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Archive for February, 2017

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Ross (Aidan Turner) and Demelza (Eleanor Tomlinson)

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Elizabeth (Heida Reed), Geoffrey Charles (unnamed) and George Warleggan (Jack Farthing)

She’d say life holds only two or three things worth the having, and if you possess them the rest don’t matter, and if you do not possess them the rest are useless (Graham, Warleggan, Bk 4:Ch 5, p 439; repeated in screenplay but attributed to Ross rather than Demelza, screenplay, 70 INT, pp 578-79)

Dear friends and readers,

[Note: this blog assumes the reader has read Graham’s novels, viewed the 1970s mini-series, and is interested in the art as well as content of the books and this older and the new 2015-16 mini-series. I don’t re-cap, expect the viewer to have seen the film, understood the story, and remember it generally.]

So we come to the end of the second season of the Debbie Horsfield’s new Poldark and Winston Graham’s powerful fourth novel, Warleggan. I was powerfully moved by the new finale, which remained close in most respects to the book, but have to admit I was equally deeply engaged by its counterpart in 1975, Jack Russell’s Episode 16, whose events moved so far from the book so as to present a different story, but whose sense and spirit were a theatrically Jacobin version in spirit of the book (rather like Jack Pulman’s Episodes 3 and 4 related to the conclusion of Graham’s first novel, Ross Poldark). I burst into tears at the 1975 version, not just because Demelza’s beloved dog, Garrick, is shot by Warleggan’s thugs, but at some wrenching of me within as Ross (Robin Ellis) and Demelza (Angharad Rees), continue fiercely to tear at one another.

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I didn’t cry during this second iteration because I have a hard time accepting one of the changes Horsfield made: in Graham’s book and in Russell’s rendition, well before Ross’s last visit to Trenwith to talk with Warleggan and (in the book) Elizabeth, Demelza makes the difficult effort to forgive, accept, and let her love for Ross come out and respond to him again so that they could have gone to bed again (Bk 4, Ch 3, pp 413-414 — he feels he will wait until she will feel no reserve once again). In Warleggan they do quarrel angrily in the last scene (over very different and woman’s way of seeing his conduct and his refusal to acknowledge her understanding of what happened is just too), such that they nearly break up as they nearly do in Horsfield’s version (Bk 4, Ch 7, pp 460-66). In my view Graham stopped writing the series for 20 years because he had reached such an impasse, with Ross still at least longing for Elizabeth to acknowledge an ex-love (she won’t, now that he never turned up after the rape, left her pregnant, and she has had to marry a man she doesn’t love and who she knows doesn’t love her, she hates Ross), and Ross and Demelza reconciling themselves to the reality of conflicting emotions they must live with. But Horsfield and Eleanor Tomlinson’s Demelza reached a point of bitterness, sarcasm (she jeers at Ross — “What it is to be married to such a great man!”)), spite in her eyes, hate in a visit to Elizabeth (not in the book)

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Demelza confronting Elizabeth

Elizabeth: ‘Why have you come?’
Demelza: ‘I thought ’twas to tell you that I hate you. That you’ve marred my faith and broke my marriage. That I envy you. for the passion you roused which Ross could not withstand. That I pity you … But now I wonder what do any of it matter? what you did — what Ross did — cannot be undone. And you both must live with that. But I need not.

and reluctant grudging silence even in her last scene with Ross, her eyes so narrow, her face so pinched, that I felt alienated from the character I had bonded with. I found it just so painful that she did not seem to value Ross, invest her whole being there (the way I had with my husband and have imagined Demelza does in the book). A part of my deep joy in the novels is the character of Demelza as imagined by Graham and she is never hateful with fierce looks of spite; never stalks anyone. I can respond better to open hurt than rigid withholding of the self and resentment. Horsfield’s conception and Tomlinson’s acting makes deep pyschological sense, but I could find little to comfort myself with here. I felt for Aidan Turner as Ross, remorseful, trying to be honest (she says he is not honest when he is), and clinging to her (Horsfield gives Graham’s Demelza’s words to him (see above). In the long feature to the DVD of this second season, Jack Farthing remarks that the series “is not a museum piece,” but treats of issues, presents characters of direct contemporary relevance today. In book and this episode she does sow doubt in Ross’s mind that she just might have gone to bed with MacNeil (Henry Garrett) and the scene of Ross’s anger at this in this episode’s penultimate scene is word-for-word from the book and very good (and not in the 1970s version where Demelza never moves away from Ross at all), and she does threaten to leave with Jeremy, but in the last pages of the book and here on the cliff again does not.

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Agatha has nearly the last words of the episode as she tells Elizabeth she has made a pact with a devil and warns the baby may come in February (9 months after May 9th, the night of the rape)

For the record the changes in Demelza are not the only way Horsfield departs from the Warleggan (perhaps, some would say, modernizes). Some of the material comes from Black Moon (Book 5); so too George’s attempt to part Geoffrey Charles from Elizabeth in Black Moon, Elizabeth’s fuller realization her coming baby might be Ross’s – she suspects, worries but the realization comes later. Here it comes at the close from Aunt Agatha’s (Caroline Blakiston) insight; entirely new (not in book, not in earlier series) is the way Horsfield has developed the relationship of Agatha and Elizabeth. Agatha functions in the way the fool did in Elizabethan drama: she tells Elizabeth truths Elizabeth doesn’t not want to hear but knows in her heart. In Warleggan she realizes George has married her as a trophy, is not manageable or comfortable to be with as Francis, but it takes the time passing in Black Moon for her to see she has married a mean bully in George.

The mob scene is the invention of Jack Russell. There is none in Warleggan (as Pulman invented the idea that Charles Poldark took a needed £300 from Ross after he borrowed it from Pascoe, and Horsfield changed that to Charles trying to bribe Ross to leave). Horsfield has not allowed this natural result of enclosure and destroying the tenants’ houses to move into open riot, murder (the crazed lonely Paul Daniel is shot through the chest by Warleggan in 1975), nor allowed Trenwith to burn down, but the episode does give us a theatrically effective rendition of the rage the tenants and all around Truro George’s behavior is causing. Having Trenwith burn down in the older series made havock with Black Moon and Ross and Agatha’s deep resentment and George’s exultation to be in Trenwith. I object to the new way it’s done where Horsfield far more blames the workers (as a foolish group, not a starving deeply wounded people with nothing to lose) but the new episode gives Ross a chance to redeem himself by stopping the riot and appealing directly to Demelza to come home with him. He has come for her.

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Demelza climbing up in front of Ross once more

Jack Russell has Ross called to war to join his regiment (this is anachronistic), so that at the close he leaves Demelza with Jeremy; there is nothing like this in the book — for the very good reasons Pascoe (Richard Hope in this version) and Dwight Enys (Luke Norris) in the new episode tell him not to: he needs to be there to develop his thriving tin business, to keep up his family. But Horsfield picks this up too as theatrical; he joins Dwight in London after the disillusioned Dwight (he has been told wrongly that Caroline has engaged herself to a Lord Coniston) has signed up, but cannot get himself to leave. Horsfield conveys the ominousness of war through having Jeremy play with toy soldiers against the larger background of taverns, and men readying themselves. There is much less romance to it than there was 40 years ago.

