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Lord John Grey (David Berry, Episode 5, “Give Me Liberty)

Dear friends and readers,

I complete my account of the sixth season of Outlander (see Episodes 1-4: Processing Grief … ). I’ve been so enjoying the sixth season, I’m telling myself by mid-December I’ll try again to read or listen to The Fiery Cross and then go on to A Breath of Snow and Ashes, both of which I have as books by Galbaldon and as CD sets read aloud by Davina Porter.

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Episode 6: Give Me Liberty

Yet another basically reflective and retrospective episode. I was delighted to find that David Berry has returned. To my taste, he is the handsomest of all the male leads, and I’m “charmed” (really am) by the character. At one point he is wearing a lovely cream-colored outfit, but I could not find a still online of this scene.

This is another episode hard to disentangle and hard to replicate with the interweave so again I’ll just cover each thread. My framing will be the feature that comes with it: all about trauma and how trauma is affecting several of the central characters.

I had not picked up on how much Claire (Caitriona Balfe) is using ether – as one would a calming drug today. So at several points in the episode we her disappear after she takes a drug too. She sees and hears Lionel Brown (Ned Dennehy) as a haunting revenant.

Fergus (Cesar Dombey) is now traumatized because of his loss of his hand and the way other males and females too have treated him. During the episode he seems to disappear we are told after trading he began to work as a printer in one of the larger North Caroline towns, not far off from where Aunt Jocasta (Maria Doyle Kennedy) has her estate. We also hear she is funding him, and what’s more he is again printing subversive pamphlets. He is for the colonialists in the struggle in which Murtagh (Duncan Lacroix) was involved. Just one line from her but strong (because Maria Doyle Kennedy is a very effective presence) that she misses Murtagh: she is helping the “side” Murtagh died defending.


Jamie, John and black servant girl

This then involves Jamie (Sam Heughan). He has given up being an agent for the crown with the Indians because he does not want to be a mole. Claire and Brianna (Sophia Skelton) have told him the British lose – this seems to figure in his thinking. Lord John Grey first seen in the episode talking to the British representative and vouching for Jamie, and at first Jamie lies to him, but then tells him the truth, and Grey then alerts a meeting of the Regulators (?) on time so all escape.

A subplot involves Roger still helping a widow and her child finish a house and settle in. Everyone is talking, Brianna is jealous or worried Roger is being dragged in. We see in part he is — he is also a man who hasn’t got a role in the world that fits him anymore. But by end of episode Brianna pregnant again and Roger has supplied another young man as a substitute for himself.

An as yet nameless young man (later we find out his name is Henderson) appears to be having an affair with Malva – very dangerous because of her fanatic and tyrannical father. She seems to court punishment by prostituting herself. A scene I did not understand at all – we see Malva is visiting what looks like a half-alive and half-dead rotting corpse. She slices off one of his fingers. This is creepy gothic. I know she is not to be trusted.


Lizzie serving, Brianna and Roger at the table

Lauren Lyle as Marsali in this season comes into her own, in the various roles we watch her play – soon she will be joining Fergus we are told.
Ian not much there if at all in this episode. Lizzie (Caitlin O’Ryan) grows ill with malaria (malarial attacks repeat themselves) and we see the two twin male servants care a lot for her.

At end of episode suddenly Claire hears a tune that comes from a later period. I could not place it, but then we see (it seems) perhaps in prison but at any rate from the back, someone with a jewel he stole from Jocasta’s necklace in his hand. Long black hair from the back? Who could he be? I have not guessed it.

So a lot going on, much of it inward.

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Episode 6: The World Turned Upside Down


Claire seeking out Tom Christie (Mark Lewis Jones)

Well at long last we are not quietly reflective and retrospective: this is a powerful deeply distressing and disquieting episode. Everything is turned upside down when Malva becomes pregnant and accuses Jamie of having sex with her repeatedly, liking it, and being the father of this coming baby! Before very long everyone in the settlement or on Fraser’s Ridge has been told about this. This happens about half-way through the episode.
It gets worse.

The first half of the episode is about a disease running through the settlement. Is it cholera? Bacteria carried in the water. Different people appear to have different diseases. Claire becomes very ill, and while Brianna is out, Malva and Lizzie meaning for the best (I’m not sure about Malva) chop off Claire’s hair until it’s very short. She recovers, but many die. Of course the 21st century watcher worries about the gossip about Claire as a witch.

Caitriona Balfe is more interestingly dressed than she has been in a few seasons. She has after all been in story about American pioneers. We see her in long skirts most of the time but now she dons a Napoleonic like long coat and a fine hat to cover her head. She visits Tom Christie to discover if he has the same disease she does, but the conversation goes badly. He walks her back though.

And now the shocking accusation. Christie with his daughter and son, Allan. It should be noted they are hardly ever apart and when I first saw them I thought they were courting. Claire had had a bad dream in which she thought she saw Jamie responding to one of Malva’s advances. She flees to a barn and Jamie follows after denying everything and throwing the Christies out. A confrontation ensues: Claire cannot disbelieve him but she is shaken: she does not belong here, neither do Brianna or Roger, all for love of Jamie. This does bring home to us how much they are giving up. But we see other moments where she and Jamie are missing Marsali and Fergus now. How Brianna is attached to her. Even Brianna is shaken because of her parents’ own unconventional relationship. He confesses the one night of love-making with Mary MacNab before he gave himself up to Ardsmuir prison.

Always generous, Claire visits (!) Malva and tries to talk with her but it is soon obvious it’s useless – Malva lies, calls Claire a witch, the brother backs her up. Claire gets angry and threatens Malva. Malva impervious


Malva morte

At the very end Malva is found with her throat cut, just dying or dead, and much to my horror, as Claire is the one to find her, Claire seeing how advanced the baby is (how big the bulge) performs a C-Section on her! (with a knife), of course now she cannot live; Claire pulls a tiny baby, but complete and it is just breathing and she works to resuscitate it, but it dies in her arms. I was terrified by this as I know she cam be blamed for a double murder! I gather it will take a long time in the book ( A Breathe of Snow and Ashes) before it is finally discovered who fathered this baby, and who did the murder.

This is violence enough. Very real. Very relevant to our world today (I’m thinking of women’s reproductive rights, what pregnancy is, the attempt to stop all abortions maybe even contraception &c&c in places in the US).

This is worrying for Jamie is gone off to the Philadelphia Continental Congress where he Is not chosen for a representative because his reputation now ruined. Back, we the whole settlement ostracize the Frasers and Mackenzies – Roger had been a central minister at the opening of this episode. Iain gets into fights on Jamie’s behalf; he goes to Claire and says he is the father for he did once have sex with Malva. Claire suddenly says that Roger came upon her having sex with Henderson (I wonder that was not brought out before or made public). Malva seems to be promiscuous – who knows who the father is?

Then Claire still suffering traumatic memories (Lionel Brown’s ghost and voice haunts her), takes some ether rather than answer the door. It’s Malva. She has a bad dream of Malva accusing Jamie and her. Wakening, she goes out to the garden and find there the dying Malva, and what I described above ensues. Claire is left crying with horror.

I finished reading the redaction of A Breath of Snow and Ashes in the second companion and find that Bonnet died in this book. What’s more there is a lot more military action going in. The film-makers have deliberately excised that stuff from both the 5th and now this season. The girl’s accusations and its results up to her death are there in the book more or less as told in the film. The title of the book refers to the season of winter, and I see at the end of the book the explanation for the brief obituary Brianna read, which brought her back in time is also revealed.

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Episode 7: Sticks and Stones

This one feels like a cumulation of all the episodes of this season dealing with trauma; Claire is now utterly caught up with murder of Malva.
Then paratext of song this season is “the Laird that is gone …”


Brianna and Roger wished “safe travels”

Begins with Mrs Bug suggesting Malva was never to be distrusted, but Claire insists she never thought that way about her. Mr Crombie first appearance.

They are all standing around the corpse: brother (I cannot find any stills of him) curses Claire and Jamie; how did you go out there with a knife; did they see anything at all; father does not want to give her a burial in consecrated ground; Jamie says they will bury the bodies at the Ridge. Claire insists she thinks of Malva as life and light not darkness

Claire’s bad dreams woven throughout: it’s the voice of Lionel which is the voice of guilt; the most traumatic of all her experiences beaten and gang raped. Knocking at door. She is using ether – trying to medicate herself but making herself worse; haunted Ian out searching, asking questions. It was a Sin Eater who was missing finger parts and we now realize that’s who we saw Malva cutting.


Henderson — a likely candidate for Malva’s baby’s father

Anecdote episode with Henderson come to complain about questioning; it emerges that Roger saw him having sex with Malva and he gets indignant
Voice goes over all Claire’s history and “betrayals” and lies from first season on, with angry protesting voices at her at the time; she left when she should have stayed; stayed when she should have left (Frank’s voice, Black Jack’s)

Brianna and Roger now talking about it, he says he will do the service; as this episode develops Roger becomes more and more explicit that he wants to be a minister – finally this can be his occupation in this era


Roger as minister at funeral

All finally take note that something wrong or different about Lizzie’s behavior, she is caught in lies; Josiah and Kezzie have vanished

Perry Mason thought of by Claire (she wishes they had him there): who could have, who had the motive, who has opportunity and Claire says me: she is beginning to think she may have done it, rather that she wanted to do it.

Nightmare with Malva banging at door, shock she awakens, lost her temper and threatened Malvina: I’ll fucking kill you; Jamies there to contradict, sooth; over voice: funny we saw we are just human when we do bad things, not good ones.

Who is she now after all the roles she’s played? (Claire thinking)


There are contemplative images of them — an older couple

Story of Lizzie and Beardsley boys emerges; Lizzie feels she has done nothing wrong; eventually handfast with them both.

