well . . . I take that back. “MANK” did tell this story specifically from the screenwriter’s point-of-view. The 1999 HBO film, “RKO 281”, told this story mainly from Orson Welles’ point-of-view. However, the movie’s depiction of Hollywood’s connection to California’s 1934 gubernatorial election struck me as the film’s more interesting and original aspect. This was especially apparent in scenes that featured a montage of the phony newsreels criticizing Sinclair and the election’s final night.

One aspect of “MANK” really impressed me – namely the performances featured in the film. They either ranged from competent performances from the likes of Tom Pelphrey as Joseph Mankiewicz, Charles Dance as William Randolph Hearst, Ferdinand Kingsley as Irving Thalberg, Joseph Cross as Charles Lederer, Toby Leonard Moore as David Selznick, Sam Troughton as John Houseman, Bill Nye as Upton Sinclair and Arliss Howard as Louis B. Mayer. Mind you, I believe there were times when Howard’s performance threatened to become a bit too theatrical. But I still enjoyed it. I was very impressed by the performances from Tuppence Middleton as Sara Mankiewicz, Tom Burke as Orson Welles and Amanda Seyfried as Marion Davies. As much as Seyfriend’s performance impressed me, I do not believe she had deserved an Oscar or any other acting nomination for her performance. I do not believe her performance was that exceptional.

There were a handful of performances that I really enjoyed. I thought Jamie McShane gave a very emotional performance as test director Shelly Metcalf, who shot the anti-Sinclair newsreels. Frankly, Lily Collins’ performance as Mankiewicz’s no-nonsense secretary Rita Alexander impressed me a lot more than Seyfriend’s performance. And I thought she and the leading man had managed to create a superb screen chemistry. Although I believed that Seyfriend’s acting nominations were undeserved, I cannot say the same for Gary Oldman’s performance as Herman J. Mankiewicz. I thought he was superb as the screenwriting icon agonizing over his earlier apathy toward the governor’s election, while struggling over his alcoholism and creation of the “CITIZEN KANE” screenplay. He truly deserved his acting nominations – especially in one scene in which the main character went into a drunken rant against the Hollywood machine and Hearst.

“MANK” was definitely not the best movie of 2020. Perhaps it was one of the better ones. I still believe it could have been a better film if David and Jack Fincher had not attempted to connect the creation of “CITIZEN KANE” with California’s 1934 governor election. But its re-creation of the latter proved to be one of the film’s highlights. And the movie also benefited from excellent direction from David Fincher and excellent performances from a cast led by the always superb Gary Oldman. Honestly, I would have no qualms about buying a DVD copy of this film.

Favorite Television Productions Set in the 1810s

Below is a list of my favorite television productions set during the 1810s:

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1810s

1. “Pride and Prejudice” (1995) – Jennifer Ehle and Colin Firth starred in this award winning adaptation of Jane Austen’s 1813 novel. The six-part miniseries was adapted by Andrew Davies and directed by Simon Langton.

2. “Emma” (2009) – Romola Garai, Jonny Lee Miller and Michael Gambon starred in this excellent adaptation of Jane Austen’s 1815 novel. The four-part miniseries was adapted by Sandy Welch and directed by Jim O’Hanlon.

3. “Vanity Fair” (1987) – Eve Matheson starred in this superb adaptation of William Makepeace Thackery’s 1848 novel. The sixteen-part miniseries was directed by Diarmuid Lawrence and Michael Owen Morris; and adapted by Alexander Baron.

4. “Pride and Prejudice” (1980) – Elizabeth Garvie and David Rintoul starred in this first-rate adaptation of Jane Austen’s 1813 novel. The five-part miniseries was adapted by Fay Weldon and directed by Cyril Coke.

5. “War and Peace” (2016) – Paul Dano, Lily James and James Norton starred in this excellent adaptation of Leo Tolstoy’s 1869 novel. The six-part miniseries was adapted by Andrew Davies and directed by Tom Harper.

6. “Vanity Fair” (1998) – Natasha Little starred in this award winning adaptation of William Makepeace Thackery’s 1848 novel. The six-part miniseries was directed by Marc Munden and adapted by Andrew Davies.

