Favorite Miniseries Set in 19th Century Britain

Below is a list of my favorite movies and television miniseries set in Britain of the 19th century (1801-1900):

FAVORITE MINISERIES SET IN 19TH CENTURY BRITAIN

1. “North and South” (2004) – Sandy Welch wrote this superb and emotional adaptation of Elizabeth Gaskell’s 1855 novel about the well-born daughter of a former English clergyman, who is forced to move north to an industrial city after her father leaves the Church of England and experiences culture shock, labor conflict and love. Daniela Danby-Ashe and Richard Armitage made a sizzling screen team as the two leads.

 

 

2. “Pride and Prejudice” (1995) – Even after twenty-four years, this adaptation of Jane Austen’s novel, which stars Colin Firth and Jennifer Ehrle, remains my all time favorite Austen adaptation, thanks to Andrew Davies’ excellent screenplay and the cast’s performances. I cannot describe it as anything else other than magic.

 

 

3. “The Buccaneers” (1995) – Maggie Wadey wrote this excellent adaptation of Edith Wharton’s last novel about four American young women who marry into the British aristocracy is also another big favorite of mine. I especially enjoyed the performances of Carla Gugino, Cherie Lughi, James Frain and Greg Wise.

 

 

4. “Emma” (2009) – Sandy Welch struck gold again in her superb adaptation of Jane Austen’s 1815 novel about a genteel young woman with an arrogant penchant for matchmaking. Directed by Jim O’Hanlon, Romola Garai and Jonny Lee Miller starred in this fabulous production.

 

 

5. “The Tenant of Wildfell Hall” (1996) – Tara Fitzgerald, Toby Stephens and Rupert Graves are fabulous in this excellent adaptation of Anne Brontë’s 1848 novel about a woman attempting to evade an abusive and alcoholic husband. Mike Barker directed this three-part miniseries.

 

 

6. “Wives and Daughters” (1999) – Andrew Davies wrote this excellent adaptation of Elizabeth Gaskell’s 1865 unfinished novel about the coming-of-age of a country doctor’s daughter. Justine Waddell and Keeley Hawes starred in this four-part miniseries.

 

 

7. “Jane Eyre” (1983) – Alexander Baron wrote this excellent adaptation of Charlotte Bronte’s 1847 novel about a destitute, but strong-willed governess who falls in love with her mysterious employer. Zelah Clarke and Timothy Dalton made a superb screen team in my favorite adaptation of the novel.

 

 

8. “Middlemarch” (1994) – Andrew Davies adapted this superb adaptation of George Eliot’s 1871 novel about the lives of the inhabitants of an English town during the cusp of the Industrial Revolution. The superb cast includes Juliet Aubrey, Douglas Hodge, Robert Hardy and Rufus Sewell.

 

 

9. “Jack the Ripper” (1988) – This two-part miniseries chronicled the investigations of Scotland Yard inspector Fredrick Abberline of the infamous “Jack the Ripper” murders of the late 1880s. Excellent production and performances by Michael Caine, Lewis Collins, Jane Seymour and the supporting cast.

 

 

10. “Bleak House” (2005) – Once again, Andrew Davies struck gold with his excellent adaptation of Charles Dickens’ 1852-53 novel about the pitfalls of the 19th British legal system and a family mystery. Anna Maxwell-Martin, Gillian Anderson, Denis Lawson and Charles Dance led a cast filled with excellent performances.

 

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 1940s

Below is a list of my favorite television productions (so far) that are set in the 1940s: 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1940s

1. “Homefront” (1991-1993) – Lynn Marie Latham and Bernard Lechowick created this award-winning series about the residents of a small Ohio town in post-World War II.

2. “Mob City” (2013) – Jon Bernthal starred in this six-part limited series that was inspired by John Buntin’s book, “L.A. Noir: The Struggle for the Soul of America’s Most Seductive City”. Co-starring Alexa Davalos and Milo Ventimiglia, the series was created by Frank Darabont.

3. “Agent Carter” (2015-2016) – Hayley Atwell starred as Margaret “Peggy” Carter, an agent with the Strategic Scientific Reserve (SSR) in the post-World War II Manhattan. Created by Christopher Markus and Stephen McFeely, the MCU series co-starred James D’Arcy and Enver Gjokaj.