Talk about killing; eating animals (vegetarian explained); Jamie says big difference when Roger Mac killed a man in self-defense and this murder of Malva
Claire: because I came here I changed things: whole history of all; it was because she desperately wanted to be with Jamie – she loved him

Funeral scene: Allan (the brother of Malva) accuses them both – terrible scenes in the church. Quieter by the grave Jamie not to carry coffin; Ian can.

Claire going crazy she feels; losing it; Jamie says she must not lock him out the way she did not allow Jamie to lock the world out after Wentworth. She says she’d do it all again.

Brianna and Roger now decided on this career for him, a minister (it’s what his adopted father was); it seems to demand they go to Edenton as a family; Roger upset at how child is being taught to believe people become ghosts.

All now quiet, they are making dinner, and the posse of the Brown gang arrive and demand to take Claire away as under arrest

Episode does center a lot on Jamie and Claire — we keep returning to them

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Episode 8: I am not alone


Jamie and Claire defending themselves early in the night

I put off watching this because somehow I found it so painful and anxiety-producing the first time round, but that was late at night and I watched it directly after S6, E7, Sticks and Stones. This time I could see reassurance set up by the end

The previously takes us way back: Brianna tells Roger she cannot tell if Jemmy is his. News of deaths of Claire & Jamie in a fire. Jamie gives Cherokees guns. Roger preaching sermon, he & Briana to Edenton so he may be ordained Presbyterian: this could be his fitting occupation. Your wife covered up to elbows in blood. The accusation. Brown: we have come for our wife to arrest her for the murder of Malva Christie.

A scene of 2 in a café modern eating fries … one a woman, cannot catch the other – slipped in …


The Posse comes, led by Richard Brown

They demand Claire, are Committee of Public Safety. Beardsley & Lizzie flee. A battle ensues. Men surround the house; Claire kills with rifle man who got in. Frees Jamie from crowd; they barricade themselves. Boarded up windows. House being destroyed by all out shooting. Brown found out Marsali killed his brother (Claire to Jamie). This is revenge, an excuse. Brown with a white handkerchief; they’ll go to Salisbury for fair trial; that’s the law …. Jamie shoots at them, they look like thugs.

Switch to Roger & Brianna and Jemmy. Talking of revolution; what’s happening in Boston; once Roger would dream to go, but now he’s here. I must think all be safe. They talk of how truths kept from them as children; she now accepts what happened … Back to house, Jamie and Claire fear firing of their house; by the hearth, with water, find food, Obituary says 21 January; this is May so they must survive. No plan. Outside men bivouac.

Roger and Brianna inside tent with child; beautiful love-making scene of comfortably married couple, laughter, she pregnant. This contrasts and compares to Jamie and Claire: condemned eat hearty meal; she’d choose cheeseburger &c (it sound like the meal we saw a opening still). Where is everyone? Ian? Lizzie? They remember the times he came near death, when she did. Fortune teller read his palm and it connected death with number 9. Jamie cites Prayer of Contrition.

Outside fisherfolk, Hiram Comb – come out, thou shalt not suffer a witch to live; they accuse him of killing Malva; Claire shouts hoarsely she was trying to save the unborn child and Jamie innocent. Accusation of revenge. Malva’s brother: you debauched and killed my sister. Scots people ride up with Lizzie but no go. Tom Christie arrives and manages a negotiation Witness and mediator. No reason you should not rest in your own bed. Frasers go back in. Guard set. Love-making that night. Knitted bodies. Jamie promises her this will not be the last time they see the house and environs.


Their last night — an expressive image

Daylight. They are in wagon. Shall I tend to their wounds? Christie brings her breakfast. No court at Salisbury; off to Wilmington; Tom Christie looking remorseful. Lizzie I am back, but she cannot help; Ian back but vanishes. People roused to throw stones. Calm reasserted

Brianna: are we there yet? They read New Bern Onion, Fergus printer. Poet’s corner – Marsali. Child has lice; they cut his hair and discover hereditary nevus like the one Roger has. So they are father & son.

Back to Jamie and Claire in wagon; Christie hanging round. Ian there, but not time yet. Don’t go away, lad I am with you Uncle.

Someone comes up; a man dies; Jamie brought out for drinking water: a trap, the rest ride off with Claire, shouting. Brown tells Claire his brother a lout but she is a murderer and he was his brother Mr Fraser sent to Scotland; Christie will not leave her, insists Jamie alive, he is there to protect her. Trip of fearful discontent.

Snap shot of Brianna and Roger still off with child to Edenton

Claire now over-voice: Tom Christie troubled; will not admit Jamie dead. Town (Wilmington) in bad shape. Corpse hanging. She is put in jail. Christie there: I would not have your deaths on my conscience. She is to trust him.

Switch to Jamie tied to post; just as someone is about to crush Jamie’s head, Ian’s arrow hits; we see him and Indians. All there, reassurance, and group now riding post-haste to rescue Claire (with Tom Christie protecting her). She (I) is not alone.

Finis for season — until next year when (we are told) there may be 16 episodes and then the series will come to an end. I have not included the more frantic and debilitating and humiliating seasons (Claire led by a rope, for example) because the over-all feel is stoical

Ellen

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From the campaign to place a plaque in Westminster Abbey for Anthony Trollope

Friends and readers,

A briefer blog than usual (as to space): October 21, 2022, Kate Howe interviewed, the present Chairman of the London Trollope Society

Dominic Edwardes very perceptive on Trollope’s long fiction; he tells of Trollope’s place among his peers, his reputation then and now, his life, the mission of the Trollope Society to keep his books in print and read by as many people as the Society and internet can reach; Dominic also confides how he (DE) he came to read and love Victorian novels, then as among the best of them, Anthony Trollope, Dominic’s first introduction to the Society (he went to an event which he thought would be in costume and it turned out no such thing, so he was the only one there in costume) & what the Society is doing now: yearly dinner, lectures, trips, and a vast growing website where you find recorded information on Trollope’s fiction, on the illustrations to them, on editions, from many talks given at the every-other-week online general reading group, and information about other more local reading groups and lectures.

As prelude or preface to the interview, she includes a cornucopia of beautiful and effective illustrations from the fiction of the era — the sort of thing you find in the original illustrations to Trollope’s novels.


“Oh, George, if you knew all … ” (Francis Arthur Fraser, illustration for Trollope’s Golden Lion of Granpere, not included in Howe’s set, but the same sort of thing)

Posted by Ellen

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Hill Station still to be seen in Penang

I feel so sad I’ve finished these blogs. I want to know what happened to the characters under the pressure of WW2 and the changes inflicted on them by their friends, associates, surroundings. How they each reacted, what they became …

Dear friends and readers,

It’s overdue time to sadly finish my account of this sometimes sublime series, Indian Summers. Rhik Samadder said rightly of the first season, it was one of the most narratively satisfying dramas of British TV and of real interest in its depiction of the Raj, besides which, gorgeous; and from ordinary watchers on IMDB provided further rave reviews for the second, I’ll content myself with quoting “it’s a feast.”

One of the intriguing elements across the series which I’ve not mentioned thus far is many of the actors act against character; Julie Waters is a cruel hard woman, lonely, desperate (usually so humane); James Fleet an amoral sexual harasser (usually the one bullied), Art Malik a sybaritic amoral creep of a maharajah (usually austerely moral or the subaltern).


Lord Hawthorne (James Fleet) looking sinister!

Leena (Amber Rose Reevah)now gone to jail (because she protected Adam from Hawthorne’s rage when Adam burnt him for sexually harassing her) I believe would have been brought back, having been in prison and got out early.

I also loved how it ended so ironically: the white British who had been born in India leave their home (the club), but find they have no home in Britain they can or want to return to. The series is Anglo-Indian, yes about the English centrally, but seen from a very different angle, as the ruthless dangerous often harmful but finally relatively vulnerable oppressors.


Cynthia posed in her fashion show outfit captures something of this

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Indian Summers 2:6 The gift for the king

In this episode, half-way through our season, the stories come to a (literally) explosive climax. In this case it’s the information that Ralph gets from Aafrin about the bomb about to be set off during the celebration of the king’s birthday – or a jubilee. The two have a terrific quarrel when Aafrin admits he was not coerced, not originally, but they act together towards the end.


Ralph (Henry Lloyd-Jones) confronts Aafrin (Nikesh Patel)

King-emperor is so absurd as a title. Ralph sends Rowntree and his men to the tea plantation and elsewhere. They can find nothing. Naresh Banerjee (Arjun Mathur) is wandering about in a mad rage – tries to kill Sooni (Aysha Kala) but Ian McCleod (Alexander Cobb) is there and promptly tries to save her, and then chase Banerjee who is taken to jail, but cyanide is slipped into his hands and he dies before they can question him. The journalist is also following Sooni about – worried for her.


Ralph and Madeleine now Wheelan (Olivia Grant)

We watch all the characters behaving characteristically – Cynthia (Julie Walters) won’t leave the club house; Mr Dalal (Roshan Seth) scolds Alice (Jemima West) when she comes to the house in effect to try to win friends. Madeline (Olivia Grant) is doing her best to support Ralph. Mrs Raworth (Fiona Glascott) we are told has had her baby in Delhi – with Raworth (Craig Parkinson) now ever so eager to return to England and be a wonderful family man – he is the most pathetic of the characters . His wife despises him.

Banerjee has sent a small Indian boy off with his wagon and the lit bomb to blow at 4 pm. This provides the suspense of the second half of the episode. As luck would have it, the boy is just outside the compound when Raworth spots him, runs over to him, attempts to see what’s what and the bomb blows up – killing Raworth and the boy (several small Indian boys are simply blown up in this series).