7. “Emma” (1972) – Doran Godwin and John Carson starred in this first-rate adaptation of Jane Austen’s 1815 novel. The six-part miniseries was adapted by Denis Constanduros and directed by John Glenister.

8. “Davy Crockett and the River Pirates” (1956) – This sequel to the 1955 television movie, “Davy Crockett, King of the Wild Frontier”, conveyed the experiences of Davy Crockett and George Russel with keelboat riverman Mike Fink and river pirates along the Ohio and Mississippi Rivers. Picturesque and a lot of fun. Directed by Norman Foster, the TV movie starred Fess Parker, Buddy Ebsen and Jeff York.

9. “War and Peace” (1972) – Anthony Hopkins, Morag Hood and Alan Dobie starred in this superb adaptation of Leo Tolstoy’s 1869 novel. The twenty-part miniseries was adapted by Jack Pulman and directed by John Davies.

10. “Poldark” (1996) – John Bowe and Mel Martin starred in this television adaptation of Winston Graham’s 1981 novel from his Poldark series, “The Stranger From the Sea”. The television movie was directed by Richard Laxton and adapted by Robin Mukherjee.

Favorite Television Productions Set in the 1800s

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

 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1800s

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

 

 

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

 

 

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

 

 

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

 

 

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

 

 

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

 

 

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

 

 

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

“THE CLOCKS” (2009) Review

“THE CLOCKS” (2009) Review

While perusing the list of novels written by Agatha Christie between 1957 and 1973, I noticed that only five of them featured Belgian detective Hercule Poirot as the main detective. Five out of sixteen novels during this period. Considering how the author used to churn out Poirot novels and short stories like nobody’s business in the previous decades, I could not help but wonder if the author’s interest in the Belgian detective was on the wane. 

This certainly seemed to be the case for her 1963 novel, “The Clocks”. Although Poirot was the investigator who solved the mystery, he barely played a role in this investigation. Major supporting characters like Colin Lamb and Inspector Richard Hardcastle visited the crime scenes and questioned the suspects and other witnesses. They fed the information to Poirot, who exercised his “little grey cells” and solved the case. This is one reason why the 1963 novel was not a particular favorite of mine. Thankfully, the 2009 adaptation of “The Clocks” proved to be a different kettle of fish. Unlike his literary version for this tale, actor David Suchet’s Poirot was, without a doubt, the mystery’s main character.

Although the 2009 television movie, “THE CLOCKS”, provided some minor changes to Christie’s novel, it also featured two major changes. I have already commented on how Poirot had a bigger role (as he should) in this television adaptation. The setting for “THE CLOCKS” also underwent a major change. Instead of being set during the heyday of the Cold War, the 2010 television movie was set near the end of the 1930s, with Europe (and eventually the rest of the world) on the cusp of World War II. And the narrative’s B-plot reflected this. In “THE CLOCKS”, the character of Colin Lamb has been changed to Colin Race, conveying the idea that he is the son of of an old friend of Poirot’s. And instead of being an MI-5 (Special Branch) agent investigating a pro-Communist spy ring, Colin is a Royal Navy officer working for MI-6 and investigating a possible pro-Nazi spy ring in Dover. Also, the character of Richard “Dick” Hardcastle has become a slightly xenophobic police officer, who resented Poirot’s presence in the investigation. Despite these changes, the core of Christie’s narrative managed to survive for this adaptation.

“THE CLOCKS” began as a spy story in which MI-6 operative Colin Race finds himself investigating the theft of classified documents from a naval base at Dover Castle. Apparently, Colin’s girlfriend had spotted the thief/German spy, but was killed by a speeding car before she could apprehend the thief. Colin’s girlfriend left a clue, leading Colin to a neighborhood in Dover. Upon reaching one house on a street shaped like a crescent, a young woman named Sheila Webb races out of it, screaming that she had found a murdered man inside, along with a collection of clocks. Colin seeks Poirot’s help to solve the murder mystery, in case the murder proves to be connected with the spy ring he had been investigating and his girlfriend’s death.