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The two friends reunited

Much was done very well –- and the parts that were closer to the book finer in conception, subtler, making more true sense than what Russell concocted (see my account in the comments). In general throughout both seasons 1 and 2 of this Poldark and the whole of the previous, where the writer is closer to Graham, the series is better. As so common, it opens with Ross and (now) Henshawe, Paul Daniel all working at the mine. Only now Demelza is not there; she is not helping but acting out the “elegant” lady, walking in the meadow. We move to Trenwith where George is having Francis’s picture removed, placating Elizabeth with a dual portrait of them in its place(by the “celebrated John Opie — “oh George,” says the fool, “you spoil me”), all the while thinking of how he may part her “reasonably” from Geoffrey Charles (a good school you see) and plotting with Tankard to shoot people on sight who take the hitherto public right of way, and by the next scene seeking to wrench from Ross the shares he paid Elizabeth for from Wheal Grace while they were worthless. In this second scene, Elizabeth lurks by the door and does realize for the first time that Ross had tried to help her, but after a ferocious physical battle where Ross tries to burn George, and he has his men eject him after smashing his face, she seems to side with George. Jill Townsend’s Elizabeth was cooler, assessed George better (as does Graham’s), knew she was caged upon marriage.

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Townsend’s face hardens as she realizes George will not keep any of his promises (to take her to London, to provide her with a great lady social life ….)

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Reed is ever soft: the scene ends now with her telling her boy, George will be his papa now — the child is not impressed

The Dwight and Caroline (Gabriella Wilde) scenes and especially when John Nettles as Ray Penvenen is there are very well and carefully realized. Nettles is a fine actor, and a deeply appealing uncle, who conveys complex feelings: we have the scene where Dwight tells him he has “the sugar sickness” and will not get better by altering his diet (no wine) but may prolong his life.

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I cannot warm to Horsfield’s conception of Caroline as a shallow egoistic heiress slowly growing up; by contrast Judy Geeson is shown as genuinely caring for the beaten down impoverished Rosina Hoblyn:

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Jack Russell’s Caroline hires Rosina as her maid (very anachronistic). Neither is quite Graham’s conception: Graham’s Caroline is a hold-over from the gay witty lady of Restoration comedy, and becomes humanized through her flirtatious relationship with Ross, friendship with Demelza and her ambiguous marriage to Dwight (she does emasculate him somewhat, and in the later books he holds himself apart). But there is something touching about Wilde’s behavior, how she holds her body, when Ross comes to thank her, and brings her back to Dwight (she stands there looking more penitent than ever seen before). It’s pure romance:

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I was moved when after the lovers’ night together, she returns to her lonely uncle to care for him.

I also warmed to the added scene of Verity’s (Ruby Bentall) childbirth: her step-daughter has now sofened towards her; the whole scene is not literally in the book but a fair extrapolation. And it gives Horsfield a chance to have the sympathetic Verity try to talk Demelza into accepting and forgiving, into remembering, believing Ross does love her — and not to let go of that.

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Verity is dropped from the books, marginalized as a character from the time of Black Moon on. In Graham and the 2nd season of the 1970s Poldark (1977-78), instead Demelza’s great friend becomes Caroline Penvenen Enys. I hope Horsfield changes that, and keeps the sister-friendship up as she has developed the aunt-niece relationship of Agatha and Elizabeth.

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Turner in one of several scenes between him and Demelza where he is reasoning with her, trying to apologize, to explain himself.

I thought Turner superb in the episode: it was a hard part. He had to be didactic and explicitly say moral things left to interior thoughts in the book and he did it very well. I found him very appealing throughout. He has become this complicated character thoroughly, driven, with many conflicting loyalties, rightly fiercely protective of everything good which Warleggan would blight. Given the present horrible things going on in the US where a man has taken power and is inflicting pain and deprivation on the majority of Americans, treating non-whites as semi-criminals (they are not safe in the streets anymore), having immigrants snatched up and deported to anywhere, prosecuting parents, increasing private prisons (shown to be cruel to prisoners), Ross Poldark is now an important hero for our time in a way he has not been since the 1940s when he was conceived as an antidote to the barbarism and nightmare war of mid-century Europe. His finally striking out at George, meaning to kill him almost unless stopped is another moment of understandable rage for the character who is emerging as flawed but meaning and doing well often (exemplary in most ways). Farthing is acting George as he is in the book (and as Ralph Bates acted him in the 1970s), we see the banality of evil, cold selfishness, no care for anyone but himself and those he deems extensions of him. I regret they dropped his father Nicholas as a semi-moral villain, slightly comic, amusingly acid (Allen Tilvern); we are in an era where there is no room for comedy and so we have the icy relentless Cary Warleggan (Pip Torrens).

A telling repeat image in this episode is that of people writing letters to one another; we see George writing, and and switch to Ross writing and back again:

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There are scenes of signing, Dwight leans down to sign his return to the navy (as a doctor aboard a ship), Ross nearly signs, he takes documents from Pascoe to London. George is continually among his documents, looking at them (as was Ralph Bates in 1975). No longer boxing and fencing with someone, but attacking the world through ownership and lawyers.

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Not a museum piece as Farthing said.

I aim to reread the coming novels, Black Moon and The Four Swans this summer and am now eager for the third season and for all twelve novels to be adapted into this film adaptation. I also hope they will keep the same actors when after The Angry Tide, the series must move ahead ten years to The Stranger from the Sea. As with The Pallisers (where they age considerably) or I, Claudius, I would enjoy seeing the actual presences grow older and change and endure on.

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The working mine the set-designers keep to

In Maureen Turim’s book, Flashbacks in Film, on history: she makes the point how Hollywood films seem always to tell a political or historical story through the story of individuals; one must. Her philosophical criticism is that this must distort realities, especially as often the film-makers choose exemplary characters and of course they get to chose what example they want to present, and often provide a happy ending. One way the history film can get past this is the use of flashback, montage, retrospective, wide far shots, the characters remembering: well at the close of Poldark on the cliff and in the returns to the symbolic buildings, Trenwith, Nampara, the village, that’s precisely what the film-makers are suggesting.

Next up: Outlander, the second season, when I’ve finished War and Peace. Just now I am watching in a row all the Anna Karenina movies, and especially loving the 1978 13 part BBC mini-series written by Donald Wilson, the same man who wrote much of the 1967 Forsyte Saga. Keep hope alive, my friends, keep hope alive. And I will be writing on books too.

Ellen

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John O’Connor (1830-1889), Pentonville — looking west (1884)

A Syllabus

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Household Words

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The Cornhill with an illustration of Framley Parsonage by John Everett Millais as frontispiece

For a Study Group at the Oscher LifeLong Learning Institute at American University
Literature and Language 641: Pivotal City and County Victorian Novels & Victorian Gothic
Day: Ten Monday early afternoons, 11:45 am to 1:15 pm
4801 Spring Valley Building, near American University main campus, Northwest, Washington DC
Dates: Classes start March 6th; last class May 8th, 2017.
Dr Ellen Moody

Description of Course

We’ll read 3 best-sellers: Gaskell’s North and South (1855), Trollope’s Framley Parsonage (1860), and Dickens’s “The Signalman” (1866). Gaskell’s “Tale of Manchester Life,” published in Dickens’s highly politicized and socially concerned Household Words, is a radical graphic tale of the life of factory workers, based on a strike and time of near starvation and unmitigated depression, and by a woman. Trollope’s 4th Barsetshire concoction, commissioned by Thackeray at The Cornhill for its first series of issues made The Cornhill, which may be called the New Yorker of its day, enormously popular; Framley Parsonage was intensely as Downton Abbey: Gaskell said of it she wished he would go on writing it forever; she did not see why he should ever stop. FP, seen today also as a complacent pro-establishment book, is a Thackerayan ironic pleasure, wider ranging in its perspectives than is usually noted. Dickens’s short story, unrivaled as a psychological study over a response to machinery from an old world and gothic perspective was the Christmas tale his periodical, All the Year Round, is autobiographical, and was in 1976 adapted into a gem of a BBC film by Andrew Davies. We’ll explore how these fictions intersect with one another, mirror their shared era, and connect to our own.