4a. “Band of Brothers” (2001) – Steven Spielberg and Tom Hanks produced this outstanding television miniseries about the history of a U.S. Army paratrooper company – “Easy Company” – during the war. Damian Lewis and Ron Livingston starred. (tie)

4b. “The Pacific” (2010) – Spielberg and Hanks struck gold again in this equally superb television miniseries about the experiences of three U.S. Marines – John Basilone, Robert Leckie and Eugene Sledge – in the war’s Pacific Theater. James Badge Dale, Joseph Mazzello and Jon Seda starred. (tie)

5. “Manhattan” (2014-2015) – Sam Shaw created this series about the creation of the first two atomic bombs at Los Alamitos, New Mexico. The series starred John Benjamin Hickey.

6. “The Winds of War” (1983) – Dan Curtis produced and directed this television adaptation of Herman Wouk’s 1971 novel. The seven-part miniseries starred Robert Mitchum, Ali McGraw and Jan-Michael Vincent.

7. “Pearl” (1978) – Stirling Silliphant wrote this three-part miniseries about a group of men and women who experienced the attack on Pearl Harbor in December 1941. Angie Dickinson, Robert Wagner, Lesley-Ann Warren and Dennis Weaver starred.

8. “The Jewel in the Crown” (1984) – The ITV aired this award winning television adaptation of Paul Scott’s “Raj Quartet”novels (1965–75) about the end of the British Raj in India. The fourteen-part miniseries starred Art Malik, Geraldine James, Charles Dance and Tim Pigott-Smith.

9. “Foyle’s War” (2002-2015) – Anthony Horowitz created this television crime drama about a British police detective during World War II. The series starred Michael Kitchen, Honeysuckle Weeks and Anthony Howell.

10. “RKO 281” (1999) – Liev Schreiber starred as Orson Welles in this 1999 television adaptation of 1996 documentary called “The Battle Over Citizen Kane”. The television movie also starred John Malkovich, Roy Schneider, James Cromwell and Melanie Griffith.

“BLEAK HOUSE” (2005) Review

 

“BLEAK HOUSE” (2005) Review

Previously, I have confessed to not being much of a fan of Victorian novelist Charles Dickens. And if I must be brutally honest, that confession still stands. I have only seen at least five adaptations of his novels – two movies and three television miniseries. Out of the five productions, I tend to be more tolerable of the three television productions. And one of them is the 2005 miniseries, “BLEAK HOUSE”, the third adaptation of Dickens’ 1852-53 novel. 

“BLEAK HOUSE” has several subplots . . . typical Dickens. But all of them are somehow connected to one plot that centers around a long-running legal case called Jarndyce v Jarndyce, which came about due to conflicting wills. One of the potential beneficiaries under the case is landowner named John Jarndyce, who is designated the legal guardian of two wards, Ada Clare and Richard Carstone, who are also potential beneficiaries. He also becomes the guardian of a third ward, an orphan named Esther Summerson, whom he hires as housekeeper for his estate and Ada’s companion. Unbeknownst to everyone, Esther is the illegal daughter of a former Army officer and drug addict named Captain James Hawdon aka “Nemo”, who makes his living as a copyist for law firms; and Lady Honoria Dedlock, the wife of baronet Sir Leicester Deadlock.

As it turns out, Lady Deadlock is also a potential beneficiary of the Jarndyce and Jarndyce case. When she and Sir Leicester are informed of the court’s decision regarding the three wards by the latter’s solicitor, Mr. Tulkinghorn, Lady Deadlock visibly reacts to the handwriting on an affidavit. Mr. Tulkinghorn notices and sets out to investigate the identity of the affidavit’s copyist, in the hopes of financially benefiting from Lady Deadlock’s past. He also recruits the help of Lady Deadlock’s maid Mademoiselle Hortense, his associate Mr. Clamb, a greedy moneylender named Mr. Smallweed and the unintentional assistance of a young man named Mr. Guppy, who works as a legal associate for John Jarndyce’s solicitor, Mr. Kenge.