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Indian Summers 2:7: The Proposal

The proposal is that in return for his support for the India Bill Ralph wants to pass in Parliament, the Maharajah (Art Malik) demands that Ralph let him go to bed with Madeline, Ralph’s wife. The whole hour is taken up with Ralph’s state of mind – on and off. It opens with his memories of his mother going to bed with Cynthia’s husband, and then ironically he is on the other side of the door by the end of the episode with Madeline and Maharajah on the other side. The maharajah’s mistress tries to goad Ralph into fucking her, and while he begins, he gives it up in disgust.


Sirene, her “real” name, something of a joke, said to be Phyllis, she is from Australia (played by the hard looking Rachel Griffiths)

Sirene rages within at this man she is mistress of who has no respect for her. Ralph is driven or needs get this position, the Viceroy, where the princely states will give up their independence because he’s in debut but also his father (he says) wanted him to have it (Viceroy) but it’s not clear if Ralph is remembering his legal father or the biological one (Cynthia’s philandering husband by whom she had no children). He is also bitter about Cynthia’s pressuring him all these years, about her manipulations. Early in the episode the maharajah goads Ralph into a game whereby they loosen a goat, tied up as a temptation to tiger and then replace the goat with a boy. The maharajah wants Ralph to use his own son, Adam (Dillon Mitra), but he demurs and uses Bhupi’s son. Yes both he and the maharajah stand there to shoot the tiger to stop it devouring the boy, but, as Bhupi (Ash Nair) says, if the boy was safe, why not use Adam? And it’s the maharajah who shoots the tiger. Bhupi is infuriated, but still obedient. Had there been more seasons eventually Bhupi would have rebelled.


Art Malik (the maharajah) — this is not from Indian Summers, but a minor role in Doctor Who Series 11 where he embodies just the type character we see him inhabit here

At the opening of the episode we see Aafrin sent away to Delhi to help with the earthquake. This is to get him out of the way after the bombing death of Raworth which Aafrin is partly responsible for. He is to make up his mind to be loyal to Ralph; he says he has but he has to reach Alice on the side. During the episode we again hear the misery of Alice on the other side of the same door (it seems) now being buggered and sadistically used by her mean vicious husband Charlie (Blake Ritson). For them the episode ends with Alice and Aafrin kissing and going off to that room, and from high Cynthia watches – rightly she loathes Charlie who needles her.

Soon after this first opening with Aafrin leaving, Sarah Raworth is found with her recently born baby living in quarters provided by Cynthia – or she’d be in miserable 3rd rate hotel. It appears that Sarah has not been told how her husband died. No one is willing to tell her Matthew (Connor McCrory) is finally coming home (India is home here) but when he does she at first instinctively (this is what she is) lies, tries to hide his father is dead. But the Sumitra (Anitha Abdul Hamid) who he clearly loves more and loves him is dressed in white mourning and manages to convey his father is dead. He demands how and now Sarah says she has no idea. We see that Matthew like his father is a truth teller, decent to the Indians, and will not pretend to the hypocrisies of this Raj.


We can see the young lover paradigm here between Sooni and Naseem Ali Khan (Tanmay Dhanania) — they are a contrast to the Maharajah and Sirene and also Ralph and Madeleine

Sooni is being pressured by her mother to marry another Pashi (with big eyebrows). This is a third new semi-comic substory for this episode. He is shown to be decent but what he wants is an obedient wife whose life is spent having children and serving him. Aafrin is not there to help her fend off the mother (Lilette Dubey). She visits the tea plantation and Ian manages to ask her to be his wife. She demurs and says she needs time to think about it. She goes to the newspaper journalist, Naseem Ali Khan , who seems to be the only person to take her politics truly seriously. Aafrin does but he does not see politics the way she does and tries not to confide in her, and Khan and Sooni go off to a gathering where Ghandi is coming to speak. A huge crowd. During their time together Naseem tells her he loves her, and she clearly responds to him …. She is the closest we have to a traditional heroine, including the many suitors. And if the proposal to Ralph is probably the one the title refers to, she has 3 proposals in this episode.

The way the details are brought in make me feel there is a novel or memoir Rutman was using – it would help explain many details outside the story line. I so yearn to know what happened to these characters’ stories as the years go by. That is what was intended.

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Indian Summers 2:8: The Birthday Party


You can glimpse the rocking horse being brought in

In this episode I find matter put before us which I both background and s a preparation for what’s to come. It’s a bit clunky (the way in the first season the film-makers did not manage to tell us who was who quickly enough). Perhaps this shows they knew they were not going to be renewed … or the lack of direct thrust is part of why they lost audience ….

For example, around the time Sooni rejects Ian McCleod, he has noticed (because he’s paying so much attention to her) that Bhupi behaves strangely around the river where Jaya was drowned. We realize Bhupi is led to go there regularly because he feels Jaya’s ghost is luring him there and he then re-enacts how he drove her into the river and thus she drowned. He didn’t quite himself kill her but of course he was responsible. Ian knows that’s where Jaya died because he has not forgotten Ramu Sood. He tries to grab Bhupi who flees. Well after rejection from Sooni, in town now (like his Scots uncle) Ian is drinking heavily and sees Bhupi from far, chases him down and demands to know who he is and whose servant Bhupi at first tries to avoid telling but then he’s Bhupinder and works for Ralph Whelan.

I suggest in the next season Ian would have brought this information out, wanted an article written by Khan, and the injustice of the murder of Ramu Sood come home to hurt the WW2 destruction of the Raj further.


Charlie Havistock (Blake Ritson) — this is very much against type (Ritson is usually sensitive and kind)

Things between Alice and Charlie come to a head – she cannot stand him, he loves to humiliate her and in front of others refuses to give her the money or permission to buy their son a wooden bike of some sort. She persuades Aafrin, home from Delhi, they must run away. Cynthia gets them secret tickets Alice couldn’t manage.

But on that night Charlie (ever following her) discovers they are gone within minutes and then breaks Sumitra’s hands (he has been paying for information and she has instead lied to him) and hurt Bhupi’s son whom Ralph was willing to use as a target to please the maharajah theirs. We see the anguished pain Charlie puts her through and after Charlie has raged into the room the pair thought they were safe in and waiting for a rickshaw (bad idea of Alice’s), and dragged Alice and his son away, We see Bhupi and Sumitra (Bhupi’s wife) commiserating. Bhupi is gradually having enough.

I suggest in the third season, maybe another 2-3 years on Bhupi and his wife would be angry revolutionary hindus. Like Aafrin has been half-heartedly. Oh they did have the birthday party, Charlie did himself buy the bike for the boy, and this was part of why the scheme to run away fails. There is a delay over getting the party started.

The plan was Aafrin would flee to Australia with Alice. Not such a crazy idea had they gotten to the boat to Bombay and then gotten onto another boat This is the one kind of thing Alice has dared – once before. But for Aafrin that means leaving his family who are economically dependent on him. Not only do they loathe the idea of an English daughter-in-law (the father tried to bully her away) but they need the income. He leaves but feels terrible. Sooni is also rebelling when she says she is going to marry the journalist, Khan: he is a Muslim and her mother hates. How can you be happy if you leave us broken-hearted asks the father. Well you shouldn’t be is not a strong enough answer.


Sooni and her and Aafrin’s father, Darius Dalal (Rosh Sethan) hugging — this is earlier and shows their affection for one another

Now Matthew Raworth’s son is home, he will not allow the hypocritical Sarah to lie and she keeps having to run away from him or shout him down. She can successfully half-lie about her relationship to her late husband, but she cannot get him to say he liked the English. He hated the school and does not want to go back. He is another figure who would have been central in season 3.


Cynthia losing out

Last there’s Cynthia insisting on pulling down a Indian flag put over the Club. Ralph cannot defend Alice because Charlie bankrolls him through influence in the bank and threatens to withhold approval. Ralph badly in debt and says he will not sell Chotipool (the house). Ralph’s bill fell on its face; no prince went for it even the man Ralph gave his wife to. Madeline says this prince hated you. And now it seems Cynthia is badly in debt too — she had hoped for Ralph to get that position so she could manipulate it into money for herself.

And then a reconciling wedding party to give hope for the future and good feeling as an ending: Sooni tells Aafrin they will be the pioneers of this new amalgam; we
see her dancing with her husband, Naseem Khan, and from Aafrin’s point of view Ian and Alice talking, moving as if to dance

They intermingle Indian (Muslim, Parsi) and English and Scottish in the closing wedding festival. I enjoyed this moment too.

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For Indian Summers Episode 9, Winner Takes All; and Episode 10: Leaving Home (ironic title) click (in the comments)


Making a little England … what the English tried to do

Ellen

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The first image we are confronted with: Aafrin (Nikesh Patel), not in a suit, but bare chested, typing a seditious pamphlet, with new Indian girlfriend, also a rebel against the British — he is somewhere in Bengal


Upon returning to Simla, now in the British suit, Aafrin is confronted by Alice (Jemima West), who has been coerced into accepting her abrasive sadistic husband, Charlie Havistock (Blake Ritson)

Dear friends and readers,

It’s been far more than a week since I last wrote about Indian Summers; more than a full month has gone by since I framed the series and summarized as well as evaluated the first half of Season 1, one of the finest series ever made, and its second half, a tragic and ironic denouement. In the series itself, it’s three years later, and we are startled to see as our first image, Aafrin, ever trussed up and respectful of the British, naked to the waist, living in what looks like a worn-down bedsit, with a Indian lover, Kaira Das (Sughandha Garg); he is typing a subversive pamphlet, which is about to be printed and distributed in the streets to stir up demonstrations as the possible new viceroy is due to come to Simla at any time. Aafrin looks hard, tough; he has been away from his parents for three years. Kaira is involved with a violent revolutionary we only glimpsed in the first season, Naresh Banerjee (Arjun Mathur).

We switch many miles and with Aafrin as our POV (he is our POV most of this episode) find Alice back with Charlie, the son she had fled with, Percy (Caleb Allen), a blonde toddler who we discover later is the reason she chose to stay with Charlie (so that she would not lose custody). We are soon immersed in the lives of the familiar characters whose circumstances appear to have changed far less.

