Pallisers 12:25: The Duke and his son; parents and their adult children

Duchess (Susan Hampshire), having painfully made her way to her mirror, looks at old photos. Archetypal motif for women in later life, last seen by me in Bergman’s Saraband

Dear Friends and readers,

Two days ago I resumed my journey through the 26 part 1974 BBC Palliser series, with a summary, commentary and transcripts from the first half of 12:25: The Duchess’s dying begins. How she is the heroine of the series as a whole.

We saw how The Prime Minister transitions in 12:24 to The Duke’s Children. Then central to these last two parts, 12:25 and 12:26 is the family life of the Pallisers, and especially the relationship of the two parents to their adult children. Those modern films which treat relationships between generations tend to be comic and emphasize younger children; it is brave and fruitful for the viewer for the film-makers to have stayed true to Trollope’s concern with how the adult fates of their children deeply affect their parents’ sense of their own identity and success in life.

Tonight I go on to the second half of the hour where the Duchess appears more briefly, and Mary’s story is held off until 12:26. Here the clashes between Silverbridge and the Duke dominate. We had just reviewed Silverbridge’s strong if courteous rejection of Lady Mabel Grex, and reached the part’s climactic scenes leading up to Derby Run (Episode 38).

Scene 10. The Club, The Duke’s Children, Ch 17, pp. 105-112 (some details picked up from this earlier scene of egging Silverbridge on to bed), Ch 43, pp. 276-79 (Penguin edition by Dinah Birch).

Tifto (John Ringham) on table, proposing toasts, angle of vision Silverbridge’s (Anthony Andrews) head; we see Tregear (Jeremy Irons) nearby as ever; and Dolly Longstaffe (George Pickering). The image remembers one by Millais from Orley Farm where a sleazy salesman mounts a table.

A famous hinge-point scene from the book: Tifto needles Silverbridge into betting not just (the film amounts are less) 200 but 40,000 pounds by egging him about his desire to please his straight-laced father. Tregear (in the film sensible, caring) tries to stop it. Silverbridge had promised his father to stop betting altogether. The actor playing Tifto’s face an enigma, mean and aggressive:

yet astounded at the sum and suddenly worried. Those who’ve read the novel (and film-adaptations take into account such viewers too) know Tifto’s planning to fix this race but had not counted on such a big sum; it’s too big; it’ll make a splash.

The egging on of Silverbridge about his attachment to his father is not in original scene but makes much sense in terms of this hour. Again Frank featured in the scene as he is not in the book. Dolly throws his champagne glass into the hearth at end.

Playing tough guys

Scene 11: at the stable, we see Tifto in shed with horse, to him Silverbridge and Isabel. Trollope is much harder on Silverbridge and more understanding of Tifto (throughout this is so); see The Duke’s Children, Ch 43, pp. 278-79): Silverbridge snubs Tifto when he comes to his room in the morning and it’s after that Tifto lames the horse. This omitted from film.

Here Silverbridge and Isabel come to stall the next morning where they find Tifto. We hear him murmuring to horse. Tifto not that respectful to a girl without a title, so we are reminded of the effect her lack of rank might have on common minds.

Scene 12: The expensive, luxuriously equipped tent, complete with gourmet cakes and champagne. From DC, Ch 44, p 280, Ch 44, p. 282-4, Gerald being late back belongs to earlier incident, DC, Ch 18, pp. 110-14. So this is basically wholly invented pair of scenes because in original much is narrated, but what is dramatized both times is Silverbridge’s encounter with his father afterwards. The film-makers were delightfully inventive over the luxuries, Frank and Dolly and Gerald and again Frank worrying over Gerald champagne, carving delicacies in a cake mound:

Dolly, Frank Tregear, Gerald (Michael Cochrane) to them

Great scene from which the still of Dolly and Frank eating cake is circulated:
All at the races; Gerard excited naive young man. Such a great sum and they are intent about it. Then in comes
Silverbridge with flat distressed face. PM can’t even run; he was hobbled. A nail produced. Silverbridge is supposed to be admirable in his saying, well, let’s go see the race and then have our dinner.