As I had earlier stated, I am not a big fan of Christie’s 1963 novel. While some might find the idea of Poirot being reduced to a minor character who solves the mystery in an armchair rather amusing, I did not. I could not, especially if this was supposed to be a “Poirot” mystery. And as I had earlier pointed out, screenwriter Stewart Harcourt director Charlie Palmer ensured that Poirot would be the main character in this adaptation. I also enjoyed how the narrative allowed Poirot and Colin’s search for the spy ring and missing document overshadow their efforts to find the killer responsible for the mystery man’s death, along with the deaths of two other characters – Edna Brent, a typist and colleague of Sheila Webb’s; and Merlina Riva, a former stage actress who claimed to be the widow of the dead man discovered by Colin and Sheila. Throughout the story, those viewers unfamiliar with Christie’s novel might find themselves wondering if Sheila was responsible for the deaths, if the deaths had anything to do with the German spy ring, or if the three victims had been killed for another reason. Overall, I believe “THE CLOCKS” is a solid adaptation of Christie’s novel, but also an improvement.

However, there is one aspect of Harcourt and Palmer’s adaptation that I do not regard as an improvement. I refer to the character of Colin Race. One, this secondary lead character came off as less than intelligent than his literary counterpart. Colin was able to solve the mystery of the spy ring without Poirot’s help. And two, in the television movie, he struck me as a slightly shallow man who was able to transfer his affections from one woman to another within a few days. I found this rather tacky. I believe Harcourt’s screenplay made the mistake of having Colin involved with the doomed Fiona Hanbury, whose activities led him to another clue regarding the spy ring, at the beginning of the story. Worse, it did not take Colin very long to develop romantic feelings for Sheila Webb after meeting her. And he met Sheila in less than a week after Fiona’s death. Even when he was still mourning Fiona’s death, he was falling in love with Sheila. Really? This is just tackiness beyond belief. Colin’s romantic relationships in this movie made him look like a shallow idiot who seemed to have this need for romance in his life 24/7.

The television movie’s production values struck me as very impressive. I thought Jeff Tessler’s production designs did a great job in recreating Dover circa 1939. His work was ably supported by Miranda Cull’s art direction and Sheena Napier’s costume designs. I have mixed feelings about Peter Greenhalgh’s cinematography. On one hand, I found movie’s photography very colorful and beautiful. In fact, I thought it did justice to the production’s locations in London and Kent. But I did not care for the hazy veneer that I felt almost spoiled the photography. I found it an unnecessary device for indicating that this story was set in the past. And it reminded me of numerous period dramas in the 1970s that also used this camera device . . . unnecessarily.

I certainly had no problems with the movie’s cast. David Suchet, as always, gave a sharp and elegant portrayal of Hercule Poirot. In fact, his performance reinforced my relief that the screenwriter and director had given Poirot a bigger presence in this adaptation than in Christie’s novel. Despite my irritation with the Colin Race character, I cannot deny that Tom Burke gave an exceptionally skillful performance. He almost made me believe in the plausibility of Colin falling in love with one woman, while still grieving for another. I was very impressed by Jaime Winstone’s portrayal of the ambiguous Sheila Webb. I thought she did an excellent job in conveying both the character’s desperate need for everyone to believe in her innocence and her occasional lapses in morality. Phil Daniels was excellent as the slightly aggressive and xenophobic Inspector Richard “Dick” Hardcastle. Lesley Sharp gave a very subtle performance as Sheila’s no-nonsense boss Miss Martindale. And I was very impressed with Anna Massey’s performance as Miss Pebmarsh, the blind owner of the house that contained the dead man and the actress’s final role before her death. Like Winstone, Massey did an excellent job of portraying a very complicated and ambiguous character, who was haunted by the deaths of her sons during World War I. The television movie also featured excellent performances from Geoffrey Palmer (father of the director), Tessa Peake-Jones, Jason Watkins, Beatie Edney, Abigail Thaw, Guy Henry, Stephen Boxer, and Frances Barber.