I shall take it as propitious that I’ve not had time to finish this brilliant series with my readers — for in the interim, the queen (who would have been queen-empress as her father, George VI was king-emperor, if India had not achieved its independence before George VI died) died, Elizabeth II Windsor, causing what seemed the whole world to sit up, take notice, watch the official 10-days mourning of “a nation” and then see put on a spectacular ritual aired everywhere in the world on TVs, internet, cinemas, as a kind of last gasp of the Raj in spirit. And few as they were, we read and heard the voices of protest that called all this magnificent display so much hypocrisy, a vast disguise behind which the grossly unequal arrangements of colonialism and capitalism carried on, less unchanged than you might think (see the comments to my blog The Passing of Elizabeth II).

For myself I’ve determined I will do (if the OLLIs last) The British Indian Novel Take Two, having thought up four different novels/memoirs, books of essays (J R. Farrell, The Seige of Krisnapur; Kamala Markandaya, The Nowhere Man; Salmon Rushdie (nearly assassinated): Imaginary Homelands (a book of essays, columns, life writing); and Jhumpa Lahiri, The Lowlands … . I have two 18th century epistolary novels & memoirs partly set in India and hope to get to them soon: Eliza Fay’s Original Letters from India, ed, introd E. M. Forster (!), and Phoebe Gibbes, Hartley House, Calcutta. Both by women. And found my copy of Emily Eden in virago about her time in India in the early 19th century, Up Country

So you see I’ve carried on reading and thinking, and am glad to return to watching, remembering, coming to terms with this more explosive season than the first. Let’s dive in. The second season’s episodes have acquired titles.

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Season 1, Episode 1: Three Years Have Passed. While it seems so much has changed, more thought makes one realize the same patterns, the same emotional relationships and conflicts are being repeated. Again Aafrin is torn. After three years he has taken up with a revolutionary woman in Bengal, and the man who has a plan to blow up the club or the Whelan house – we are shown that bunch of dynamite immediately. And again Aafrin finds himself over his head. He wrote the seditious page, typed it and brought it to the printer, but then he is identified and we are left wondering whether Ralph knows or not. He might. Ralph again this cagey ambiguous character with Cynthia Coffin, looking out for him, a very vicious yet older woman. We see her with two helpers humiliating an Indian man who is trying to get into the club. He has to have a coat of arms. He has to study something and know it. She tells Ralph to send the old Viceroy home, Willingdon (Patrick Malahide) – he has a heart attack when a toy grenade thrown at him. She is gearing up for seeing Ralph become the next Viceroy He’s not sure how to grab the position.


Cynthia (Julie Waters) watching Ralph intently

Madeleine, complete with ayah Bhupi’s wife, and a baby girl in tow, follows Ralph now. The horrible Sarah (Fiona Glascott) is as horrible. ow we see her stealing flowers from the gardens of the house she once lived in but no longer does. She had gone to England to leave her son there, and when she returned found the Dalal family installed. She is enormously pregnant, and has thus trapped Dougie (Craig Parkinson), who has separated himself from Leena and is nowhere to be seen. Instead Sarah sits teaching on a throne, “lessons” which consist of asking the children absurd questions, and laughing at them when they respond with “wrong” answers. She berates and condescends to them. Only a few have left as her pregnancy necessitates their return to England. Dougie is as pliable and useless, grieving over the loss of his school. And surprise, surprise Adam now a young adolescent has been taken into Ralph’s and now the Havistock home as another boy servant; soon he will be joined by Leena (Amber Rose Reevah), who avoids homelessness just, as governess to Alice’s child. It takes half the season for Madeleine to realize Adam is her husband’s son, but his behavior makes it obvious to those who know

The Muslim reporter, Naseem Ali Khan (Tanmay Dhanania) is still sniffing about. Ian (Alexander McCleod) now running his tea plantation, thoroughly his own man, who has not forgotten Ramu Sood. Sooni (Asha Kala) cannot be far away, still politically involved but cannot get Aafrin to tell her anything. Worst off is Alice: returned with a vicious spiteful sadistic husband who denigrates and spies on her, passive, giving in (we learn he buggers her regularly to hurt her) He works for a bank and we will soon learn that Ralph needs this man’s money. Rowntree (Guy Williams going about with his policeman intruding in Indian houses and bazaars, no need for a warrant and arresting supposed culprits.


Kaira has little sense of self-worth …

Season 2, Episode 2: Black Kite (code name for Kaira, who will not survive). Now we note subtle changes from the 1st season; new characters and new emphases. To the credit of the creator-writer Paul Rutman, there is an attempt to give nuance to the character of Cynthia Coffin so she seems more vulnerable and less powerful –- while at the same time as nasty, bullying and ruthless-racist as she had been. Ralph Whelan seems softened because he too is more vulnerable: a Lord Hawthorne (James Fleet) sent from the UK and parliament is either there to himself take over the viceroyship or check out if Ralph is “fit:” Hawthorne is not “radical,” does not wanting really to share power with the Indians (Muslim or Hindu), much less hand power over. We see him respond to Alice’s coaxing that he tell Adam that he is Adam’s father . When Adam is given a copy of a child’s classic owned by her dead brother, Madeleine takes it back. At the same time Ralph is pushing Aafrin to find the terrorist who printed the pamphlets (he knows or suspects that the writer is Aafrin himself).

Aafrin is again like Alice, easily vacillates, easily blackmailed. We are shown more closely a male of pure evil for the first time (like Captain Merrick in Jewel in the Crown. Naresh Banerjee is a crazed terrorist, and when he is shot down by the British (using the excuse Rowntree believes Banerjee spread the pamphlets), Aafrin saves Banerjee’s life, but in ironic reciprocation Banerjee plucks Kaira back from the safety Aafrin had tried to send her to — as she has also been a mole for Whelan (she too has a son to protect). Aafrin had tried to placate the man, first finding a file to satisfy him (that’s an obvious thing Aafrin should not have done, it implicates him too) and when Banerjee uses the information to threaten Kaira as the Black Kite or mole Aafrin desperately says he fabricated the whole file. At this Banerjee coolly shoots Kaira through the head.

The count of those ruthlessly unfairly murdered thus far includes only Indians: Ramu Sood was the first; Jaya’s brother the second (in prison beaten and cut to death) – now Kaira Das. They will be joined by the end of the season when Leena is sent away to prison for 9 years after Hawthorne tried to molest/rape her and Adam, showing real fury, throws sets Hawthorne on fire – she takes the rap. The only white killed will be the moral minister, Raworth, white, is killed – by mistake trying to save a child from a bomb the child is wheeling about.

It’s the truly horrible Charlie who manages to needle Cynthia by calling her Mrs S, a char woman; we see how awful he is again, but this time accompanied by his giving Ralph a big check to keep that mansion up. Alice is unable to free herself, but still making gestures at Aafrin. Cynthia wants to get rid of Alice and urges her to go home (the way she did Madeleine), but Ralph, now more alert to this kind of thing, puts a stop to that. Cynthia also insults Leena when Cynthia sees that Alice has hired her (she was homeless, a beggar when deprived of the missionary job when Mrs R returned and became pregnant) and threatens her if she tells that Adam is Ralph’s son. Sooni’s role remains normative somehow: the mother wants to marry her off to a proper Hindu male and invites a woman friend/relative to bring her son to dinner; Sooni is resisting marriage, she wants to use her lawyer’s degree – it’s the most situation comedy storyline of the series.


Sooni, three years older …

Season 2, Episode 3: White Gods

One might be forgiven for thinking the series is turning into the story of Aafrin, as his trauma and behavior under terrific stress is central to the over-riding plot-design of this one. He is so deeply distressed by Nareesh Bannerjee’s murder of Kaira, and fear what he will do next, Aafrin, again on that same broken typewriter, writes a warning the man has a box of explosive bombs he intends to blow the club or someone’s mansion up with and its in a cave. He manages to persuade Ralph to take this seriously and send Rowntree and his men to search. Nothing is found, but the camera shows us it is in the bazaar. We can see that Ralph follows Aafrin’s advice because he believes Aafrin’s underlying motive is loyalty. Ralph as a character is and must be more self-contained.


Dressing the maharajah (Art Malik) for cricket (sly humor here)

A central scene is a cricket game where Aafrin is required to be umpire. Not easy for the spoiled Maharajah (Art Malik grown much older) whom Whelan is courting wanted to win. We meet this vain and amoral man and his mistress, Sirene (Rachel Griffiths), apparently actually from Western District of Australia (real name Phyllis).

A dinner at table reveals to Cynthia how ugly is Charlie’s humiliations of Alice and so she stops pressuring Alice to leave and to get back at him for calling her Mrs Sparrow provides a room for Aafrin and Alice to carry on. The stress of this cricket game, what he endures at the club (from his well-meaning benign father), and now this fulfillment makes him break out into hard sobbing. He had loved Kaira but cannot refuse Alice and the profferred English way of life she might take him into.

We see Lord Hamilton begin to chase Leena, that Raworth refuses to help her and his kowtowing to his wife again seen as coward’s way. Ralph is beginning to have his whole household treat Adam better, teach him things a Sahib should know … Madeleine watches this


Ralph Wheelan (Henry Lloyd-Hughes) showing Adam (Dillon Mitra) something

I have omitted my favorite male character: Ian McCleod played by Alexander Cobb: I love how he trails around in an Indian version of a kilt, the relaxed atmosphere around him, the lack of phoniness, the friendship he is building with Sooni — they go together to investigate the place where it appears Bannerjee was “confronted” (it was the other way round) by Kaira and Aafrin, and where Jaya took lost her life too.