Required Texts in the order we’ll read them:

Elizabeth Gaskell, North and South, ed, intro. Patricia Holman. 2003: rpt of Penguin 1995 ed. ISBN: 9780140434248
Anthony Trollope, Framley Parsonage, ed. David Skilton and Peter Miles. Penguin 1986. ISBN 0140432132
Charles Dickens, “The Signalman,” found in The Complete Ghost Stories of Charles Dickens, ed. Peter Hanning. New York: Franklin Watts, 1983. Contains A Christmas Carol and several other gems, plus has original illustrations with stories. It is online in at least 3 places: https://ebooks.adelaide.edu.au/d/dickens/charles/d54sm/l also http://onlinebooks.library.upenn.edu/webbin/gutbook/lookup?num=1289
http://commapress.co.uk/resources/online-short-stories/the-signalman-charles-dickens

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John Constable (1776-1837), Stoke-by-Nayland (1835/6)

Format: Study group meetings will be a mix of informal lecture and group discussion (essays mentioned will be sent by attachment or are on-line).

Mar 6th: In class: Introduction to course: the era, genres; shared themes. Introducing Gaskell: life & work; conflicts with her publisher Dickens

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Medium range shot of Thornton’s cotton factory

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Anna Maxwell Martin as Bessy Higgins (both from Sandy Welch’s North and South, BBC 2004)

Mar 13th: In class: Gaskell’s North and South, Chapters 1-17 (“Haste to the Wedding” through “What is a Strike?”
Mar 20th: In class: North and South, Chs 18-34 (“Like and Dislikes” through “False and True”. Beyond the novel, read for next time: Rosemarie Bodenheimer, North and South: A Permanent State of Change,” Nineteenth-Century Fiction, 34:3 (1979):281-301
Mar 27th: North and South, Chs 35-end (“Expiation” through “Pack Cloudes Away”); clips from the BBC 2004 North and South (scripted by Sandy Welch). Beyond the novel, for next time Michael D. Lewis, “Mutiny in the Public Sphere Debating Naval Power in Parliament, the Press, and Gaskell’s North and South, Victorian Review, 36:1 (2010):89-113.
Apr 3rd: Full contexts for Gaskell; Introducing Trollope: life & works; the Barsetshire series and The Cornhill; read for next time: Andrew Maunderley, “Monitoring the Middle-Classes”: Intertextuality and Ideology in Trollope’s “Framley Parsonage and the Cornhill Magazine,” Victorian Periodicals Review (33:1, Cornhill Magazine II, Spring, 2000):44-64.

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Michael Sadleir’s Barsetshire drawn by a sketch made by Trollope

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The Geroulds’ map of just Framley Parsonage

Apr 10th: Trollope’s Framley Parsonage, Instalments 1-5 (Chapters 1-15: “Omnes omnia bona dicere” to “Lady Lufton’s Ambassador”)
Apr 17th: Framley Parsonage, Instalments 6-11 (Chapters 16-33, “Mrs Podgens’ Baby” through “Consolation”)
Apr 24th: Framley Parsonage, Instalments 12-16 (Chapters 34-48, “Lady Lufton is taken by Suprise” to “How they all Married, had Two Children and Lived Happily Ever after.” Read also for next time, James Kincaid, “Pastoral Thriving: Dr Thorne and Framley Parsonage,” from his The Novels of Anthony Trollope (part of chapters sent as an attachment)
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William Parrott (1813-69) The Great Eastern Under Construction at Millwall on the Isle of Dogs (1857)

May 1st: Introducing Dickens, Victorian gothic, the Christmas story; his life & work. Watch YouTube of Signalman online (if you can). Beyond the story and film, read also Jill Matus, “Memory and Railway Disaster; The Dickensian Connection,” Victorian Studies 43:3 (Spring 2001):413-36
May 8th: Dickens’s “The Signalman.” On your own: Norris Pope, Dickens’s “The Signalman and Information Problems in the Railway Age,” Technology and Culture, 42:3 (July 2001):436-461

Suggested supplementary (outside) reading (the assigned essays will be sent by attachment):

Kaplan, Fred. Dickens: A Biography. New York: Wm Morrow, 1988.
Nayder, Lillian. The Other Dickens: A life of Catherine Dickens. Ithaca: Cornell UP, 2011.
Overton, Bill. The Unofficial Trollope. NJ: Barnes & Noble, 1982.
Sadleir, Michael. Trollope: a commentary. 1961: rpt London: Constable, 1927.
Snow, C. P. Trollope: An Illustrated Biography. New York: New Amsterdam, 1975.
Steinbach, Susie L. Understanding the Victorians: Culture and Society in 19th Century Britain. London: Routledge, 2012.
Stoneman, Patsy. Elizabeth Gaskell. Bloomington: Indiana UP, 1987. Very good short life and works.
Uglow, Jenny. Elizabeth Gaskell: A Habit of Stories. New York: Farrar, Straus, Giroux, 1993. The best.

Films:

The Signalman. Dir. Lawrence Gordeon Clark. Screenplay Andrew Davies. Producer: Rosemary Hill. Featuring Denholm Elliot and Bernard Lloyd. BBC, 1976.

Barchester Chronicles. A 7-part BBC mini-series, 1983. Dr. Gilles. Scripted Alan Plater. Featuring Donald Pleasance, Nigel Hawthorne, Alan Rickman, Eleanor Mawe, Barbara Flynn, Susan Hampshire, Geraldine McEwan, Clive Swift
Dr Thorne. A 3 part IVT mini-series, 2016. Dr Niall McCormick. Scripted Julian Fellowes. Featuring Tom Hollander, Ian McShame, Stephani Martini, Phoebe Nicholls, Richard McCabe, Rebecca Front.
North and South. Dir. Brian Perceval. Screenplay: Sandy Welch. Producer: Kate Bartlett. Featuring Richard Armitage, Daniela Denby-Ashe, Brendan Coyle, Anna Maxwell Martin, Sinead Cusack, Tim Piggott-Smith, Pauline Quirk, Lesley Manville. BBC, 2004.

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Beyond “The Signalman,” Dickens published much of his own fiction there: you see the 1st Instalment of A Tale of Two Cities

Ellen Moody

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Pierre (Hopkins) attempting to tell the deeply congenial Natasha he feels called to encounter Napoleon (while Moscow burns half-crazed he decides the calling is to kill this pest)

Dear friends and readers,

As promised, I here conclude the two blogs I’ve written on Pulman’s masterpiece mini-series out of Tolstoy’s novel (see Part 1, Episodes 1-10). These come out of a fulfilling experience I had with a group of people on Trollope19thCStudiesw @Yahoo (we read Anthony Trollope and his contemporaries, but also books on the Victorians, NeoVictorian novels, and talk about film adaptations of 19th century novels and films about the 19th century. I’ve posted an appreciatoin of Tolstoy’s novel after nearly a year of reading; more than a year of watching. Then I did a review of the 1955 King Vidor Italian-American Hollywood W&P; and a film study of Bondarchuk’s 1966 visionary epic W&P.