I also enjoyed two other Dickens productions to a certain degree – the 1998 miniseries, “OUR MUTUAL FRIEND”, and the 2008 miniseries, “LITTLE DORRIT”. But if I must be honest, I found the narratives for both productions a bit hard to follow, due to the slightly chaotic nature of the source materials. “BLEAK HOUSE” turned out to be a different kettle of fish. Like the other two productions, it possessed a good number of subplots. In a way, it reminded me of “LITTLE DORRIT”, as it focused on the mindless and useless confusion of the chancery. But what I really admiIt was probably due to all of the subplots’ connections to the Jarndyce and Jarndyce case. Or it could be that Dickens had simply created a main narrative that I found easier to follow. Just about every subplot either connected directly or indirectly to the Jarndyce and Jarndyce case. A good example of a subplot that connected directly to the story’s main theme would be Richard Carstone’s blatant attempt to pursue a ruling on the case that would favor him and his fiancée/wife, Ada Clare, who also happened to be a potential beneficiary. And excellent example of the narrative’s indirect connection to the Jarndyce case proved to be the subplot involving Lady Deadlock (another beneficiary), her illegitimate daughter Esther Summerson and her husband’s solicitor, Mr. Tulkinghorn. In fact, this particular subplot proved to have the biggest impact upon Dickens’ narrative. I thought it was certainly the most interesting.

It also helped that the story’s leading woman character, Esther Summerson, did not prove to be another one of Dickens’ “angels in the house” types. Yes, Esther was a warm and decent woman whom most of the characters liked. But she was also a woman who remained traumatized by her status as an illegitimate child and the emotional abuse she had endured from a self-righteous and highly religious woman she believed to be her godmother, but who turned out to be her aunt. Because of her abusive past, Esther suffered from a lack of esteem. I must admit that I am only familiar with at least four Dickens novels. Because of this, Esther proved to be the first Dickens leading lady who was portrayed with such complexity.

In regard to characterization, my only disappointment with “BLEAK HOUSE” proved to be the story’s antagonists. As I had earlier pointed out, I am only familiar with four of Dickens’ novels. For a man who had no problems with pointing out the evils of modern 19th century society, he seemed very reluctant in creating villains who are from the social elite. His villains are either lower or middle-class . . . or they are foreigners. The closet Dickens came to a well-born antagonist in “BLEAK HOUSE” was the selfish and amoral sponger Harold Skimpole. However, in compare to Sir Leicester Deadlock’s middle-class solicitor, Mr. Tulkinghorn, and Lady Deadlock’s French-born maid, Madame Hortense; Skimpole is, at best, a minor comic villain.

I have few other complaints about “BLEAK HOUSE”. One complaint I have about the production was Kieran McGuigan’s cinematography. I had no problem with the production’s exterior shots. Since the miniseries was shot in High Definition Television format, McGuigan’s photography in the exterior shots captured all of the details of the set designs, props, the performers’ costumes and make-up. However, I could barely see anything in those shots set at night time and especially many of the interior shots. There were times when I felt I was merely looking at a dark screen. And I must admit that I found some of McGuigan’s camera angles rather disconcerting and there were times when I found it difficult to ascertain what was going on in a particular scene. Jason Krasucki and Paul Knight’s editing did not help. Both men had utilized an editing method that I found irritating. Whenever the miniseries moved from one scene to another, the two film editors utilized a fast shift that I found unnecessary and tonally off-putting. Perhaps producer Stafford-Clark had hoped that the fast shifts between scenes and the odd camera angles would make “BLEAK HOUSE” look modern. Honestly, I found these aspects of the production tonally off and unnecessary.

I have one last complaint. I never understood why Stafford-Clark and the BBC felt it was necessary to present the miniseries, with the exception of the first one, in half-hour episodes. Others had complained, as well. The response to this criticism was that Dickens’ long and complex novel required the fifteen installments in which it was presented. But honestly . . . the BBC could have presented the miniseries in eight hour-long episodes. Why was that so hard to consider? Every time an episode ended after 27-to-30 minutes, I felt a sense of frustration. And there were times when I found myself trying to remember which episode out of the fifteen installments I had to choose to continue. Unfortunately, the BBC went on to utilize the same format for its 2008 miniseries, “LITTLE DORRIT”.