Ian relaxed, dressing comfortably for heat and work …

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For Episode 4: Empty Chair (clicking on comments) and Episode 5: Hide and Seek (ditto).


Ralph comforting Alice

The titles of the episodes are mostly ironic. This second season is not nearly as melodramatic as the first, but the politics and human relationships go deeper, have gone on for longer, and are at the end (Episode 10) harsh for many, yet accepted … At this point we are reaching the midpoint of a second volume of a novel.

Ellen

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Ramu Sood (Alyy Khan) being brought out to be hanged (he is absolutely innocent of any crime and everyone knows this)

Dear Friends and readers,

A few days ago I provided a framework, perspective, synopsis and then summaries and commentary for the first half of the first season of the superlative Indian Summers. Now we turn to the second half of the first season, dominated by the mysterious murder of Jaya (Hasina Haque) from having been stabbed and drowned (by whom we are not quite sure even at the end of the season). The accusation is imposed on Ramu Sood; we watch how this comes about, the trial, and its conclusion in the British power murdering Sood.  They have colluded to exclude from evidence that Ralph Whelan (Henry Lloyd-Hughes) was Adam, her boy’s father and stood to lose everything if Jaya persisted in following him about with the son. It’s not that the idea that the parentage of Adam is the key to the murder simply does not surface.  This truth is repressed by those who know and lies about Sood are provided as a distraction from Ralph.

It’s shocking even today as it is made plain the British are doing this to rid themselves of a wealthy, proud “trouble-making” landlord.  We listen to several characters tell Sood’s one full supporter, Ian McCleod (Alexander Cobb), it does not matter if Sood is guilty or innocent. Sood is the kind of person the British want dead. They resent — Cynthia had already thrown Ian out of the club for working for Sood — and fear him. Sood tells McCleod the moral of his story is “keep your head down” if you are not a white and powerful male.


Jaya and Adam – she persistently abducts Adam from the missionary school where he was taken after rescue in the first episode so as to bring Adam before Ralph

Within this over-arching story, we watch Aafrin Dalal (Nikesh Patel) become bitterly disillusioned with Ralph. At the end of the season Aafrin realizes that Ralph will do nothing to prevent the gov’t from hanging Sood. Aafrin had assumed that Ralph would recommend mercy in the form of a prison sentence and then leniency in later years to cut down the sentence. Ralph at first writes a letter to that effect, but Ralph, after letting it stay publicly on his desk, destroys it and instead lets the death penalty take its course immediately. We also see the full criminality and viciousness of Cynthia’s (Julie Walters) character, who beyond lying on the stand to convict Sood, is responsible for the death of Eugene (Edward Hogg) Mathers, Madeleine’s (Olivia Grant) beloved brother and plots to persuade Olivia to return to the US and never return (despite Ralph’s determination to marry Olivia in order to give some moral pattern to his existence). Ian McCleod (Alexander Cobb) emerges as a hero risking all to try to save Sood, and when he does not, siding with the Indians to rally viscerally against the injustice in a funeral.

I admit I had not realized that WETA has placed online recaps of all the episodes of the first and second seasons, and left them available (here is one place you can reach these), but as these are not easy to click on in chronological order and are told neutrally (though concisely, concretely, accurately) I will carry on providing summaries and evaluations of the series.

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Episode 6 brings together all the threads we had come to understand in a violent open near murder by Ralph of a Irish soldier-hunter, Captain Billie Farquhar (Jamie McLaughlin), a character out of Kipling, because Farquhar is threatening Alice (Jemima West) with blackmail (she can pay him off with sex). We also see in a memory flashback the death of Jaya — who dies screaming, screaming. Her body shows multiple stabs (plus much abuse from earlier years as an outcast beggar).

Jaya had started to show herself, to come to Ralph’s house and with Adam, their son; he goes to her and proposes that if she agrees to go somewhere else, he would support her, but he appears to do nothing about this.  Leena Prasad (Amber Rose Revah) as the missionary teacher who loves Adam repeatedly wrests Adam back from this half-mad mother: Java threatens the boy, puts him at risk; she confides to Ralph that beyond her life in the streets, all she has known from men since Ralph abandoned her has been abuse. At the end of Episode 6 Jaya is apparently waiting for Ralph by the river (it seems like an appointment was made) and looks eager and then (apparently it’s not Ralph) because this person is doing something which horrifically frightens her, and next thing we see her drowning and screaming.

A second thread is that of McCleod’s relationship to Ramu Sood. Jaya has strayed into Sood’s house and finding a woman’s beautiful wedding clothes in a closet, takes them and puts them on.  These turn out to be Sood’s dead wife’s dress, and he becomes very angry. Sood is a lonely man who sits on his porch, half asleep with a gun across his knees — we learn in the trial his wife had died in childbirth. The gun shows he feels that his life is continually under threat. Now it was McCleod who, sorry for Jaya, let her work in what were McCleod’s uncle’s and are now Sood’s tea fields. McCleod’s good nature and naivete contribute to the tragedy.  Sood had looked at her impersonally and thought she would not be an effective worker and felt she might bring trouble. By this time Sood is training McCleod and they are working together.

In David Gilmore’s The British in India (cited in my first blog on Indian Summers) Gilmore says that a disproportionate number of Scots people came to India for work and became successful businessmen working closely with the Indians. We see the two men forming a friendship, Sood training McCleod: a mentor-father relationship forms. They sit and drink and Sood tells of the beggar woman and wedding dress.  Sood invites McCleod to stay, but McCleod insists on going home alone and hears the screaming nearby at the river — having seen Sood on the porch waving to him a few minutes before.


Farquhar’s first appearance: he is showing the ladies the head of the snake which he just killed

A separate thread is the discomfort and on again off again relationship of Alice and Aafrin. The absence-presence of her husband, Charlie, looms again. Irish Captain Billie Farquhar (James Maclachlan) comes out of nowhere to shoot and kill a snake who terrifies Madeleine, Ronnie Keane (Rick Warden) and maybe frightens Alice (Jemima West), all taking a sort of stroll in the bush (as it were). He is Irish, and presents himself as a mountain climber needing permission to climb the Himalayas. We are told this climb is extremely dangerous physically, and it quickly emerges that in fact Farquhar is not there to climb these mountains: when Ralph gives permission, Farquhar suggests Ralph wants to get rid of him. He reveals he is a friend of Alice’s husband, Charlie, and soon Alice is again in a abject position. She is susceptible to bullying; is bullied continually by Sarah Raworth (Fiona Glascott) who also knows of the marriage and her flight, and threatens to reveal she is not a widow but has (in law) kidnapped her son.


Sarah and Alice — this frenemy relationship is continuous — Alice is actually the friend of Leena, and tries to help at the missionary school

Ralph watches from afar, at first thinking Alice is “leading Farquhar on,” and when she denies this, Ralph literally throws Farquhar down the stairs, bashing Farquhar’s head on a wall in such a way as possibly to cause a serious concussion. Farquhar leaves in haste, but not before he has threatened to tell Charlie what actually is the condition of Alice and reminded her the boy belongs to the father.

A lighter note: Dougie Raworth’s (Craig Parkinson) keeping to his wife, puts her in a better temper and we see her for once on a roof accepting drink from her son and husband (playfully) instead of enacting incessant bitterness, aggression and pride and snobbery, envy, and spite.

That Ralph can risk murder of Farquhar shows his violence. We see him remove Madeleine from tea at one point and he forcibly in effect rapes her from the back (buggers) her and we see her submit to the pain (no pregnancy would happen). Then Ralph’s close servant, Bhupinder (Ash Nair) goes after his wife, Sumitra (Anitha Abdul Hamid?) who is Alice’s servant and nanny to Alice’s baby son, Percy — from the back, but she has the courage to refuse him and run away. We do see Ralph grieve over Jaya’s body in the morgue, but continue the lies he does not know who she is.

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Complicity would be a perfect title for S1, Episode 7. We see how Superintendent Rowntree (Guy Williams) leaps on McCleod’s naive bringing forth of information about a link between Jaya and Ramu Sood — specifically her taking his wife’s wedding dress and his anger over this — to accuse Sood of premeditated murder. Then the complicities slowly emerge:


Ian (Alexander Cobb) in his flat realizing he has been badly used

It takes time for Leena to realizes Raworth is holding back information which might help Sood: Raworth and she both know that Jaya was Adam’s mother, but more importantly that Ralph is the father. Raworth keeps saying he is not telling to protect Adam; but the reality is he is afraid to expose the Private Secretary for fear of reprisals. Ralph has sent him a huge check for the school (soon after Jaya began to be seen around the compound). Our respect for Raworth ought to go way down: his abjection before his wife is matched by his cowardice before British authorities.

Cynthia keeps up the drumbeat of false stories, including that Sood killed Armitage, when it was Armitage who attacked Sood. But then (like Leena slowly about Raworth) I realized Cynthia suspected Ralph did it and he suspects her. So Sood is a screen for both of them. (What do they care about him?) Aafrin seems as yet indifferent to what is happening in the trial, caring only that the Muslim girl (Sati) he found himself engaged to (through his father’s behavior) lied to him and endangered his position as a trusted Parsi among the whites.

Sood cries after being beaten into confession — as he says his crime was to behave as if he were equal; he should have kept his head down and not taken over the tea plantation. It ends on Ralph also (yet another person) telling McCleod it’s no use to offer any alibi, you will not be thanked. I did not realize that the whites and the passive obedient Indian community really meant to hang Sood when they knew it was a false charge probably because such a program as this would have poetic justice (so I thought).


The players — one of the more savagely ironic stills in the series

There is a play within the play going on: the British are putting on Oscar Wilde’s The Importance of Being Earnest, with Cynthia as Lady Bracknell. Events happening within the play and the behavior of the players to one another reveal their characters and parallel events leading up to the trial. Cynthia tries to win McCleod back by welcoming him into the club and giving him a major part in the play (one she removes from Eugene Mathers out of spite), but he gradually sees through this and returns to the police to tell what he saw and insist he is Sood’s alibi. The large analogy (not obvious and thus probably lost to an American audience) is that Cynthia is Lady Bracknell and cares intensely about Ernest, who in this paradigm would be an allusion to the orphaned Ralph.