Doing these has enabled me to re-live these fulfilling experiences, and in the case of Pulman’s film I hope to tempt people who love beautifully acted, written, well-done film adaptations to see this nowadays under-rated (hardly spoken of) mini-series.

We left off at the pivotal center of Pulman’s film (Episode 10), Natasha’s (Morag Hood) delusionary nervous seduction by Anatole Kuragin (Colin Baker), the thwarted elopement, the rigid Andrei Bolkonsky’s (Alan Dobie) bitter disappointment to where he has broken off with her for good. He has lost what had given him hope again to build a good life and (in effect) throws himself away, re-enlists in the renewed war. She grows closer to Pierre Bezukov (Antony Hopkins), who has wild ideas of stopping Napoleon himself. As Tolstoy says (in words given to Andrei in Episode 11 as he listens to the war counsel of Alexander (Donald Douglas) it seems everyone is helplessly moving into a maelstrom of destruction. Thus the tragic second half of the film.

Unlike the novel, Pierre is never absent for any length of time now. He is in almost every episode. A rare instance is 16 where Natasha and Andrei are central forces as he lays dying, and Sonya grieves for the coming loss of Nikolai and all her hopes.

Episode 11: Men of Destiny

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Napoleon (David Swift) determined to become (in effect) emperor of Europe with Paris as his capitol: the massive hubris of the man is caught in Swift’s stiff face

Much of it was dramatized scenes not in the novel at all. At this point the mini-series is approaching the 1812 and so they were (Pullman of course) confronted with the problem of what to do about Tolstoy’s arguments not just about history (which I see Tyler has commented on and I’m glad and will try to respond to later today) but a view of Napoleon which is essential to under the battles. Also they want to convey how Andrey feels about the battle and why — as that is part of the material.

So we have an astonishing good scene between David Swift as Napleon and Morris Perry (a great actor of the 1970s, then an older man) as Fouchet, the police chief who was an advisor to Napoleon and angered him greatly. Fouchet presents all the arguments against going into Russia that Tolstoy relies to make us understand Napoleon was an aggrandizing pest; Pullman puts in Napoleon’s mouth ideas about his control and direction that are clearly wrong. We then move to the Rostovs in Moscow: again there is much monologue and point of view in the continued desire of Nikolai to marry Sonya (Joanna David) and her intense desire to take him up on it: Pullman invents a very good scene between Natasha and Sonya where Sonya reads aloud a letter from Nikolai so that they discuss the issues. Inbetween these two we have other good scenes: the ball that goes endlessly on oblivious, ironically, the men on the battlefield coming on, and Petya wanting to enlist.

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The ball

We move to Alexander and his council or generals: not in the book this scene but Tolstoy’s idea of how useless and narrow most of their advice; one man does say they must lead the French on, not engage directly in battle and the whole effort itself will destroy the French army. Andrew is listening and in over-voice we get Andrey’s justified rejection of much that he sees as corrupt politics. We move to the Bolkonskys and Andrey is home: again a scene between Marya (Angela Downs) and Andrei about their mean father, a dinner scene where the old prince is a lecher towards Mlle Bourienne and Andrei tells him publicly how he should get rid of that woman and is told get out. A scene where Pierre brings his bible to Natasha and attempts to interest her in the 666 of the Bible and she cannot get it, but is eager to please him. It’s sweet. A swift wipe-out and now Napoleon enters the empty ballroom, exultant. Money was spent and they filmed scenesenough to suggest huge armies being amassed. The words in the dialogues skilfull quiet irony to show us how tragically and horribly wasteful all this is.

Pullman knows has made many invented scenes for this transitional pivotal episode. Snobbery never ceases and as I’ve said there is not one published article about this excellent series. This episode is just magnificent in the old version. David Swift as Napoleon interacting with his underlings, especially the chief of police is superb. . The BBC 1972 film is vitriolically anti-war. How appropriate the now ironic paratexts. We see the golden icons of shield, of tzarism, of imperialism slowly canvassed by the camera, and then cut to the countryside probably of somewhere in the British Isles, but plain and vast enough to stand for land people, real actual people attempt to wrest a life out of. The music is appropriately filled with trumpets until we reach the countryside and then it’s the men marching in the dark over the bridge. Then it quiets down. I don’t recognize it but I am not learned in music so that does not mean it’s an original score. The thematic music of these costume dramas matter: they frame and sandwich the experience as “not like the rest of TV;” cut off to be a special experience.

Episode 12: Fortunes of War; 13: Borodino

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The serfs’ attempted revolt; POV the astonished Marya

I found myself more interested in Episode 13 than 12 since Episode 13 like Episode 11 (Men of Destiny above) confronts the problem that in order for us really to grasp the larger meaning of what we are seeing requires invention of scenes and transposition of Tolstoy’s narrative into dialogues between characters.

As before 12 is distressing for me to watch. Not for the scenes of Napoleon and Murat who are on about strategy, how this group of soldiers will do this or that (thoroughly ironized for us by the dialogues of Episode 11) or Andrei and the servant telling of the father’s death and move of the family: the first again an interpellation from Tolstoy’s narrative monologue, the second dramatizing Andrei’s intense inward grief. The scenes that come straight from the book: the uncomfortable elder, the naïve puzzled princess (meaning so well), the peasants’ attempt to revolt lead up to the arrival of Nikolai (Silvester Morand) and the way he so easily subdues the peasants by bullying them, by simply asserting his authority, two immediately handtie the leader and they hasten to obey. I dislike Nikolai in this scene and feel so helpless at the peasants’ abjection. The BBC means us to see and feel this embarrassment and this film belongs to the 1970s liberal point of view of costume drama. In the book and here it begins Marya’s dependence on and transference of love to Nikolai as a much better, a kindly strong male.

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The deathbed scene of the old man, Marya hides her face

13 is to me a lesson in how to try to convey the horror of battle and the way people respond to it. Just about all we see occurs in the book in some way but not dramatized as large scenes. It begins with the small human dramas: the corrupt Julie come to commiserate and repeat her usual hypcrisies (it’s a sardonic long range comment that it was she Marya used to pour her heart out to) about Moscow’s safety she’s heard — all the while she is there to see if the Rostovs are fleeing. The Countess Rostov (Faith Brooke) says she will not until Petya returns and before we can object to Boris’s doings (told so proudly by Julie) the count and Pierre come in to say Petya is safe and Pierre has had him transferred. Natasha all gratitude, Pierre rushing off lest he take advantage. But then the contrast of the war scenes – the BBC spent a lot of money The men coming, the setting up of Napoleon on the hill and the gravity of it. Pierre does look a fool and out of place. The ridiculous icon carried through which Kutusov (Frank Middlemass) comes to kneel before. We are expected to remember how he and then Andrei (in 11) told the people asking for strategy there can be none. Kutusov looks intensely grief-stricken; he tells Andrei he has to told Andrei he has to do this because everyone wants it. And then this death scenes, the bombs, individual vignettes which does not end when Andrei is hit but pans out to show us all the death (in every which way ) and writhing bodies.