Aside from those complaints, I really did enjoy “BLEAK HOUSE”. For me, the heart and soul of the production proved to the array of characters and the fabulous actors and actresses who portrayed them. “BLEAK HOUSE” featured first-rate performances from the likes of Timothy West, Alun Armstrong, Richard Harrington, John Lynch, Sheila Hancock, Tom Georgeson, Anne Reid, Richard Griffiths, Joanna David, Catherine Tate, Louise Brealey, Harry Eden and especially Ian Richardson, whom I found particularly entertaining as the kindly, yet witty Chancellor. I also enjoyed those performances from Warren Clarke, who gave a broadly entertaining performance as Mr. Boythorn, an old friend of John Jarndyce; Hugo Speer, the proud and struggling former Army sergeant and former friend/subordinate of Captain Hawdon; Pauline Collins, who struck me as particularly poignant in her role as the warm-hearted, yet long-suffering Miss Flite; Lilo Baur as the ambitious and vindictive foreign-born lady’s maid, Madame Hortense; and especially Phil Davis, whose colorful portrayal of the mean-tempered and greedy moneylender, Mr. Smallweed, made evil look so entertaining with his caustic remarks and now famous catchphrase:

“Shake me up, Judy! Shake me up!”

Nathaniel Parker gave a particularly memorable performance as the manipulative, yet self-absorbed sponger, Harold Skimpole. A part of me remains amazed that John Jarndyce had regarded him as a friend for so long. Carey Mulligan gave a warm, yet interesting performance as one of Mr. Jarndyce’s wards, Ada Clare. What made the actress’s performance interesting to me was her ability to convey not only Ada’s positive traits, but the character’s unrelenting blindness to her love’s flaws. Speaking of Ada’s love, Patrick Kennedy was excellent as Mr. Jarndyce’s other ward – the charming, yet undependable Richard Carstone. I must admit that Richard proved to be one a rather pathetic personality, who was always chasing a path toward quick riches, whether it was by jumping from one profession to another or putting all of his hopes on the Jarndyce v Jarndyce case. Burn Gorman was a hoot as the friendly, yet ambitious and clever law clerk, William Guppy, who became enamored of Esther Summerson and who figured out the connection between her and Lady Deadlock. As much as I liked him and Gorman’s performance, I could not help but suspect that Guppy’s idea of love was somewhat shallow

In my personal opinion, there were four performances in “BLEAK HOUSE” that reigned supreme. Those four performances came from Anna Maxwell-Martin, Gillian Anderson, Denis Lawson and Charles Dance. Now, I would not regard the character of Josiah Tulkinghorn as subtle or even two-dimensional. But thanks to Charles Dance’s subtle and malevolent portrayal, which earned him an Emmy nominatino, audiences were privy to Mr. Tulkinghorn’s talent for manipulation and coercion. Denis Lawson earned an Emmy nomination for his portrayal of John Jarndyce, the kind-hearted landowner who took in Esther, Richard and Ada. Lawson did an excellent job in balancing Mr. Jarndyce’s wise counseling of the three young people, willful blindness to Mr. Skimpole’s machinations and subtle selfish desire for Esther’s hand in marriage. Gillian Anderson earned both an Emmy and a British Academy Television Awards nominations for her portrayal of the story’s femme fatale, so to speak – Lady Honoria Dedlock. The American-born Anderson did a superb job in conveying her character’s complex and mysterious personality. Superficially, the Esther Summerson character seemed like another one of Dickens’ “angels in the house”. Thanks to the author’s pen and Anna Maxwell-Martin’s superb performance, Esther proved to be a warm, yet troubled young woman struggling to find a place for herself in the world and overcome her past trauma at the hands of an emotionally abusive guardian. Not only was Maxwell-Martin received a well-deserved nomination from the British Academy Television Awards, she also won.

No movie or television production is perfect. I had some problem with the miniseries’ editing, camera angles, and television format for “BLEAK HOUSE”. But aside from these quibbles, I can honestly say that I truly enjoy this adaptation of Charles Dickens’ 1852-53 novel. It is one of the few Dickens’ stories that do not seemed marred by too many subplots that are unrelated. And I believe that screenwriter Andrew Davies, directors Justin Chadwick and Susanna White, along with a superb cast led by Anna Maxwell-Martin truly did justice to the novel.

“Ross Poldark and Noblesse Oblige”

 

“ROSS POLDARK AND NOBLESSE OBLIGE”

“You are mistaken if you think greed and exploitation are the marks of a gentleman.” – Ross Poldark to George Warleggan, “P0LDARK” (2015) 

When I first heard Ross Poldark speak those words to his nemesis, George Warleggan in Episode Eight of the current “POLDARK”series, I found myself wondering if Ross might be full of shit. Or perhaps he was either illusional . . . or a class bigot. Regardless, I could not help but roll my eyes at his remark.