The larger event referred as happening off stage is Ghandi’s threat to go on a hunger strike and Ralph objects to staging the play as bad politics (the British will look bad); but the Viceroy (Patrick Malahide) who has a major role, and is much flattered throughout, insists the play go on (in effect he threatens Ralph with loss of his position). Ralph fears this ignoring the suffering of thousands and Ghandi’s symbolic recognition will cost them the parliamentary votes they need. Viceroy laughs at him.

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Episode 8: The Trial. The first time I watched the framing (very weak) and then trial and conviction of Ramu Sood, I didn’t realize quite how “guilty” was a foregone conclusion. The Indian judge had never for a moment considered coming up with a “not guilty” verdict. I admit that still I couldn’t take in that in the next episode this innocent man would be killed before our very eyes.


Raworth suddenly standing up at the trial, stopping Leena (whose POV we are in) from giving evidence that Ralph Whelan is Adam’s father

Some striking moments: Raworth protected Ralph Whelan so closely and then sent back Ralph’s check. Raworth cannot face his own lack of integrity, but to send the money back is as useless (one might say) as both Ian and Leena’s evidence on behalf of Sood in the trial. When Raworth signals to Leena on the stand that she should not utter Whelan’s name that made her evidence no evidence. She has come courageously to the Indian lawyer to tell him that Adam is Jaya’s son and that an important part of the evidence is who the father is. But on the stand she does not identify Ralph. She also made the mistake of criticizing Jaya (ironic that this is used against her). The Indian lawyer on behalf of Sood, suggests that she herself might have murdered the boy because she so yearned to be Adam’s mother, and then the unscrupulous British lawyer repeats the idea. So she is triply betrayed: by both lawyers and in effect by Raworth. Raworth fails Leena as McCleod does not fail Sood. Now whether telling the truth would not harm Leena, we cannot know ….

The worst villainess of the piece is Cynthia Coffin — ruthless, supposedly for Whelan, she ceaselessly blackens Sood. When it’s insinuated that Raworth might be Adam’s father, she says oh no, it was Armitage — no sleaze is beneath her. She (we realize wrongly) fears that Raworth might tell the truth were he accused – and the accusation is obvious when he stands up in the trial to stop Leena’s evidence. I probably should reread The Importance of Being Earnest to understand Lady Bracknell’s full relationship with Ernest; it is parallel with Cynthia’s with Ralph. She has now consigned Eugene to an early death by putting him in her club basement because she wants to get rid of both Mathers people and find for Ralph a much wealthier wife.

I did begin to feel there is misogyny in the way Cynthia is continually fingered as so powerful and so cruel. Sarah Raworth’s behavior reinforces this misogyny. She seems to vomit during the trial when Raworth stands up to defend Leena – all she cares for is is she acceptable by these racist imperialists. She comes home after the trial exposes Raworth and Leena has having some relationship to Jaya and Adam, and she rages at Raworth on the grounds she will now be stigmatized and excluded again. She tells him how boring, boring are his sermons. Against this is that when Aafrin breaks with Sati and tries to reach Alice, we are to feel for Sati who now will have her reputation utterly compromised — so not a misogynous script.


Sooni seated by the Indian lawyer; the snide insinuating English lawyer badgering Sood to confess …

Also the character of Sooni (Aysha Kala) shows us a feminist paradigm  — as does the story of Alice who has no rights or power or ability to earn an income it seems.  Sooni supports Sood, helps the Indian lawyer, gets McCleod to the court sober to give his evidence on behalf of Sood. Sood tries to persuade Ian not to give evidence; Sood pretends hostility to Ian, and insults him, and in Ian’s emotional hurt, Ian runs off to get drunk. Sood is the unselfish good man — who understands the way the Raj works but (as he said) assumed he could be an exception. We see him on the stand treated disrespectfully and played with by the lawyer — and realize the full extent of his personal tragedy: a man who lose a beloved wife and child only a few months ago.

It’s not an overtly violent, over dramatic ratcheted up drama — it is utterly believable.  At the end the last shot of the episode is of Ralph’s feet. The British lawyer used as evidence incriminating Sood that a filthy old sandal was found near the river. The lawyer scoffed at the idea a British man could wear sandals. But could this be Ralph’s sandal? We are given a clue here: the sandal was in too bad a shape to be Ralph’s. So who could the murderer have been if not Ralph, and an Indian man? Stay tuned.

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Cynthia justifying herself to Ralph …


As Sood is taken to his death, Ian jumps up and attempts to hug Sood, and stop this killing — very moving moment

See the comments for Episodes 9 or “Secrets Out”, and 10: Temporary Resolutions and the Hanging of Sood.

In another week or so I’ll write about the second season. For now Indian Summers might be considered an answer to the critiques of The Jewel in the Crown. Here we genuinely see the Raj from several different Indian POVs, and its power and cruelty are before us. It also much to its credit gives us a deeper sense of the permeations between England and Indian culture — no matter how hard the English tried to insulate themselves, they cannot. The little instruments are here too: it’s also the first one I’ve seen showing how ostracizing someone from the club could be used. Without the club, Ian has no friends, no where to go. These ever so civil upper class types, high cultured, are a bunch of ruthless murderers. But all are equally capable of evil and harm. An Indian man comes up to Aafrin and lets him know he knows about how Aafrin stole the document — he is demanding money to stay silent. I became intensely involved with all the characters; part of my grief at the cancelling of the series was to lose their presences and their full stories over the projected 50 episodes.

Ellen

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My theme is how the original illustractions intersected with the text of Trollope’s novels to produce unexpected and expected angles, and interpretations; that the pictures in the books have influenced the film adaptation scenes; and, how all, taken together and apart (mood and place, parallel and contrasting characters and events), reveal and display the unity of the Barsetshire series.


One of 17 vignettes/letters which Millais drew for the 1st edition of The Small House at Allington: Mr Crosbie Meets an old Clergyman on his way to Courcy Castle


“Evading the Grantlys” — Donald Pleasance as Mr Harding wandering in Westminster Abbey in an uncannily similar shot in the 1983 BBC Barchester Chronicles (script Alan Plater, director David Giles)

Dear friends and readers,

I hope you are not tired of these. It was my honor and delight to give yet another talk to the London Trollope Society online reading group. This time my subject was the pictures found in The Small House at Allington.  I thought that after the two and half-years we’ve been going, and have read all but one (The Warden) of the Barsetshire books in this order: Framley Parsonage, The Last Chronicle of Barset, Barchester Towers, Doctor Thorne, and now The Small House — an appropriate talk would be to try and see if I could show unity in Barsetshire through their original illustrations. The question if the books are unified even if they were not originally conceived of as a series, and what unified them had come up during the reading of The Small House, and if they were not unified, which ones would you eliminate?

Obviously I could not go over all the pictures, especially when I began to realize and remembered how the two more or less film adaptations of three of the Barsetshire books, for The Warden and Barchester Towers, the 1983 BBC Barchester Chronicles, had scenes which mirrored the original illustrations, and themselves projected this same inner quality or specific kinds of parallels their eponymous books did. So I chose to examine and describe as a group and example epitomizing Millais’ illustrations for The Small House, George Housman Thomas’s for The Last Chronicle of Barset , and the typical and typifying kinds of mise-en-scène created for the 1983 Barchester Chronicles. I also instanced a couple of examples from Millais’s six for Framley Parsonage, and a couple of scenes from the 2016 ITV Doctor Thorne (script Jerome Fellowes, director Niall MacCormick) to help demonstrate my idea that what unifies the Barsetshire books is they are a English-inflected fractured pastoral idyll (how’s that for a mouthful).


This is a letter from the 1857 Last Chronicle, for Chapter 9, “Grace Crawley goes to Allington” — it helps trace the friendship of Lily and Grace, here sewing together by candlelight

I used a delightful book, Hugh Hennedy’s Unity in Barsetshire to help me describe central repeating or parallel kinds of events and characters across all six books. And I adhered to Trollope’s claims that to him this was a real single multiple dwelling and landscape place filled with people he invented, knew and loved, and that his originating first and main aim had been to tell stories of how in England a clerical vocation, career, and particular individual’s sets of values works out.

One not unimportant aim of my talk is to demonstrate that for the 19th century reader the experience of these books was an interaction between text and pictures: the pictures played off one and reinforced another (vignette and letter matched with full page). These offered other perspectives and added unexpected elements to the experience. They anticipate the way a film adaptation nowadays can add to our pleasure in re-reading a book (if the adaptation is intelligent).

The talk is now online at the London Trollope Society website where you can find the video of me giving the talk, transcript of the talk and best of all, all the pictures in a row to be looked at at your leisure:

Barsetshire in Pictures

I admit that this time my delight came from being able to share for the first time since I first saw them a representative number of the original illustrations to Trollope’s novels. It was in 1999 that I spent many days at the Library of Congress in its rare book room pouring over these illustrations as they appeared for the first time in the British periodicals (inside magazines) or as separate numbers (sort of little pamphlets) as instalment publications.

The Library of Congress is a deposit library and at the time got copies of the major British publications, which were those Trollope’s books appeared in. I saw in total about 450 images altogether. I am very fond of many of them and I think at this point equally so of all the extant film adaptations (alas five were wiped out early on), though I have favorite stills from the movies, which you may observe me repeatedly put on this blog.