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Kutusov: from here on in he is presented as a contrast to Napoleon — his face filled with pity

Borodino: here is where Pierre gets caught up in the battle too and we experience and see the battle from his POV. Andrea seems to be blown to bits by a bomb — Pulman’s Pierre is not the deeply good man, that Davie’s Pierre is; but he is humane and what is happening on the batttlefield horrifies him. I thought of our own continuing wars and the very dangerous man who is now commander in chief of US military and his “Mad Dog” appt, which newspapers are glad of (that it was not someone far worse).

Episode 14: Escape

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Rostopchin exulting over Pierre: war and power brings out the worst in many peopel

Another superlative episode using invented scenes. In the book Rostopchin (Mayor of Moscow) is made hideous to us by the way he sets up a mob-murder scene of Vereschagin (a once naive idealistic student imprisoned and tortured). Pullman wants to make Rostopchin’ s behavior feel equally anathema. So a fine actor (whose name I could not find) reads the proclamation which declares all is fine and no one need flee Moscow in front a gathering of middle and upper class men: Pierre just returned from the battlefield keeps saying “nonsense.” Whether Rostopchin heard or not, he asks Pierre to come into his office and then deliberately is as vile and threatening to Pierre as he knows how: each act is a comment on our themes. He says how he is imprisoning Vereschagin as a free mason (whether he is or no) and will use and torture him (it’s implied). As a free mason, he regards Pierre as subject to arrest and death and tells him to leave Moscow immediately. He reports on Anatole’s death as Pierre’s brother-in-law; when that doesn’t hurt he tells of Andrei’s supposed death and Pierre begins to cry. This is not Tolstoy’s man who is utterly incompetent most of the time. Never so focused. But it works. A scene of Pierre coming home, given the countess letter and growing incensed, repeating her shallow words and planning to kill Napoleon.

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The Rostovs attempting to pack

The second half are the semi-comi scenes of the Rostov’s incompetence – only Sonya is packing and trying to get the others to work with her. Finally Petya arrives, angry he has been brought back.Then the mother will leave; when Natasha feels for the men and wants to unload the carts, and the father agrees on a few,the countess goes into a rage. It’s his fault they have lost most of their fortune and are leaving so late. The latter is hers we know (reinforced by Petya’s return in this episode so we don’t forget). He then says oh Nikolai will come and fix everything and she agrees. We are supposed to understand the hopelessness of this. Finally just before they get off Pierre is seen going by from the window and says he is staying but won’t say why.

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This encounter is repeated in all four of the W&P films I’ve watched

Sonya tells the countess Andrei is among the wounded. They are disturbed: the countess forbids Sonya to tell Andrei, in her obtuse way trying again to keep them apart. The scene ends with countess wandering through the empty rooms hurrying to carts loaded with viciously bleeding wounded men.

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Filmed slowly so we feel a way of life is ending

The 1970s mini-series did the books they did with care and attention to really reflecting the meaning of their texts. There’s enough time to character Napoleon from his standpoint and yet show what a monster he functioned as and was. Kutusov refusing to kill men uselessly for a symbol is strong and memorable. Paul Dano has nothing to work with in comparison to Hopkins: the family of the Rostovs and how the countess carries on caring only about prestige, objects, her children insofar as the situation will permit; she will not budge an iota in views as the world tumbles about her body.

Episodes 15: Moscow; 16: Two Meetings

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Pierre wandering through the fire-filled streets

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The woman hysterical over her baby burning to death in the building

15: Filled with memorable moments and beautifully structured within as well. The marching French soldiers, marching marching, camera angle on their feet, implied growing tired, Napoleon surviving, so proud, sidekick about there’s Moscow. He anticipates the great meetings he will have, how good he will be to all, and insists this was not his doing, he didn’t want this but now all shall be in good order under him. (Tolstoy would agree he alone did not do this – -and the point has been made too by dramatized dialogues in previous episodes.) More marching, then Napoleon in one of these vast cathedral types building, pacing waiting but all the officers can find are “riff-raff.” They try to tell Napoleon, but he is not listening; they bring these peasants in, and Napoleon indignant, wrathful kicks them out. Insists still he will set up there.

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The degraded drinking

After Pierre’s meeting with Rastopchin, the despairing exhausted Pierre home again. Real relationship with servant, amazed to see him, you must leave Sir. Hopkins rueful smile. Then the French officer Ramballe enters the house, self-satisfied, taking over — perfectly enacted — a peasant in the household lunges to shoot him, Pierre intervenes, the French man so grateful insists on the meal and in parallel with Napoleon his batman or equivalent to bring up all the wine. The drunken scene not that well done — they don’t let loose enough, but both sodden, Pierre deeply ashamed. Long center. Hopkins ends up drunk with a French officer where we see the frivolity of the latter and despair of the former, both pass out, and Hopkins ends up taken as a murderous aristocrat once he goes down into the streets. Napoleon set up in that space of the Kremlin, an officer to him and he begins to realize no one is coming.

Pierre in the streets, the street scenes, and then the saving of the little girl, he is captured as an incendiary, partly because he is seen to be upper class — so this is what everyone wants (ironic). Finally Kutusov once again stubbornly holding out, bitter now; a last shot of Pierre looking out dungeon window: parallel made of Pierre and Kutusov. Moscow ends up burnt down; we see Napoleon refusing to see what has happened to his plans, that the Russian generals have beat him because of the terrain and insisting on his rigorous rules and strategy which he cannot enforce.

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Natasha and Andrei re-united — it’s like Romeo and Juliet get to wake up

16: Carefully structured as a unit as the others have been it opens with Andrei just coming into consciousness in the hut; his aide rushes to him to help and we see how much in pain he’s in emotionally as well as physically. The actor is superb: Alan Dobie. It closes with Natasha finally coming into the hut, and coming over and starting to weep uncontrollably, him waking, telling her he loves her, nothing to forgive, he was wrong and their hands clasped as they talk. Morag Hood shines here too. Inbetween the stage is held by socially powerful women – or so Tolstoy thinks. The “other” meeting is between Marya and Nikolai and as in the book it comes about indirectly. Nikolai is dancing and flirting away with a married woman at a dance, his hostess breaks this up with ease, and takes him to Marya’s aunt. He confesses his conflicts over Sonya to said saloniere who has little trouble arguing them away. I felt the scene between Angela Down (Marya as I’ve said) and Sylvester Morand (Nikolai) strongly persuasive, because it moved slowly and this time was based on genuine shared history – and yes values.

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High shot of Nikolai hugging Andrei’s son with Marya taking subordinate role

The Countess the voice of calculating prudence, no lie is too much for her: what’s in her interest financially and socially trumps (that’s a verb I have to stop using as it’s horrible so this will be the last use) everyone’s feelings, promises, history. She nags Sonya and never ceases to to get her to write a letter “freeing” Nikolai. The ugly conformist, refusing to acknowledge and thwarting everyone’s deep feelings and needs around her: she is after Sonia to break off with Nikolai so Nikolai can marry money. The ambiguity here is Nikolai emerges as no great man: after the battle he is flirting with a married woman, clearly after her; he is compatible in nature with Maria but not her religion, and the two are brought together by Maria’s aunt and other of these older woman presented by Tolstoy as the makers of personal misery. Tolstoy’s men’s responsibility for the workings of the world are only in the area of war it seems.