In the end, I believe that “THE CLOCKS” was a solid adaptation of Agatha Christie’s 1963 novel, thanks to a first-rate script by Stewart Harcourt and first-rate direction by Charlie Palmer. My only true complaint was their handling of the Colin Race character. The television movie also featured excellent performances by a talented cast that included David Suchet, Anna Massey and Jaime Winstone.

Favorite Television Productions Set in the 1600s

Below is a list of my favorite television productions (so far) that are set in the 1600s: 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1600s

1. “The Man in the Iron Mask” (1977) – Richard Chamberlain starred in this entertaining, yet loose television adaptation of Alexandre Dumas père’s 1847-1850 serialized novel, “The Vicomte of Bragelonne: Ten Years Later”. William Bast directed.

2. “The Musketeers” (2014-2016) – Adrian Hodges created this television series that was based upon the characters from Alexandre Dumas père’s 1844 novel, “The Three Musketeers”. The series starred Tom Burke, Santiago Cabrera, Howard Charles and Luke Pasqualino.

3. “Shōgun” (1980) – Richard Chamberlain starred in this award winning adaptation of James Clavell’s 1975 novel about an English sea captain stranded in early 17th century Japan. Co-starring Toshiro Mifune and Yoko Shimada, the miniseries was directed by Jerry London.

4. “The Fortunes and Misfortunes of Moll Flanders” (1996) – Alex Kingston starred in this adaptation of Daniel Dafoe’s 1722 novel about the fortunes of an English criminal named Moll Flanders. Adapted by Andrew Davies, the miniseries was directed by David Attwood.

5. “By the Sword Divided” (1983-1985) – John Hawkesworth created this historical drama about he impact of the English Civil War on the fictional Lacey family during the mid-17th century. The series included Julian Glover and Rosalie Crutchley.

6. “The First Churchills” (1969) – John Neville and Susan Hampshire stared in this acclaimed miniseries about the life of John Churchill, 1st Duke of Marlborough and his wife, Sarah Churchill, Duchess of Marlborough. David Giles directed.

7. “Lorna Doone” (1990) – Polly Walker, Sean Bean and Clive Owen starred in this 1990 adaptation of R.D. Blackmore’s 1869 novel. Andrew Grieve directed.

8. “The Return of the Musketeers” (1989) – Richard Lester directed this adaptation of Alexandre Dumas pere‘s 1845 novel, “Twenty Years After”. Michael York, Oliver Reed and Kim Cattrall starred.

9. “Lorna Doone” (2000-01) – Amelia Warner, Richard Coyle and Aiden Gillen starred in this 2000-01 adaptation of R.D. Blackmore’s 1869 novel. Mike Barker directed.

10. “Jamestown” (2017-present) – Bill Gallagher created this television series about the creation of the Jamestown colony in the early 17th century. Naomi Battrick, Sophie Rundle and Niamh Walsh starred.

Top Ten Favorite Television Productions Set in the 1950s

Below is a list of my favorite television productions (so far) that are set in the 1950s:

 

TOP TEN FAVORITE TELEVISION PRODUCTIONS SET IN THE 1950s

1. “A Nero Wolfe Mystery” (2000-2002) – Timothy Hutton and Maury Chaykin starred in this adaptation of novels and short stories about the New York City based private detective from Montenegro, Nero Wolfe.

 

2. “The Company” (2007) – Robert Littell produced this three-part miniseries adaptation of his 2002 novel about the Cold War during the mid and late 20th century. Half of the series is set during the 1950s. Chris O’Donnell, Rory Cochrane, Alessandro Nivola, Alfred Molina and Michael Keaton starred.

 

3. “Miss Marple” (1984-1992) – Joan Hickson starred in this adaptation of Agatha Christie murder mysteries featuring the elderly sleuth, Miss Jane Marple. The series was produced by George Gallaccio.

 

4. “M*A*S*H” (1972-1983) – Larry Gelbert developed this Award winning adaptation of the 1970 movie and Richard Hooker’s 1968 novel, “M*A*S*H: A Novel About Three Army Doctors” about a U.S. Army field hospital during the Korean War. Alan Alda, Wayne Rogers and Mike Farrell starred.