Tom Hollander as Doctor Thorne working at his desk is one of these favorites (2016 ITV movie)


Not because I’m fond of this still, but for the sake of Mary Thorne (Stephanie Martini), a favorite character with me because of her belief system as felt here:

I’m with the 1970s Robert Polhemus who says the “moral core” of the book can be found in a conversation between Mary and Dr Thorne, where Thorne says “money is a fine thing” and he would be a “happier man” if he could “insure her against all wants.” Mary interprets this as “that would be selling me, wouldn’t it, uncle? … No, uncle; you must bear the misery of having to provide for me — bonnets and all. We are in the same boat, and you shan’t turn me overboard.”

He: “But if I were to die, what would you do then?”
She: “And if I were to die, what would you do? People must be bound together.
They must depend on each other” (Doctor Thorne, Chapter 11)

Now 23 images (which is what you’ll see in the video and on the Society website is nowhere near 450, but I describe for the first time the series for themselves, and make an argument for the idea that the original readers of Trollope’s novels expected as part of their imaginative experience an interaction between the texts and the pictures. We can see this as an anticipation of the way some readers delight in faithful film adaptations of beloved books.

The pictures enrichen, complicate and add to the pleasure and meaning of the text (even when they undermine, ironize, or sometimes go very far from the author’s apparent intent). I did show 17 images for my “Trollope, Millais and Orley Farm” so if you add that onto the 24 illustrations in my book, Trollope on the Net (there I deal with other books, including Golden Lion of Granpere and The Way We Live Now), plus what I’ve managed for my website (the Pictorial Trollope) and occasionally for this blog, I believe I’ve shared a representative corpus.

As I’ve done for my other three talks, I put the text of the paper itself on academia.edu, and I transfer the video here onto the blog so you can watch it here for your convenience (if you don’t want to click to another website).

But you are missing out not to go to the London page as everything is made so lovely there and you can see the pictures and read the text separately (without having to listen to my high voice, New York City accent, and at moments awkward reading style)

Ellen

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Mandy Deans (Charlotte Riley) and Gabe Kelly (Obi Abili) dancing as the sole interracial couple


Fred Dawson (Joseph Mawle) comes home to find his wife, Rose (Natasha Little) and son, Danny, have developed close, and loving relationship with a German POW, Joseph Schultz (lent to them as a farm worker)

Dear friends and readers,

I spent this afternoon watching two episodes of Foyle’s War with a friend: “Broken Souls” (S5, Ep 2), about the excruciating emotional pain and damage done to people by the war as they come home from that war and attempt to adjust to what has happened during the years gone and as they learn to have to live with the memories of beloved people killed, often in horrific ways; and “Killing Time” (S6, Ep 2), the fierce unrelenting and open racism of US white people in the army towards their fellow black people fighting equally in the war but discriminated against by humiliating and ostracizing practices towards them, threats, beating, excluding them, as well as how in Britain done more discreetly, equal refusals to accept black people as equal human beings. These are just two of six extraordinary exposures and intelligent dramatizations of social problems in society then and now as exacerbated by the violence and cruelty of often senseless and hate-filled war behavior all around everyone.

This is a different slant than the previous four seasons where the emphasis was more criminal behavior occasioned or allowed by war behavior, often on the British side (see my blog on Seasons 1 & 2, May to Oct 1940; and on Seasons 3 & 4, February 1941 to March 1943). The comedy is different too — more class-based, as in (in “Broken Souls”) two elderly once aristocrats, having to do the housework for themselves, but keeping up humane values: Phyllida Law and Graham Crowdon, Sir John and Lady Muriel Sackville, as the kindly couple who take in a traumatized young evacuee who flees his father in London, returns to them. When the boy’s father accuses them of (in effect) not feeling the war, Sir John remarks that their only son was killed (and the camera shows us his photo in the room).


Ironing

The series is often remembered for its brilliance, the seriousness with which the film-makers studied and present real history, the main character of Foyle (Michael Kitchen’s impeccable performances as a morally just and good man), and the emotional power and still extant interest in social problems the separate stories dramatized with clarity and forceful humane inferences. It is also remembered for the puzzling several attempts to cancel it, just after the ending of Season 4, where we are given a story that seems to provide closure for the series; and again the third concluding episodes of 5 (see below) and 6 (ditto). This is not the first time a reasonably popular series has been cancelled, usually on the insistence (falsifying grounds), the ratings were just not high enough (examples include the 1975-1978 Poldark, The Bletchey Circle (2012, 2014), and 2015-16 Indian Summers).

But in some of these there is evidence to show the people in charge wanted to exert their power to change the way the station was operating, were embarrassed by the shows’ content (women-centered, women’s romance); in the case of Foyle’s War I think various people directly and indirectly involved did not like the critical attitude Horowitz in his scripts took towards what was done in the name of the war, and his decidedly anti-fascist and nationalistic stances, his revealing how capitalistic practices (gains for individuals involved in war businesses) caused unnecessary death and suffering. As opposed to other shows, Foyle’s War is incessantly against the idea the ends justify the means; Foyle, let us recall, is a non-compromiser. I can’t prove that beyond retelling the stories, bringing out their uniqueness in these regards.


Sam (Honeysuckle Weekes) from Season 6 (2010)

Today I became aware in conversation with my friend that the second four seasons (5 & 6, so cancelled that 3 years went by before 7 & 8 appeared) have often not been re-aired or screened, with their explosive material thus forgotten or never seen, so decided I would go on to summarize and present them here. In these episodes since the lives of Foyle’s two assistants, Sam Stewart (Honesuckle Weekes) and Paul Milner (Anthony Howell) moved on with time and changed more than the solitary older Foyle’s and war circumstances changed too, Milner’s role was diminished and then dropped, and Sam was seen even more involved in the community of Hastings where her good heart and emotionally moral nature again supported Foyle’s judgements from a spontaneous involved POV, now mostly dressed in civilian clothes.

As in the two previous times, in order to keep the blog a little shorter, I will put the second of set (here three of six episodes) in the comments, separating them out there so the reader can read what he or she is interested in. But this time I am myself going to rearrange or re-order the episodes so three whose content today remain as relevant to us as ever come on the blog itself, with the others (not less searing and poignant or comic than the others) requiring clicking to reach. As Horowitz was forced into moving more quickly in time (or simple did, because he destroyed episodes, possibly over anger at the reactions to them) so the closer relationship of what literally happens inside an episode to what was happening just then in the war is somewhat lost and less time-bound.

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Tommy Duggan (Sam Spruell), the conscientious objector who at the end accepts responsibility for Mandy and Gabe’s baby rather than let the child go to an orphanage

Season 6, Episode 2: Killing Time, June 1945:

The story concerns Mandy Davis (Charlotte Riley) who unwed has given birth to a mulatto child whose father we learn is Gabe Kelley, a black American (Obi Abili). She lives in the boarding house owned by Adam Wainright (Max Brown) who has hired Sam (Honeysuckle Weekes) to be cook, housekeeper and whatever else is needed. Many is desperately unhappy, and hasn’t enough money to buy milk for the child, much less pay rent regularly. We see how cruel her mother Mrs Dean (Gillian Bedford) is to her. She had been going out with Tommy Duggan, a boxer (Sam Spruell), who a conscientious objector, had been sent to farm in Scotland, and who when he returns find himself spurned by everyone but one friend-boss, a manager of boxers who gives him a place to stay for free for now, and who had dreamed of marrying Mandy. Tommy is deeply hurt in several ways all at once.

Sam befriends Mandy, loves the baby great-heartedly, and offers to go with Mandy to a local dance, Ludy will come. To the dance Gabe comes with three black friends, and at first they are badly ostracized but slowly as he asks Mandy to dance and she agrees, the British at least return to the dance floor. We see how the two love one another and long to be a family with their baby.

Meanwhile the murder & violence mystery story is proceeding. Twice we see a rich businessman stopped, fooled by a woman and then robbed by her and an accomplice male – in the wood One of them is on the town council which has been pressured by the local American army captain, Wesker (Adam Jones) to practice segregation in the town. Foyle votes against this: isn’t protection and better lives what we fought for? But he is over-ruled. We see the harsh ways the white American army men treat the black, but there is a especially mean bully, Sergeant Calhoun (John Sharion) who incites others against Gabe hating him for going out with a white girl, who he also terrifies with horrifying stories of lynching and torture black men who so much as look at a white girl are subject to in the states. Many talks with Sam asking why should the color of Gabe’s skin matter. She is fearful for him.

Well, Foyle finds Gabe lying on the ground that night having been beaten by the whites, they form a congenial acquaintance. Then Gabe goes to Captain or Colonel Wesker to request permission to marry Mandy, and at first refusing, Wesker seems to agree.

Foyle still goes fishing (he had shown some of his tackle to Gabe who appeared to understand what he was seeing). Foyle brings fish to Sam, who says he must come to dinner. He arrives, meets Lucy, and a Mr Hains, a man with one arm who is bitter about the war; also sees Many and Gabe openly a pair. This partly happens as Adam had tried to tell Many she must leave since she’s not paying, she had begged him to stay, and Sam protested this, so to make up for bad behavior, Adam is hosting the dinner beyond the fish.

Then one night Calhoun offers to pay Tommy for boxing. The episode had begun with a violent scene of boxing where a white and black man are in the ring; at first the white is winning, but then the black begins to win and beats the white; but as he is about to be given the prize, Calhoun jumped into the ring and gave the win to the white Well, the black men come in (oddly allowed by Calhoun) and soon they white guys are beating the blacks, and Gabe flees to the wood, and when he returns is told Many has been murdered. This is the story he tells Foyle, for Foyle has been called in earlier to view the body, and hear Wesker say obviously Kelly did it, and behave as if Foyle has no jurisdiction; Foyle insisted he has and begins to investigate. At one point Calhoun gets into Gabe’s cell and threatens to kill Gabe’s baby daughter; next thing Foyle is told Gabe confessed, and Gabe will not retract. There’s a scene where Wesker shows how bitter he is – he wishes the war would have gone on for at home he is nobody and here he was respected.