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The harassed beyond endurance Sonya

As opposed to the other films, Pulman really gives Sonya room and thoughts again and again and with the countess and again Natasha she is rightly bitter: she is to give up everything that will give her an individual of fulfillment or she is ungrateful and despicable but what do the others give up? Nothing. It is she who offhand tells Natasha Andrei is there. The weak father had tried to persuade the Countess to tell in the second scene of the episode, directly juxtaposed to the with Andrei so as to give most impact – negatively on the countess. Now Natasha does come to tell her mother that was unforgivable but the Countess is unfazed, unrepentant and Natasha does wait until her mother is asleep and hesitates at first to go to Andrei. How hard it is to overcome the hegemonic norms which violates our deepest better nature. The episode ends with Natasha finding out that Andrea was taken in by the family: the actor playing Andre is superb; he has been all along; he is outstarred by Hopkins but the voice-over of his waking and thoughts in the first half and the meeting in the second was deeply moving. We see he is dying while Nastaya thinks there is a good life ahead for him and her.

Episodes 17: Of life and death; 18: The Retreat

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The death of Andrei

17: It opens with Natasha’s loving nursing of Andrei, touching scene between them with two overvoices as he thinks to himself while she speak and her speech heard as from afar. Very effective. It ends with Marya coming just as there is this terrible changed signaled by his having asked for a New Testament at the end of the opening scene. In the close Dobie enacts a man come to terms with death and moving away and out. So Pulman stays with Tolstoy’s interpretation of the inner life of Andrei’s death. By contrast (as I saw it only a week or so ago), Davies’ has Andrei struggling throughout, not the religious gliding into death at all – that’s why I cried so and it seemed to me so real. But Pulman is discreet and so are the actors and this religiosity of presented in muted but there form. Between this we have Pierre dragged before Davout, and the whole scene is his accusation; in the scene (not in the book) Pierre defends himself with a cogent statement (taken from the narrator) that such a city as Moscow would burn and Davout’s argument doesn’t make sense; nonetheless he is marched with other men and we see the shooting of them by firing squad. The death of the boy is not as anguished (or played up) as in the 2016 (and as I recall the 1955 where the political context was anti-totalitarian anti-communist).

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Then back again with the long dialogue with Platon (Harry Locke), the peasant who sees good everywhere, accepts everything, the dog, Pierre does more than listen; he says he feels more himself in this place than he’s felt for ever so long. Now that’s Pulman’s 1970s view of Pierre and of society: it does work in terms of this film. We are not quite convinced though (and I think we are meant to be); Pierre is so articulate, who would want to be Platon.

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Pierre meets Platon who extends his hand

Then back to the countess nagging Sonya who becomes cold and hard on the surface but gives in. A bitter moment. The Pulman film does give Sonya an inner life, one which critiques the world around her – as Pierre’s speech does. Then the coming of Marya with the boy and death of Andrei.

How quiet Episode 17 is. I had thought Danger UXB so unusual for ending quietly, not overstated at all despite central matter of defusing bombs with several of our heroes killed or maimed; this 1972 War and Peace shows a similar avoidance of ratcheted up melodramas.

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Pierre helping Platon — all four films have this sequence

18: All 45 plus minutes cover the retreat (about 6 chapters in Tolstoy’s book). The episode opens with Napoleon squabbling with his top men (Davout, and two others I recognize) where one is urging him to leave Moscow after they hear a report about no food, no hay, the place a shambles, riot. Napoleon says how else can he “make peace” if he leaves: he is told Alexander will not answer his letters. When he is warned Paris is without someone ruling it and to carry on like this risks revolt, he gives in. Switch to the rest of the time: a long duration of us watching phases of the prisoners kicked out to march, the people bullied, kicked and when one dies, he is pulled off, or himself drops and cries not to leave him, and then we hear a shot. Pierre does all he can to keep Platon going and meditates (flashbacks remembering Borodino as they come there and feeling horror as the montage goes on) but (as in the book) when he begin to feel Platon die, he distances himself: we feel a sense of grief in Platon but he gives over in the way of Andrei, and as they march on we hear the shot. The dog disappears.

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Denisov grieving for the life of Petya whom he had not been able to keep safe

Finally we switch to Denisov Gary Watson) and Dolokhov (Donald Burton): they are not presented as marauding quite, but it’s clear they are stealing and Dolokhov just loves it. After Petyra arrives, the scene of the young ensign is dramatized so that Dolokhov goes to have him shot, and Denisov stops him, is sneered at. Back to the retreat, voice over of Pierre walking off by himself (not quite realistic) and meditating darkly (from the book), and suddenly the Russians are upon them, the prisons realize they are saved. Much murder, mayhem, killing of Petya all the while Pierre stands about dazed. (Davies found this too hard and in his 2016 film has Dololkov joyous to save Pierre).

Last scene Napoleon getting into his fine sleigh, he says he does not want to desert his army (which he said I nthe first scene) but there is apparently nothing for it. He slides off in comfort, the pack of officers (now including Murat) wave in the snow.

The last two episodes (19: The Road to Life; 20: Epilogue) and a coda on the last words of all four W&P films I’ll cover here) are placed in the comments. This mini-series is the longest and fullest of the W&P movies thus far: 900 minutes.

Ellen

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[Note: this blog assumes knowledge Graham’s novels at least as far as Book 8 (The Angry Tide) and the final Book 12 (Bella), and is also interested the older 1975-78 and new 2015-16 mini-series as art]

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Ross (Aidan Turner) and Demelza (Eleanor Tomlinson) after collapse of mine and death of Ted, a workman (Episode 8) — this proceeds the famous scene between Ross and Elizabeth where he forces sexual intercourse on her; its dialogue is close to the book:

ROSS (cont’d) Perhaps you could clarify something for me? George Warleggan —
ELIZABETH Yes?
ROSS A man I consider my greatest enemy. You — I’ve long considered my greatest friend. In which particular am I most adrift?
ELIZABETH It’s not as simple as that, Ross — you must understand my position — of course I’m happy and proud to think of you as my greatest friend —
ROSS Well, it was more than that, as I recall. Did you not tell me, barely twelve months ago, that you’d made a mistake in marrying Francis? That you realized quite soon? That it was always I you had loved?
ELIZABETH And do you think I would ever have said those words if I’d known what would happen to Francis?
ROSS And yet they cannot be unsaid. (Horsfield’s script, p 479; taken from Graham’s Warleggan, Bk 3, Ch 5, p 310-11)

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Ross and Demelza fiercely quarreling on the beach (Episode 9) — this follows a scene where Captain MacNeil (Herny Garrett) declines to force sexual intercourse on Demelza with these words (from Graham’s Warleggan)

Of course he [MacNeil] could still have his way if he chose. It was simple enough: you hit her [Demelza] just once on her obstinate little chin. But he was not that sort of a man. He slowly rolled the sleeve of the gown into a ball and mopped his hand. Then he dropped the material to the floor.
‘I like to think of myself as civilized,’ he said; ‘so I give you best, Mrs Poldark. I hope your husband appreciates such fidelity. In the peculiar circumstances I do not. I like a woman who makes up her mind and has the courage and grace to stick to it. I thought you were such a one. My mistake … ‘ He walked slowly to the door and gave her a last glance. ‘When admiration turns to contempt, it is time to go’ (Bk 3, Ch 8, p 346; Horsfield doesn’t have the nerve to have MacNeil go this far or have Tomlinson voice Demelza’s crying to die when MacNeil walks out the door)