 

5. “Agatha Christie’s Marple” (2004-2013) – Both Geraldine McEwan and Julia McKenzie portrayed Miss Jane Marple in this adaptation of Agatha Christie’s novels about the elderly sleuth.

 

6. “The Hour” (2011-2012) – Romola Garai, Dominic West and Ben Whishaw starred in this series about a BBC news show set in the mid-to-late 1950s. The series was created by Abi Morgan.

 

7. “Magic City” (2012-2013) – Mitch Glazer created this STARZ series about a Miami hotel owner during the late 1950s. The series starred Jeffrey Dean Morgan and Olga Kurylenko.

 

8. “I’ll Fly Away” (1991-1993) – Regina Taylor and Sam Waterston starred in this series about a Southern black housekeeper and her complicated relationship with her employer, a white attorney in the late 1950s and early 1960s. The series was created by Joshua Brand and John Falsey.

 

9. “Grantchester” (2014-Present) – James Norton and Robson Greene starred in this adaptation of “The Grantchester Mysteries”, James Runcie’s series of mystery stories that feature an unlikely partnership between a Church of England vicar and a police detective during the 1950s.

 

10. “Ordeal of Innocence” (2018) – Sarah Phelps wrote and produced this third adaptation of Agatha Christie’s 1958 novel. The three-part miniseries starred Bill Nighy, Anna Chancellor and Anthony Boyle.

 

 

Five Favorite Episodes of “THE MUSKETEERS” Season Two (2015)

Below is a list of my five favorite episodes from Season Two of “THE MUSKETEERS”, the BBC’s historical action-drama based on Alexandre Dumas, père’s 1844 novel. Created by Adrian Hodges, the series stars Tom Burke, Santiago Cabrera, Howard Charles and Luke Pasqualino:

FIVE FAVORITE EPISODES OF “THE MUSKETEERS” SEASON TWO (2015)

1. (2.07) “A Marriage of Inconvenience” – In this episode, France’s premier minister and former spy, Comte de Rochefort, uses an assassin to kill of members of King Louis XIII’s council and advance his position at court; while he learns the truth about Queen Anne’s past relationship with Musketeer Aramis.

2. (2.10) “Trial and Punishment” – In the season finale, Musketeers Athos and d’Artagnan rescue Constance from the executioner’s sword; and with Treville they help Porthos to capture the Spanish spymaster Vargas. Meanwhile, Louis has signed Anne’s death warrant, leading to a confrontation between Rochefort and the Musketeers.

3. (2.02) “An Ordinary Man” – Wanting to experience the life of an ordinary citizen, the King Louis accompanies the Musketeers on the streets of Paris . . . before he and Musketeer d’Artagnan are kidnapped by slave traders.

4. (2.09) “The Accused” – After being rebuffed by the Queen, Rochefort produces a fake letter from her to her brother, the King of Spain, in an effort to frame her for treason. Meanwhile; the royal physician, Dr. Lemay and the Queen’s aide, Constance Bonacieux; are implicated in an attempt to poison the King.

5. (2.03) “The Good Traitor” – An ex-general from the Spanish army arrives in Paris to plead for help in rescuing his daughter, held by Spanish agents in Paris; in exchange for a coded formula and cypher machine of a deadly new gunpowder that the Spanish also want.

“WAR AND PEACE” (2016) Review

“WAR AND PEACE” (2016) Review

I have a confession to make. I have never seen a movie or television adaptation of Leo Tolstoy’s 1869 novel, “War and Peace”. Never. Well . . . I once made an attempt to watch the 1956 movie adaptation directed by King Vidor. Unfortunately, I could never go the distance. In fact, I have never read the novel. 