This, though, is not the only reading: in the film at the club a little later Tregear tells Dolly that Silverbridge was shamed into this; Dolly replies he was drinking hard.

Scene 13: Back to the club with stuffed familiar bear, from DC, Ch 17, pp. 110-112, Ch 44, pp. 283-84 (matter about nail as narrated). Frank added again shown trying to help a very drunk and silly Gerald make it, again he’s sober, serious earnest young man, responsible. Dolly comes in with information about Tifto and nail. Silverbridge does gather Gerald’s things and push him off with Frank; the re-entry of Gerald with story of lame cab horse is an overdone absurdity (situation comedy stuff).

Much of this scene too is wholly original or semi-original, new and is superb. Silverbridge is more distressed about his brother than the money and the scene dissolves with an overvoice from the Duke as the Duke says to Silverbridge: “What do you know about this?” It’s the
letter from Cambridge sending Gerard down permanently.

Episode 39: Bad News. Scene 14: Duke’s study, Carlton terrace.

I’ve transcribed this crucial scene:

Duke confronting Silverbridge with letter sending Gerald down, DC, Ch 18, pp. 114-15 (Silverbridge tries to get them to take brother back), Ch 18, pp. 115-166 (scene with father over Gerland), Ch 45, pp. 289-93 (scene with father over Derby losses), all combined

1 Establishment shot: Duke by mantelpiece with document — a letter

Duke: “What do you know about this?”
Silverbridge takes letter with intense strain on his face; soft voice: “Gerald went up to see the Derby, sir, and he missed the evening train.”
Duke: “The college tutor tells me here all undergraduates were expressly ordered not to go to these races. Not one [exemption?] was issued for that day.”
Silverbridge: “I s’pose not sir.”
Duke: “So your brother has been sent down, sir, altogether, and so has he profited from your example [bitter grief in his voice] (turns impatiently from son, with a noise) … now did you persuade him to go to Epsom, Sir?”
Silverbridge (turning to the father): “I did not discourage him, sir.”
Duke: “Though you knew the orders that had been given?”
Silverbridge: “Well I thought that there would be no risk, sir. If he could get back the same night. [Pause]. I don’t s’pose it does any good my saying this to you, sir: I never was so sorry for anything in my life … I feel as if I could go and hang myself, sir” (his head way down as bowed in distress).
Duke (grim-faced frontal view): “That’s absurd and unmanly. Oh you’d better go, sir, I suppose you’ll want to be at your racing again with your Major Tifto.”
Silverbridge: “No, father, I told you I’d give all that up after the Derby and so I shall.”
Duke: “Oh yes yes I apologize. No reason to doubt you’d keep your promise.”
Silverbridge: “There is one promise I’ve not kept, sir.”
Duke (an old man sound): “Yeah?”
Silverbridge: “Oh your grace, I’ve lost a huge sum of money over the Derby (tears in his voice, never crying), more than 40,000 pounds.”
Duke (close up to his face as it registers). He mutters something. (Turns his face away and sits): “My children will drive me to the grave.”
Silverbridge (trying to reason, very high pitched voice): “I was tricked for it, sir, I think … well, I was called a coward for betting low … sir, he should have won … We could have have won … I know … (voice breaking, while sitting down next to father, he begins to rock) …

Duke: “Could have? should have? you know it is known to all men that all [this?] pursuit is governed by the flimsiest of chances. And on such a chance (turns) you have wagered 40,000 pounds.”
Silverbridge (rising from chair): “There is talk of foul play, sir.”
Duke: “Is there?”
Silverbridge: “I only said that so you may think me a little less to blame. There is no proof and I cannot haggle with men to whom I owe whom for all I can tell are honest within their code … either the money must be paid paid or my honor destroyed.”
Duke: “And if yours, sir, then mine. Oh, the thing is quite clear, the money must be paid. Uh, I shall have Mr Fothergill pay it at once.”

Duke goes over to his desk, sits down and writes the check (or letter) and Silverbrige begins to pace a little towards the door, walks around the chair.