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From the 1975-76 rendition: as will be seen, it’s done comically (Angharad Rees has hit Donald Douglas as MacNeil over the head) and in the light, thus the original mood is lost

Dear friends and readers,

These episodes include the second season’s two climactic episodes. Ross’s mine collapses and he begins to despair over a failing business (which kills people), and upon receiving Elizabeth’s letter declaring her intent to marry Warleggan, in a kind of half-mad state once again, Ross remorsely intrudes himself upon her and after a fierce quarrel forces sex on her. There is a kind of parallels: in a scene often overlooked when talking of the perhaps rape scene, when after having determined to take a revenge on Ross after he has hurt her so after all her hard work and devotion, Demelza decides to be sexually unfaithful with MacNeil, but finds she cannot get herself to act on such a motive. Both Ross and Demelza are very bleak in mood in these scenes. Horsfield follows the second of Demelza and MacNeil, with a scene on the beach as a setting (for a much later dialogue in Warleggan) where Ross and Demelza are again quarreling to the point of breaking up their marriage.

As those familiar with the books, the 1975-76 iteration with Robin Ellis and Jill Townsend as Ross and Elizabeth know, Ross’s aggressive assault on Elizabeth is one of the most debated scenes in all the Poldark novels. Did he rape her? if he forced himself on her, did she then give in? (thus to some making it not-rape) as after all he seems to have spent the night. In the second season, Horsfield adds what is in the book, afterwards for a time, Elizabeth (Heida Reed) is waiting for him to return to her and enable her to displace Demelza. It’s important because how we understand what happens shapes how we under the end of The Angry Tide, Elizabeth’s tragic childbirth (this time the child is Warleggan’s, a daughter); and it also shapes how we understand the very final scenes of the last book of the series (Bella), an almost confrontation (in dreams) of Ross with his son by Elizabeth, Valentine.

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One of the repeated images of Episode 9 is Elizabeth standing by the window, staring out, looking straight at the camera in mute intense desire, nearby Aunt Agatha (Caroline Blakiston) interjects truths Elizabeth finds grating

I thought a way out of this crucial impasse is provided by looking at the whole context of the debated scene, which includes a parallel scene, the ending of Warleggan, and the remarkable fact that for twenty years after Graham closed the book, he did not return to Demelza and Ross, but left them hanging there in an unresolved situation. I’m going to suggest Graham broke off, because he had gotten so deeply and realistically into a marriage he was wedded to emotionally (a version of his own, as he said more than once that Demelza resembled his wife) that was on the rocks. In the final scene of the book, although Demelza has taken Ross’s present, agreed not to leave him, they have not resolved the issue: how far does he love Elizabeth still? he says not at all, but she is not sure of this and feels she cannot forgive him or herself (that’s what she says, Warleggan, Bk 4, the last chapter 7, p 468). For what? not really for her attempted betrayal of him, but her betrayal of herself first in being abject before him, and then in struggling against the terms of the marriage while staying in it.

What most people don’t discuss is that just as at the end of her scene with MacNeil Demelza cries that she wants to die, so as Ross throws himself on Elizabeth he talks in a despairing way that suggests he sees a shadow of death near them (“There’s no tomorrow. It doesn’t come. Life is an illusion. Didn’t you know? Let us make the most of the shadows”). These are sex scenes suffused with bitter disappointment at life as well as themselves and what their marriage feels like under the grind of trying to lift themselves out of poverty.

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Turner’s expression is quite different when he looks down from his horse down, much less sure of himself

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Demelza on the other hand is able to think better of herself, hold her head up

It’s the great merit of these two episodes from the new Poldark that Horsfield stays so much closer to the book than the previous adaptation (scriptwriter was Jack Russell) so that a much harder look at the love and marriage of both Demelza and Ross, and a more frank appraisal of Elizabeth’s motives in marrying Warleggan and his too, as seen in Graham’s book, are possible. The plot points of the previous two episodes (6-7, Mourning for Francis; Fierce Struggle to Survive, Ambushed by an Informer, the Prevention Men and Scots soldiers) are that Elizabeth has shown herself to be unable to survive as a widow on her own; that while Wheal Grace has still not yielded copper to pay for the venture much less a profit, a mysterious benefactor (Caroline Penvenen) has covered Ross and Demelza’s debt so that Ross can carry on if he goes deeper into smuggling; and they are rescued from ambush by Dwight Enys (Luke Norris) setting a fire high on a cliff overlooking the bay, which persuades Caroline Dwight prefers his life, friends and work in Cornwall to new life in Bath among a rich clientele with her.

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Episode 8 (the equivalent for 8 and 9 is 15 in the 1975-76 series)

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Robin Ellis is now Judge Rev Dr Halse, gratified to see Ross hauled before him again until

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Ross produces an alibi concocted by Trencrom

The courtroom scene is part of a melange of quick juxtaposition and montage. We see George (Jack Farthing) repeatedly sending Tankard To Elizabeth at Trenwith with news that makes her anxious, creating situations she feels helpless against (sending workers to dig up her land to see if she has tin, and telling her they have the right to do that, pressuring her with visits, presents, and quiet menace that he is not calling in bills she owes him. (These are all additions to the book; in the book Elizabeth doesn’t need these prompts, and Jill Townsend in the part is not as vulnerable as Heida Reed; Townsend is presented as calculating as George, which mirrors Graham’s characters. We still watch George on and off with his boxing and sword-partner. Again this repeating scee not in the book; it’s filmic. Elizabeth repeatedly sends messages to Ross which either don’t get to him (Beatty Ednie as Prudie pockets them) or he too caught up with his mining, Agatha by her side reminding her the man she loves (Ross) has another family, another life, asking why George doesn’t help. These are matched by repeated scenes of Ross riding past Trenwith, stopping, looking in, but deciding against going to her:

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Elizabeth and Demelza have a couple of tense confrontations, where what is most memorable and repeated is Demelza’s taut white face doing chores

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and as she faces the woman she feels is waiting for her husband, wants to take him from her. And she expresses herself bitterly. More successful is the visit to her by Captain MacNeil.

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Garnett plays his part more quietly and intimately than Donald Douglas (where the part was conceived more broadly):

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I like both variants. It enriches the characters and fits or could predict Demelza’s later romance in The Four Swans.

The mining scenes of intense hard work are more desperate as Ross no longer has a delusions of copper but there is now hope of tin, and they decide to go forward without building proper scaffolds (too expensive), which all culminates (as in the book) the mine collapse and death of a newly invented character, Ted (replacing Jim).

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Dwight looking up and telling Ross Ted is gone

Another skein involves Dwight Enys too: Ted’s wife had given birth. Dwight and Verity (Ruby Bentall) are intended to offer a softer notes of melancholy. We also see Dwight practicing his profession — and at a loss emotionally, remembering Caroline in flashbacks. Verity visits; she attempts by her presence to alleviate Elizabeth and Agatha’s desperation, and brings her stepson (not entirely successful as the character is absurdly artificial in his brightness, patriotism and generosity to all) to Ross and Demelza. More moving is (in Episode 9 when Demelza tells Verity she no longer will do housework, no longer believes her marriage is based on love, is willing herself out. When one last attempt by Elizabeth does not produce Ross, she yields to Warleggan, with a combination of intense reluctance and relief, and the half-mad driven response of Ross (one very akin to the behavior he manifested the night baby Julia died when he did incite a riot) and Demelza’s fury.