However, many years passed. When I heard about the BBC’s latest adaptation of Tolstoy’s novel, my curiosity got the best of me and I decided to give “WAR AND PEACE” a chance. The six-part miniseries is simply about the experiences of five Russian families during the Napoleonic Wars in the early 19th century. Those families include the Bezukhovs, the Bolkonskys, the Rostovs, the Kuragins, and theDrubetskoys. The miniseries seemed to be divided into three segments during a period between 1805 and 1812-13. The first segment featured the introduction of the main characters and Russia’s preparation of a war against Napoleon’s France. This culminates into the Battle of Austerlitz in which two major characters – Prince Andrei Nikolayevich Bolkonsky and Count Nikolai Ilyich Rostov – participate.

The second segment featured the characters’ personal experiences at home. During this period, the miniseries explored Count Pyotr “Pierre” Kirillovich Bezukhov’s failed marriage with the beautiful, but vapid and unfaithful Princess Yelena “Hélène” Vasilyevna Kuragina; the Rostov family’s financial woes and how it affected Nikolai Rostov; the emotional strains within the Bolkonsky family; Prince Boris Drubetskoy’s efforts to advance his military career; and especially Countess Natalya “Natasha” Ilyinichna Rostova’s love life, which included both Andrei Bolkonsky and Prince Anatole Vasilyevich Kuragin. This segment also included news of Treaties of Tilsit of 1807, which ended hostilities between Imperial France and Imperial Russia and Prussia. The miniseries’ final segment focused on France’s invasion of Russia in 1812 and the characters’ efforts to survive it.

I could compare director Tom Harper and screenwriter Andrew Davies’ adaptation with Tolstoy’s novel, but it would be a useless effort. As I had earlier pointed out, I have never read the novel. But I do have at least two complaints about the productions. One of them revolved around the relationship between Natasha Rostova and Andrei Bolkonsky. I realize that the publicity machine on both sides of the Atlantic had undergone a great effort to build up the relationship between the pair. Frankly, I found the publicity campaign rather wasted. The Natasha/Andrei romance struck me as a disappointing and wasted effort. The majority of their story arc – which began with their meeting at a ball near the end of Episode Three, continued with Natasha’s brief romance with the slimy Anatole Kuragin, and ended with Natasha’s romances with both men crashing around her by the end of Episode Four; had moved . . . so damn fast that it left my head spinning. I cannot help but wonder if the entire arc could have been portrayed with more detail if the series had stretched a bit longer.

I also had a problem with Edward K. Gibbon’s costume designs. I found most of them very colorful, especially for the aristocratic characters. But I also found most of them rather troublesome. Well . . . to be honest, I found them either mediocre or historically questionable. One of them left me gritting my teeth:

But my jaw had literally dropped at the sight of a few costumes worn by actresses Tuppence Middleton and Gillian Anderson – including those shown in the images below:

 

WHAT IN THE HELL??? Their costumes looked more appropriate for present-day evening wear than the early 19th century. What was Mr. Gibbons thinking?

Despite the rushed Natasha Rostova/Andrei Bolkonsky romance and despite the rather questionable costumes, I managed to enjoy “WAR AND PEACE” very much. I am a sucker for family sagas, especially when they are seeped in a historical background. And “WAR AND PEACE” nearly pushed every one of my buttons when it comes to a well made saga. It had everything – romance, family struggles, historical events and personages. When I realized that Tolstoy had originally focused his tale on five families, I did not think Andrew Davies would be able to translate the author’s novel in a tight story without losing its epic quality.

There were certain sequences that really blew my mind, thanks to Davies’ writing and especially, Tom Harper’s direction. I thought Harper did an outstanding job of re-creating battles like Austerlitz and Borodino, along with the French Army’s retreat from Moscow. Harper also did a great job in directing large parties and ball scenes. My two favorites are the party held at St. Petersburg socialite Anna Pavlovna Scherer’s salon in Episode 1 and the ball where Natasha and Andrei met in Episode 3.