Silverbridge: “What shall I say, sir? what would you have me do for you?”
Duke: “Well, you’re done with racing … are you? … and Major Tifto.”
Silverbridge; “Indeed indeed I have, sir.”
Duke: “If you are cured of the evil, the money is nothing.”
Silverbridge (face widening with gratitude and respect): “Oh, sir.”

Duke sprinkles sand across document, folds it, stands up. “Now, you take that note to Mr Fothergill and you tell him the details that he must know. From this moment on, let us never speak another word about it.” (Grim determined face on Duke, walks slightly away).

Silverbridge: “Sir, Gerald, sir, he’ll be horribly cut up for you as well as himself [Silverbridge knows Gerald would not be cut up for himself] … You won’t be too hard on him when he comes to see you?”
Duke: “I am in no mood to cut the fatted calf for Gerald, sir, but I will try to behave towards him in the same spirit that has prompted you to plead for him.”

Silverbridge silent, walks about a bit, relieved tone: “I do not know how to thank you, sir” (smiling with face now softened with love as well as respect): “You’re such a brick. Standing to a fella after a rotten business like this.”
Duke: “A father should always stand to a fella as you put it, sir. A fellow should always stand to his father [they stand facing each other]. Well, there might be a way in which you could thank me.”
Silverbridge: “Yes, father.”
Duke: “You remember our conversation the other day about … well … about Lady Mabel Grex?”
Silverbridge (slight blench): “Oh, I remember, sir.”
Duke: “Ummm. Well I thought a lot about it how much I wish to see you settled, and how deeply I could love Lady Mabel Grex as my daughter.”

[In fact this dialogue could and would not have taken place with the Duchess still alive, but it passes muster in the way deviations from characters do for the sake of plots in novels.]

Silverbridge looks down.

Duke: “Now if anything were to happen, you would … uh … you would let me know?”
Silverbridge (quiet tone): “Yes, of course, sir.”

Duke’s face shaking slightly, the result of the emotions gone through.
Silverbridge presenting smiling front but very firm look on his face. He is growing up well.

This becomes the central scene of this episode. Anthony Andrews is brilliant as strained ashamed defensive (suddenly excitedly defending himself) son and Latham just perfect as the Duke. Indeed, he must have been the Duke in his mind by this time. Lines like, Duke: “Did you persuade him to go,” Silverbridge [telling truth] “I did not discourage him.” Duke did you know about rules and Silverbridge admitting he thought he could get his brother back in time. Just right for types.

Silverbridge saying with intensity of feeling that he has never felt so bad about anything in his life and would like to go hang himself, receiving hard words instead “That is absurd and unmanly.” Just right for era.

In the year 1995 Austen’s Darcy was made sympathetic by turning him
into an openly emotional vulnerable man; the Duke of Raven’s series would not understand this or like it. But note that Silverbridge is this type, so he anticipates the recent male of sensibility.

And then in a hoarse voice, “I suppose you will go betting with Tifto again.” And now Silverbridge must tell about bet. 40,000. The camera close up are startling and stunning. The duke says: “My children will drive me to the grave.” That’s in Trollope but it’s also after Mary has insisted she loves Tregear and after of course the Duchess’s death.

It’s then that Raven’s Silverbridge gets excited: “I was tricked into, Sir, I was called a coward for betting low. Oh, sir, he should have won [and a stream of words]; we are seein ghim from Duke’s eye. Silverbridge: “There is talk of foul play, Sir” Duke: “Is there?” But if Silverbridge means they should litigate, he cannot “haggle” especially as Silverbridge says his honor at stake so both their honors and the Duke sits down and writes a check for this enormous amount with a note to Fothergill (still in wings after all these years), saying if this ends “this evil” (the betting) the money is nothing

They begin to come closer together as Silverbridge is so grateful (you are a “brick” sir).

But to my mind when the Duke says “and let there never be another word about it” is the finest moment of all. This is true nobility and generosity of spirit.

It gives Silverbridge a chance to ask his father to be kind to Gerard who is described as “horribly cut up.”

Moving scene continues with them standing there, and saying things like a fellow should stand should stand by a fellow and a father by a fellow. But again Silverbridge beginning to turn into a boy and when father starts to talk of Lady Mabel he evades his father.