I realize that some might wonder how I could accuse Ross Poldark . . . Ross Poldark of class bigotry. This man has been a champion of the working-class in his little part of Cornwall. He has managed to befriend his workers. He has spoken out on behalf of them and other members of their class. And he has been willing to make any effort to come to their aid – especially those who work on his land, even if he sometimes come off as patronizing. He has certainly expressed anger when he believed any of them has needlessly suffered, due to the actions of the upper-class or other wealthy types. Ross had spent days in a state of drunken anger after one of his former employees, Jim Carter had died after spending over a year in prison for poaching. He had also married his kitchen-maid, Demelza Carne, despite the tongue-wagging of his elite neighbors and family members.

Also, one cannot deny that the Warleggans deserved Ross’ scorn. George Warleggan’s grandfather had been a blacksmith who eventually became a moderately wealthy man. His sons – George’s father and uncle Cary – acquired even more wealth, leading the family to become their parish’s wealthiest bankers. George was the first in his family to be and his family were a money hungry bunch that resort to grasping ways – legal or illegal – to not only acquire money, but also rise up the social ladder in order to become part of Cornwall’s upper-class. They are pretty much an ambitious and venal bunch who do not seemed to give a rat’s ass about the suffering of the lower classes. They also seemed willing to inflict suffering upon them for the sake of greater profits and social respectability. And yet . . . the interesting thing about the Warleggans is that they had managed to acquire great wealth on their own – meaning without the help of some aristocrat or member of the landed gentry.

So, why did I have a problem with Ross’ words? Were viewers really expected to believe that only noveau riche types like the Warleggans were capable of greed and exploitation? History tells us that the landed gentry and the aristocracy were just as guilty of greed and exploiting not only their workers, but their land, despite occasional moments of taking care of those beneath them when times were tough. And yet, I get the feeling that those moments of compassion stemmed from the idea of “noblesse oblige” – people of noble birth being duty bound to take responsibility for the well being of those under their patronage or employment. However, “noblesse oblige” had not prevented aristocrats and members of the landed gentry from engaging in years of exploiting their land, their tenants and their employees; living greedily from their profits, and doing a poor job of managing their money led to a decrease in their wealth. This was the case for Polarks, the Chynoweths and other upper class families – fictional or not – who found themselves cash poor by the eighteenth and nineteenth centuries. British landowners had been enclosing their lands – forcing tenant farmers to become agricultural laborers – since the late seventeeth century, at least a century before George Warleggan had enclosed the Trenwith estate, following his marriage to Elizabeth Chynoweth Poldark. And they continued to do so well into the nineteenth century.

If Ross regarded himself, his uncle Charles Poldark, his cousin Francis Poldark and other members of the landed gentry like Sir Hugh Bodrugan, the Treneglos, Ray Penvenen and Unwin Trevaunance as “gentlemen”, then his comments to George were spoken in error. Most, if not all, of these gentlemen were capable of greed and exploitation. Ross might occasionally criticize the behavior of his fellow members of the upper-class, just as he had did following the death of his former employee, Jim Carter. But he has never expressed antagonism toward them with the same level that he has toward the Warleggans. It is quite obvious that he regarded these men as “gentlemen”. He seemed to have no problems with socializing or forming a business enterprise with them. And if this is the case, I cannot help but wonder about the true reason behind Ross’ antipathy toward the Warleggans.

Had Ross’ antipathy originated with his exposure of the Warleggans’ cousin, Matthew Sanson, as a card cheat? I rather doubt it. Ross and some of his other acquaintances had been making snide comments about the Warleggans’ rise in wealth since the series began. No matter how many times George tried to befriend Ross throughout most of Series One, the latter would dismiss his effort with a sardonic or nasty comment. Yet, Ross seemed to have no problems with socializing with the likes of the snotty Ruth Teague Treneglos and her ineffectual husband; the money grasping blue-blooded politician Unwin Trevaunance, who sought heiress Caroline Penvenen’s hand for her money; or the self-absorbed Sir Hugh Bodrugan, who seemed to have no concern for anyone or anything, aside from his own pleasures – including Demelza Poldark, whom he pursued like some aged satyr. Even Ross is not the epitome of “gentlemanly” sainthood. He seemed so hellbent upon finding a wealthy source of copper or even tin from his mine, Wheal Grace that he failed to consider that he lacked the funds to ensure a safe environment for his workers. This determination to strike a lode without any safety measures led to an accident and the deaths of a few men. And his aggressive, yet adulterous actions against his widowed cousin-in-law (I might as well be frank – his rape of Elzabeth) in the eighth episode of Series Two made it perfectly clear that “gentleman” or not, Ross can be repulsive.