But it was not just the battle and crowd scenes that impressed me. “WAR AND PEACE” is – after all – a melodrama, even if many literary critics are inclined not to admit it. I never thought I would find myself getting caught up in the lives of the saga’s main characters. But I did. I must admit that I admire how Tolstoy . . . and Davies managed to allow the three main characters – Pierre, Natasha and Andrei – to interact with the five families, regardless of blood connection or marriage. I especially enjoyed the explorations into the lives of Pierre, the Rostovs and the Bolkonskys. At first glance, some might regard the miniseries’ ending that featured a picnic with the families of the three leads as a bit on the saccharine. It did have a “happily ever after” tinge about it. But I read in a newspaper article that complained about Tolstoy’s “realistic” ending – one that featured a less-than-happy view of the protagonists’ lives and a critique from Tolstoy on all forms of mainstream history. Thanks to Davies’ screenplay, audiences were spared of this.

“WAR AND PEACE” featured a good number of first-rate performances from a supporting cast that included Stephen Rea, Gillian Anderson, Tuppence Middleton, Callum Turner, Mathieu Kassovitz, Jessie Buckley, Adrian Edmondson, Aisling Loftus, Rebecca Front and Aneurin Barnard. However, I was especially impressed by certain supporting performances. One came from Greta Scacchi, who portrayed the Rostov family’s practical and sometimes ruthless matriarch Countess Natalya Rostova. I also enjoyed Brian Cox’s portrayal of the world weary General Mikhail Kutuzov, who has to contend with not only Napolean’s army, but also the amateurish interference of the Czar. Tom Burke did a great job in portraying the wolfish and ambitious army officer, Fedor Dolokhov, who eventually becomes a better man following Napoleon’s invasion. Jack Lowden’s portrayal of the young Count Nikolai Rostov really impressed me, especially when his character found himself torn between following his heart and marrying a wealthy woman to restore his family’s fortunes. And Jim Broadbent gave a very colorful performance as Prince Nikolai Bolkonsky, the mercurial and controlling patriarch of the Bolkonsky family.

And what about the production’s three leads? Lily James gave a very charming performance as Countess Natasha Rostova. Well . . . I take that back. Describing James’ performance as simply “charming” seemed to hint that I found it rather shallow. Yes, James handled Natasha’s “light” moments with her usual competence. More importantly, she did an excellent job in conveying Natasha’s personal struggles – especially during the series’ second half. There were times when I did not know what to make of the Prince Andrei Bolkonsky. He struck me as a very unusual protagonist. Although I found him rather honorable and filled with valor, Andrei did not always struck me as likable – especially in his relationship with adoring, yet ignored wife Lise. And Norton superbly captured the many nuances of Andrei’s character. If Andrei Bolkonsky struck me as an unusual protagonist, Count Pierre Bezukhov struck me as one of a kind. Well . . . one of a kind for a literary piece written in the 19th century. Sometimes, I get the feeling that someone like Pierre could easily translate into a late 20th century or early 21st century geek. Or perhaps not. I think Pierre is too kind and open-minded to be considered a geek. But he is very unusual for a leading man. And thanks to Paul Dano’s superb portrayal, Pierre has become one of my favorite fictional characters. He did a stupendous job in conveying Pierre’s character from this insecure and rather naive man to a man who learned to find wisdom and inner peace through his struggles. Dano was so good that I had assumed that his performance would garner him a major acting nomination. It did not and I am still flabbergasted by this travesty.

My taste in period dramas usually focused on stories set in the United States or Great Britain . . . with the occasional foray into France. I was very reluctant to tackle this latest adaptation of Leo Tolstoy’s most famous novel. But I was in the mood for something new and decided to watch the six-part miniseries. I am happy to say that despite some flaws, I ended up enjoying “WAR AND PEACE” very much, thanks to Andrew Davies’ screenplay, Tom Harper’s direction and an excellent cast led by Paul Dano, James Norton and Lily James.

The 19th Century in Television

Recently, I noticed there have been a good number of television productions in both North America and Great Britain, set during the 19th century. Below is a list of those productions I have seen during this past decade in alphabetical order:

THE 19TH CENTURY IN TELEVISION

1. “Copper” (BBC America) – Tom Fontana and Will Rokos created this series about an Irish immigrant policeman who patrols Manhattan’s Five Points neighborhood during the last year of the U.S. Civil War. Tom Weston-Jones, Kyle Schmid and Ato Essandoh starred in this 2012-2013 series.