The one thing missing in this film and in the novel about Silverbridge’s young manhood before marriage (and maybe afterward too): there should have been open sexual encounters, casual and demeaning in Silverbridge’s life. There is a hint (when he visits the opera singer) in Trollope’s novel, but only the barest hint. Perhaps Davies would have given us a silent shot of this (as he does give us scenes not dramatized in Austen but presented as occurring between chapters).

Yet this is a taboo subject even today (or in 1974) and perhaps the film-makers would not produce sympathy for a culture where Silverbridge was using women. Trollope excises the sex so we will not think it of him; Raven and filmmakers had hints of gay sex while in Venice but have dropped them wholly. The problem is too much sex might be put in for its own sake today and we lose the ethical perspective.

Popular drama has its price.

Scene 15) Matching, Duchess’s Boudoir, she with Duke who has come to tell of her of Silverbridge and Gerald’s misadventure. Wholly invented.

When the Duke leaves, and Mrs Finn takes his place, the Duchess underlines the point of the Duke’s distress: what bothers him is his son should lower himself to try to make money off others, money he has no need of.

It’s includes sequence of her getting up, has a hard time standing, walking, over to mirror, nearly crying as she looks at her photo, and then painfully making her way back to couch:

stopping only to look at some momento (perhaps of Burgo Fitzgerald after all).

Enter Mrs Finn, with “nice soup.” Lines taken from scenes of father and son (“his fine son should have sought to win money that he didn’t really need”); Duchess convinced Mabel doesn’t love Silverbridge, “she’s desperate,” scene ends with her declaring she must pack, children must be “free” “free to choose” and lands on the floor:

A strong contrast to hectic gaiety with which next scene begins.

********************

Episode 40: Romantic Woes

Scene 16: London, vestibule outside Boncassen’s home, Silverbridge enters in elegant evening dress, into dance party, sources: the Dance itself from DC, Ch 31, p. 199; the conflicted nasty crack of Lady Mabel, while dancing with Silverbridge (“ill-natured”), very self-destructive is from DC, Ch 39, pp. 251-52, Ch 54, p 345, where she taunts him with Isabel’s Americanness and her mother. In Trollope’s book Mabel says she must save Silverbridge from marrying down and an American (Ch 40, p 254-55), he walks off at Ch 28, pp. 180-81; for where Dolly makes up to Isabel, see DC, Ch 32, 203-7, Ch 33, pp. 211-12.

It seems to me telling that one of the stills of Silverbridge walking stiffly alongside Mabel is a close imitation of numerous contemporary illustrations (Johnny Eames and Lily Dale is only the best known) where the troubled but dignified hero and heroine walk along parallel side-by-side

They are the pair crowned with the prestigious wedding in Trollope. The one with genuine feeling is Trollope’s Mary’s with Tregear, a breakfast and going away which quietly ends the book.

So, in the film we are at a fancy party given by Boncassens. This is a long scene equivalent to the opening political ones where we move from couple to couple, with Isabel as frivolous bell of the ball, chased by Dolly (nefariously); we see Silverbridge dance with an embittered Lady Mabel, but we are not given any reason to sympathize with her even in the dialogue with Miss Casse while in the Duke’s children she is given long concluding scenes of authentic distress with both Silverbridge and Tregear (see DC, Chs 73, 77).

Putting a brave face on it rather than a gothic alienated one.

For my part I rather liked Trollope’s Isabel for her bright sparkling and I don’t Raven’s preening self-proud chaste young lady, Isabel (Lynn Frederick herself had a chequered career which brings out a hard side of her we feel in the films):

Isabel Boncassen (Lynn Frederick) dancing to “Dixie.”

Trollope may have had his Kate Field in mind; Raven has nothing like this.

When Raven’s Isabel turns Dolly off, I’m probably supposed to admire her; sigh, I just despise him. I don’t admire Silverbridge’s taste (she’s mostly vacuous in the film) and surmise that those who say Trollope left space for another sequel, for another novel (where perhaps this marriage would be rocky) may be right.

And so suddenly to the two brothers comes a messenger; the Duchess is
ill and father says to return to Matching at once. And so we are come to the Duchess’s death and end of the series.

Ellen