And yet, despite all of this, Ross seemed to regard the Warleggans as an unworthy lot. I am not saying that George and his uncle are a nice bunch. They can be just as repulsive and greedy as their upper-class neighbors. And on several occasions, the Warleggans have made derisive comments about Demelza, who happened to be a miner’s daughter. All this tells me is that contrary to Ross’ comment to George, the latter’s family is no better or worse than the other upper-class characters in the “POLDARK” saga. They are quite capable of being snobs. But what about Ross? Is he a snob? He may be friendly toward his workers and willing to help them out, but his friendly and compassionate regard for them seemed to have a patronizing taint. In fact, his love toward his working-class wife Demelza seemed to have the same taint.

Although his good friend, Dr. Dwight Enys, managed to rise from his working-class background to become a doctor, he did so with the help of upper-class patronage. And Ross provided his own patronage toward Dwight in helping the latter establish a medical practice in their part of Cornwall. Ross even helped Dwight in the latter’s romance with the blue-blooded Caroline Penvenen. I cannot help but wonder if the Warleggans had the benefit of “noblesse oblige” – namely an upper-class mentor to guide them in their rise to great wealth, would Ross have been less hostile toward them?

Perhaps it is one thing for Ross Poldark to help the lower classes have a better life – by offering them jobs or homes, providing patronage for someone with potential like Dwight Enys, or marrying his kitchen maid. It is another thing – at least for him – to tolerate people from the lower classes like the Warleggans to rise up in wealth through their own efforts and not via the benefit of the “noblesse oblige”. And my gut instinct tells me that the Warleggans’ rise via their own grit, ambition and brains was something that Ross could not stomach.

“POLDARK” Series One (2015): Episodes One to Four

 

“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.

The 18th Century in Television

Recently, I noticed there were a good number of television productions in both North America and Great Britain, set during the 18th century. In fact, I managed to count at least six productions. Astounded by this recent interest in that particular century, I decided to list them below in alphabetical order:

THE 18TH CENTURY IN TELEVISION

1. “Banished” (BBC TWO) – I do not whether this is a miniseries or regular series, but it is basically about a penal colony in New South Wales, Australia; where British convicts and their Royal Navy marine guards and officers live. Russell Tovey, Julian Rhind-Tutt, and MyAnna Buring star.

2. “Black Sails” (STARZ) – Toby Stephens stars in this prequel to Robert Louis Stevenson’s novel, “Treasure Island”, about the adventures of Captain Flint.

3. “Book of Negroes” (CBC/BET) – This six-part miniseries is an adaptation of Lawrence Hill historical novel about a West African girl who is sold into slavery around the time of the American Revolution and her life experiences in the United States and Canada. Aunjanue Ellis, Lyriq Bent and Cuba Gooding, Jr. star.

4. “Outlander” (STARZ) – This series is an adaptation of Diana Gabaldon’s “Outlander” book series about a 1940s woman who ends up traveling back in time to 18th century Scotland. Caitriona Balfe, Sam Heughan and Tobias Menzies star.

5. “Poldark” (BBC ONE) – Aidan Turner and Elizabeth Tomlinson star in this new television adaptation of Winston Graham’s book series about a former British Army officer who returns home to Cornwall after three years fighting in the American Revolution.

6. “Sons of Liberty” (HISTORY Channel) – Ben Barnes, Rafe Spall and Henry Thomas starred in this three-part miniseries about the Sons of Liberty political group and the beginning of the American Revolution.

7. “Turn: Washington’s Spies” (AMC) – Jamie Bell stars in this series about a pro-American spy ring operating on behalf of General George Washington during the American Revolution.