2. “The Crimson Petal and the White” (BBC) – Romola Garai starred in this 2011 miniseries, which was an adaptation of Michel Faber’s 2002 novel about a Victorian prostitute, who becomes the mistress of a powerful businessman.

3. “Death Comes to Pemberley” (BBC) – Matthew Rhys and Anna Maxwell-Martin starred in this adaptation of P.D. James’ 2011 novel, which is a murder mystery and continuation of Jane Austen’s 1813 novel, “Pride and Prejudice”.

4. “Hell on Wheels” (AMC) – This 2012-2016 series is about a former Confederate Army officer who becomes involved with the construction of the First Transcontinental Railroad during the years after the Civil War. Anson Mount, Colm Meaney, Common, and Dominique McElligott starred.

5. “Mercy Street” (PBS) – This series follows two volunteer nurses from opposing sides who work at the Mansion House Hospital in Alexandria, Virginia during the Civil War. Mary Elizabeth Winstead, Josh Radnor and Hannah James.

6. “The Paradise” (BBC-PBS) – This 2012-2013 series is an adaptation of Émile Zola’s 1883 novel, “Au Bonheur des Dames”, about the innovative creation of the department story – only with the story relocated to North East England. The series starred Joanna Vanderham and Peter Wight.

7. “Penny Dreadful” (Showtime/Sky) – Eva Green, Timothy Dalton and Josh Harnett star in this horror-drama series about a group of people who battle the forces of supernatural evil in Victorian England.

8. “Ripper Street” (BBC) – Matthew Macfadyen stars in this crime drama about a team of police officers that patrol London’s Whitechapel neighborhood in the aftermath of Jack the Ripper’s serial murders.

9. “Underground” (WGN) – Misha Green and Joe Pokaski created this series about runaway slaves who endure a long journey from Georgia to the Northern states in a bid for freedom in the late Antebellum period. Jurnee Smollett-Bell and Aldis Hodge star.

10. “War and Peace” (BBC) – Andrew Davies adapted this six-part miniseries, which is an adaptation of Leo Tolstoy’s 1865–1867 novel about the impact of the Napoleonic Era during Tsarist Russia. Paul Dano, Lily James and James Norton starred.

Five Favorite Episodes of “THE MUSKETEERS” Season One (2014)

Below is a list of my five favorite episodes from Season One of “THE MUSKETEERS”, the BBC’s historical action-drama based on Alexandre Dumas, père‘s 1844 novel. Created by Adrian Hodges, the series stars Tom Burke, Santiago Cabrera, Howard Charles and Luke Pasqualino:

FIVE FAVORITE EPISODES OF “THE MUSKETEERS” SEASON ONE (2014)

1. (1.09) “Knight Takes Queen” – Musketeers Aramis and Athos are forced to protect Queen Anne from assassins hired by Cardinal Richelieu at a convent, after King Louis XIII expressed disillusion with the Queen’s inability to have children. Meanwhile, Porthos and d’Artangnan race back to Paris to gather more Musketeers to come to their aid.

2. (1.06) “The Exiles” – Aramis and d’Artagnan try to protect a young woman and her baby, who are sought by armed men. Both mother and child are sought by both Cardinal Richelieu and the King’s treacherous the exiled Marie de’ Medici. Tara Fitzgerald and Amy Nuttall guest starred.

3. (1.10) “Musketeers Don’t Die Easily” – In the season finale, a rift develops between d’Artangnan and Athos, when the latter in a state of drunkenness takes his estranged wife Milady de Winter hostage and learns about her brief affair with the younger Musketeer.

4. (1.05) “The Homecoming” – A drunken Porthos is framed for murder in his old neighborhood, Paris’ Court of Miracles slum. When his three colleagues seek to exonerate him, they stumble across a real estate conspiracy regarding the neighborhood.

5. (1.02) “Sleight of Hand” – The Musketeers engineer d’Artagnan’s imprisonment in a cell with a notorious criminal named Vadim. The latter has a plan to use the visiting Queen Anne to escape and start a revolution. But his plans proved to be more criminal than political. Jason Flemyng guest starred.