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Demelza hanging out wash before she turns round to hit Ross with all her might when he returns from his night with Elizabeth. It’s important to read Horsfield’s explanation of Demelza’s sudden violence:

Demelza is hanging out linens to dry. All of them hers, including the new bodice – none of them Ross’s. Her face is open but impassive. It’s impossible to know what she’s thinking. She hears the sound of approaching hoof beats. Imperceptibly she stiffens. Presently Ross rides into the courtyard. His face is suffused with guilt. He dismounts. He walks over to Demelza. She looks him in the eye – and in that moment she knows – and fie knows she knows – what has happened between him and Elizabeth. He’s struggling now. Faced with this woman who has loved him unequivocally and unconditionally for so long, the enormity of what he s done begins to dawn on him.
ROSS Demelza — what can I say? It was something — I cannot explain — it had to be done — you must see I had no choice —
DEMELZA (calmly) Nor I.
Suddenly, and without warning, she socks him in the face, so violently that he is knocked off balance and staggers backward (p. 484)

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Episode 9

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Aunt Agatha ever there comes to stand for an older Poldark honor and when at the close of this episode George comes to take over Trenwith, she gathers Francis’s son, Geoffrey Charles to her, we know that there are forces who will not give in to him

This is culmination — except for Dwight and Caroline: he is seen early and mid-way in the episode yearning for her; she is glimpsed towards the end in London, accepting the honeymoon visit of George and Elizabeth Warleggan. Demelza decides to behave like a lady, do no work, stay with her child, Jeremy and go to the assembly ball at Sir Hugh Bodrugan’s. There are effective dance and courting and flirting scenes. There is nothing George will not stoop to: he now pushes Tankard to attract Demelza’s attention, find her room and rape her (another blackening addition to the book). We have the complex scene where MacNeil arrives and Demelza finds she cannot allow herself to have sex with anyone but Ross. There is comedy: after MacNeil leaves outside her door Brodrugan and Tankard toss a coin to see who will charge in, but (as in 1975) when they burst the door, she is gone. She is next seen down by the beach allowing her beautiful dress to soak and while seeming perhaps to look to drown, she stays by the edge of the waters. Ross accosts her but she will is too distrustful of herself, of him, deeply shaken by now. Before George makes his offer of a splendid school for Geoffrey Charles, London, beautiful clothes and Elizabeth succumbs, Elizabeth is shown in bed, with Dwight as a visitor recommending to Verity how to care for her.

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I suggest this is the first hint we have of Elizabeth’s pregnancy by Ross. She is not aware of it, as she tries to delay the marriage to George, but he will not hear of more than a month and he insists on a big wedding.

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The screen is suddenly flooded with light as she leans on him

She begins to experience his bullying slowly, and seems first aware of it when he takes her to Trenwith instead of Cardew.

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Geoffrey Charles is full grown, 21 in Stranger from the Sea, and if this series goes on, Horsfield will have prepared a basis for his character: dislike of George

One image was reversed; when in this new series Elizabeth accepts Warleggan he says, “let me take you out of your cage;” in Graham’s book when she accepts George and lets him push the marriage date up, it’s she who cries, not that she is out of a cage, but “God, I am in a cage! Lost for ever? why did Ross come? . . . God, I am in a cage. Lost for ever” (W III, 10, 367). I much prefer the book or Graham’s way of letting Elizabeth see her coming marriage. It’s not that Graham’s Elizabeth wants Ross especially but that she seeks liberty for herself and there is none, nor any security. In Graham’s book she already suspects she is pregnant. Where Graham’s Elizabeth is like Horsfield’s is in a growing hatred for Ross (for not having come to her after he trapped her with a baby). In Graham’s book, Jack Russell’s episode 15 and now this season it’s clear that Warleggan is marrying Elizabeth as much to triumph over and spite Ross far more than any love he might feel for Elizabeth: we have seen him exhibit little real affection: he’s abused, used, threatened, cajoled and now he will quietly bully.

I have always preferred to see Demelza as deeply in love with Ross and unable to distance herself or struggle against him. She does not strike him in the book or in the older mini-series. That’s probably anachronistic. But when she simply grieves I understood.

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In this earlier version Angharad Rees hid herself that night Ross went to Elizabeth, she grieves intensely, poignantly, crying that “it’s broken (that’s Mary Wimbush as Prudie, a warm loving Prudie, well-meaning, semi-comic figure)

But now having re-read some of Warleggan, Horsfield’s emphasis on the strained marriage near to breaking is truer to Graham’s book. They both still love but a great deal of hurt, of harm, has now been woven into their relationship and they are left with more disillusion to bear as they try to renew their love.

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She looks puzzled still, nervous as he tries to persuade her they can try again

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George and Elizabeth Warleggan on their way to London

I’ll conclude on how much I was moved by these two episodes. I found myself as and more fully absorbed than I used to be by the older Poldark series. Aidan Turner has now taken over the role of Ross: he is comfortable in it, and has his own perspective: that of the decent, eager, flawed, proud man, doing what he can, forced to compromise but holding onto his soul. Heis adamant about his values, a person apart. He made a terrible mistake going to Elizabeth after she wrote him her letter; we can almost blame her for writing it as provocative, but she too felt betrayed. No one has been a winner in their sad love affair, well no one with a valuable heart and mind. I don’t find Heida Reed as strong in her part: she seems unable to unbend to be the vulnerable susceptible woman Horsfield has conceived.

newparatexts
From the new paratexts

Eleanor Tomlinson is a different Demelza from what I’ve envisaged: I can no longer identify my own experience of love and marriage with hers, but her stance is consistent, admirable, that of a woman who feels she has been trampled and whose advice and point of view Ross should take into account. I do identify when she says bitterly “proud,” to Ross’s accusation. She is as complex as Ross, and Tomlinson projects a depth we can’t get at quite. Not conventional (but then not brought up among the middle classes). She is defined by so many others she interacts with. The other actors contribute too, especially Luke Norris as Dwight Enys — wonderful as a deeply humane, emotional and intelligent man. Again I find Gabrielle Wilde not convincing as Caroline Penvenen, too supercilious, colder than Judy Geeson, though I realize she is supposed to be naive and narcissistic, young with much to learn, but probably I don’t see women the way Horsfield does.

lukenorris

Some of the more minor roles are played pitch perfect: those which leap to mind: John Nettles as Ray Penvenen, Ruby Bentall as Verity (though my heart still stays with Norma Steader’s greater projection of the strength of generosity), Richard Hope as Pascoe, and of course Robin Ellis as Halse. Jack Farthing also plays the role of the vicious man convincingly. Such a person is not a monster; they are understandable and tolerated. He does love Elizabeth as she stands for the aristocracy in his eyes. This normalcy of his one of the bases of the way malicious people can operate with others.

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From the new paratexts

I can shut out the rest of the world as I watch: the music, the mise-en-scene, all of it has come together once again. The colors of the paratexts, pastoral without losing energy. I miss Kyle Soller.

newparatexts

After all it is Graham’s idealized presences I love best.

Ellen

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