List of Favorite Movies and Television Miniseries About SLAVERY

With the recent release of Steven Spielberg’s new movie, “LINCOLN” and Quentin Tarrantino’s latest film, “DJANGO UNCHAINED”, I found myself thinking about movies I have seen about slavery – especially slavery practiced in the United States. Below is a list of my favorite movies on the subject in chronological order:

 

LIST OF FAVORITE MOVIES AND TELEVISION MINISERIES ABOUT SLAVERY

“Skin Game” (1971) – James Garner and Lou Gossett Jr. co-starred in this unusual comedy about two antebellum drifter who pull the “skin game” – a con that involves one of them selling the other as a slave for money before the pair can escape and pull the same con in another town. Paul Bogart directed.

 

 

“Mandingo” (1975) – Reviled by many critics as melodramatic sleaze, this 1975 adaptation of Kyle Onstott’s 1957 novel revealed one of the most uncompromising peeks into slave breeding in the American South, two decades before the Civil War. Directed by Richard Fleischer, the movie starred James Mason, Perry King, Brenda Sykes, Susan George and Ken Norton.

 

 

“Roots” (1977) – David Wolper produced this television miniseries adaptation of Alex Haley’s 1976 about his mother’s family history as American slaves during a century long period between the mid-18th century and the end of the Civil War. LeVar Burton, Leslie Uggams, Ben Vereen, Georg Sanford Brown and Lou Gossett Jr. starred.

 

 

“Half-Slave, Half-Free: Solomon Northup’s Odyssey” (1984) – Avery Brooks starred in this television adaptation of free born Solomon Northup’s 1853 autobiography about his twelve years as a slave in antebellum Louisiana. Gordon Parks directed.

 

 

“North and South” (1985) – David Wolper produced this television adaptation of John Jakes’ 1982 novel about the experiences of two American families and the growing discord over slavery during the twenty years before the American Civil War. Patrick Swayze and James Read starred.

 

 

“Race to Freedom: The Story of the Underground Railroad” (1994) – This made-for-television movie told the story about four North Carolina slaves’ escape to Canada, following the passage of the Compromise of 1850.  Janet Bailey and Courtney B. Vance starred.

 

 

“The Journey of August King” (1996) – Jason Patric and Thandie Newton starred in this adaptation of John Ehle’s 1971 novel about an early 19th century North Carolina farmer who finds himself helping a female slave escape from her master and slave catchers. John Duigan directed.

 

 

“A Respectable Trade” (1998) – Emma Fielding, Ariyon Bakare and Warren Clarke starred in this television adaptation of Philippa Gregory’s 1992 novel about the forbidden love affair between an African born slave and the wife of his English master in 18th century Bristol. Suri Krishnamma directed.

 

 

“Mansfield Park” (1999) – Slavery is heavily emphasized in Patricia Rozema’s adaptation of Jane Austen’s 1814 novel about a young English woman’s stay with her rich relatives during the first decade of the 19th century. Frances O’Connor and Jonny Lee Miller starred.

 

 

“Human Trafficking” (2005) – Mira Sorvino starred in this miniseries about the experiences of an Immigration and Customs Enforcement agent investigating the modern day sex slave trafficking business. Donald Sutherland and Robert Caryle co-starred.

 

 

“Amazing Grace” (2007) – Michael Apted directed this account of William Wilberforce’s campaign against the slave trade throughout the British Empire in Parliament. Ioan Gruffudd, Benedict Cumberbatch, Romola Garai Rufus Sewell and Albert Finney starred.

 

 

“Abraham Lincoln: Vampire Hunter” (2012) – History and the supernatural merged in this interesting adaptation of Seth Grahame-Smith’s 2010 novel about the 16th president’s activities as a vampire hunter. Benjamin Walker, Dominic Cooper, Anthony Mackie and Mary Elizabeth Winstead starred.

 

 

“Lincoln” (2012) – Daniel Day-Lewis portrayed the 16th president in Steven Spielberg’s fascinating account of Lincoln’s efforts to end U.S. slavery, by having Congress pass the 13th Amendment of the Constitution. Sally Field, David Strathairn and Tommy Lee Jones co-starred.

 

 

“Django Unchained” (2012) – Quentin Tarantino directed this take on Spaghetti Westerns about a slave-turned-bounty hunter and his mentor, who sets out to rescue his wife from a brutal Mississippi plantation owner. Jamie Foxx, Christoph Waltz, Leonardo Di Caprio, Kerry Washington and Samuel L. Jackson starred.