[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]
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 —
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)
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)
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.
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.
Turner’s expression is quite different when he looks down from his horse down, much less sure of himself
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.
Episode 8 (the equivalent for 8 and 9 is 15 in the 1975-76 series)
Robin Ellis is now Judge Rev Dr Halse, gratified to see Ross hauled before him again until
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:
Elizabeth and Demelza have a couple of tense confrontations, where what is most memorable and repeated is Demelza’s taut white face doing chores
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.
Garnett plays his part more quietly and intimately than Donald Douglas (where the part was conceived more broadly):
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).
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.
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)
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.
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.
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.
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.
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.
She looks puzzled still, nervous as he tries to persuade her they can try again
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.
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.
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.
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.
After all it is Graham’s idealized presences I love best.