Sam has taken the baby to Mrs Dean who will not take her granddaughter I – her name is Catherine. She goes to Tommy who insists the baby has nothing to do with him either. Meanwhile the social services have come to demand the baby – this happens in Caryl Philips’s novel, Crossing the River: a child of a black man and white woman is taken from her after he is forced back to the US without her.

Tommy has been feeling very bad: he was a genuine conscientious objector because of the fate of his parents after WW1; he was willing to marry Mandy if she’d give up the baby. Foyle watches him very angry at Calhoun for refusing to pay the fee he agreed to.


Sam as housekeeper for Adam Wainright (Max Brown)

There’s a scene where Adam and Sam think if they were a couple, they could take Catherine in – but they are not (yet).

So the key here is that there is payroll robbery the night Mandy was killed – the same night of the boxing match. Foyle has figured out Mr Hains is a Mr Cole, and Lucy his wife, and they are doing the robberies. The new DC not very useful but he does see the prosthetic arm being used as a bat and takes it to Foyle and the serial number reveals it’s owned by a Mr Cole – who is Hains, as Foyle surmises, because he gave wrong answers when Foyle asked him about D-day. Cole was not there he was at Alamein. Through Cole, Foyle learns that it was Calhoun who threatened them into robbing the payroll, then through Calhoun (once he is accused of the murder) that the plot to have a payroll robbery as a distraction was thought up by Wesley who was having Mandy over that night to get her to bed with him in return for really allowing her a Visa to the states. Wesley gets angry at Mandy for refusing to go back to bed, she says she overheard the plot, and he strangled her.

The last scene of the murder-violent robbery mysteries is Foyle walking up to Wesker playing basketball and accusing him of the murder from all the evidence and affadavits he now has. Wesker admits it – as do just about all the criminals in the Foyle series. Wesker is your ambitious American, is brought up in these final moments. It was his ambition that drove him.


Sam as joyous and cherishing baby

We switch to a scene where Gabe is being urged by his black friends to get into the truck to be shipped home. He stands there and drives up Foyle and Sam with the baby. Sam gives the baby Catherine into his arms and says he will return to bring her back to the US. The orphanage people are there to take Catherine back, but Tommy turns up and says he will take care of Catherine – with the older man who has given him space and the man’s wife – until such time as Gabe returns. He is actually a good-hearted man, and the Coles not bad people.

I came near tears in several of the scenes with Gabe, and I worried intensely for Many and him.

I feel I was that moved because of all the horrible racism I’ve seen in the US since Trump became POTUS, last week the Buffalo slaughter was just so painful to read about Apparently there was segregation forced on some towns during WW2 by the American white army men; there were outbreaks of racial violence in the UK after the US army arrived; conscientious objectors were vilified by ordinary people. The terrible stories of lynching and what happened to black people in the 1940s and still today wouldn’t have pleased a US audience, nor the nailing of ambition and greed as central problems in life beyond racism. US and UK soldiers said to be killing time while they waited either to be disbanded when the war truly over – or sent back to the US It’s also a possibly killing time – time when characters are killed.

Horowitz didn’t write this one; David Kane did. Horowitz also didn’t direct; David Richards did. But this is a Horowitz story in content, feel, mood.

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Foyle playing chess with Dr Novak (Nicholas Woodeson)

Season 5, Episode 2: Broken Souls, October 1944:

This was the saddest of all the stories thus far; its central themes are the criss-cross of people coming home from the war and finding that those living w/o them for45 years say have found new friends, new associates. The example is a working class or agricultural farmer , Fred Dawson (Joseph Mawle) come home from having been a POW, crippled in his legs (frost bite from having been badly treated), to find Rose, his wife Natasha Little) has developed a tender friendship with a German POW, Johann, (Jonathan Forbes) and his son Danny is very fond of this German man. Fred is nasty to Johann, refusing to give him a meal, a place, cannot accept the man’s apology that we are the same, and the man returns to the German POW place. Johann so lonely flees, perhaps back to the farm.

Alas, another man deeply troubled, the head Doctor Josef Novak, in the nearby mental clinic happens by and hears Johann speak German. Novak has tried to kill himself, tried to take on the blame of the murder of a Dr Worth (Jessie Birdsall) who was about to go to Edinburgh for a promotion; he plays chess with Foyle regularly; it emerges the murderer was another lower level doctor, Iain Campbell (Nicholas Woodson) having an affair with a Peter Phelps (Alexander Gilmore) patient’s wife, Joy (Sally Leonard); Worth found out, blackmailed Campbell and was about to expose him anyway. Novak thought it was the pathetic patient, Peter because he was seen with blood all over his hands crying over the body. That was a scene cruelly set up by Campbell who sent the man to a kind of prison. Novak goes into a rage because all the war he has been carrying the burden his family was sent to a ghetto (Lubin, terrible place) and then a concentration slave-death camp and he happened not to be there, and that night at the movie-house he hears of the camp’s discovery and the probable deaths of his whole family so horribly.

Novak feels terrible; he is seen by Tommy Crooks (Danny Worters). Everyone suspected the murderer was Fred Dawson, but it wasn’t. And the penultimate scene is of them coming together: she has accepted him all along, and now he must accept how she survived with the help of Johann for 4 years. Who’s Tommy Crooks?

There are people who’ve lost beloved relatives, an elderly man and women, a Sir John and Lady Muriel Sackville, now w/o servants (Graham Crowden and Phillipa Lawe) and their one son, who took in 3 evacuees find one of them returns, a troubled working class boy, Tommy, from London, trying to escape a rough crude father and loving the countryside, which father comes looking for him, very angry: when at the end the father finally gets access, the boy asks, why do you want me, and the reply is, because you’re mind Not good enough, the father breaks down and says he is desperately lonely since his wife, the boy’s mother was killed in a bombing raid, and needs Tommy. Then the boy agrees.

The only pair we feel little for are Campbell and the truly faithless wife, Sally who abdicates responsibility for her husband allowing impersonal people to remove him from the scene to where he’s the least trouble. They as types could be found in any sleuthing story.

I’ve unraveled the relationships but this is not the order in which we see the people nor the order in which Foyle slowly uncovers who did what, what are the deepest feelings of those involved. We begin Dawson come home and painful scenes; move to with Novak, in the clinic (where we meet some of the clinic characters) and then come to the restaurant to play chess with anyone who is usually Foyle. We then see Tommy racing around the countryside, seeking the kind people and lovely place he had been in for a few months.

Foyle is quietly central all throughout with Milner (Anthony Howell) guessing things and doing the bidding of finding information. Again Sam (Honeysuckle Weekes) carries the comedy – as at the end when she and sergeant win some football bet and are at first dismayed that Foyle wants to give the whole of the 100 pounds to a Jewish refugee fund. He relents with a smile, to say let’s keep and with rations see what we can eat. She helps find Tommy for thought that uncle Vicar (who we don’t see in this episode) she knows the Sackvilles. And so it goes on for 90 minutes with beautiful scenery to boot.

Michael Kitchen, Foyle seems to take on him, within him the world of profound loss and at the end some gentle hope that he comes across in most, many of the characters. A class bias is going on – – for as presented Foyle as boss seems a more serious person, or higher rank and the others somehow not quite his status, but we should remember that he is not high status, a policeman is middle class – early on we met a genteel upper middle woman who loved him (Amanda Root) and rejected him because her father could not approve of her lowering herself and so married a man of her own class, not a bad sort, but she never loved him as she once did Foyle.

I don’t have a Companion for this episode and there is “making of” or information notes, but Wikipedia does say the concentration camp Novak’s family (all but his daughter who it turns out in the last chess game did survive), Mjdanek was notorious; so too Lubin a horrifying place. German POWs were billeted near Hastings. The movie the doctor meant to see on the night he killed Johann, Going My Way, was playing in 1944; he saw instead an Abbot and Costello and news report,which can be located as by BBC correspondent Alexander Werth. Finally the fictional article Dr Worth used where he told the case of Peter Phelps about trauma in war existed (Oct 1944, Journal of Medical Science). Foyle can be seen reading real newspapers.

One of many peculiarly fine programs. The people attempting to cancel this program should have been shamed.

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Foyle and Hilda Pierce, “Special Operations, a ruthless spy type (Ellie Haddington) who becomes a regular in the 7th & 8th seasons as “cold war” politics and post-colonial themes take over

Season 5, Episode 3: All Clear, May 1945:

I found myself moved to tears by the end of this one. Again the theme was the people coming home, and instead of a naïve celebratory stance, we see how hard the war has been on everyone, and how difficult it is to re-integrate. The calendar is used: we mark the days in May to the announcement by Churchill that Germany has surrendered, with which announcement the series and season ends. This is where we have the biggest jump in time until now: 5:2 was April 1944 (D Day June 1944), so it was in this actual year that Horowitz discarded a number of scripts intended slowly to bring us to the end of the war.

One story repeats a motif from 5:2: a soldier, Edward Hylton, comes home to intuit that his wife, Janice, has changed; we learn over the course of 100 minutes she has had a baby by the hotel manager, Martin Longmate, now looking to run for public office. It’s living with her mother; Longmate wanted her to abort it, but she has not, and this story of alienation, an obdurate husband, ends with him overhearing the truth and (apparently) forgiving her and taking in the baby – but we do not stay for how he manages to re-integrate as a carpenter.

As the episode opens a celebration is being planned, and the American officer we met in Invasion is back, Keiffer, unable to renew the fishing friendship he had with Foyle. What we gradually learn is he is hounding Mark Griffiths, a member of the committee who made a mistake in calculations which resulted I the drowning deaths of many soldiers (an event both Griffiths and Keiffer have nightmares about), it’s been hushed up. Through several different contacts, most notably (once again) Hilda Pierce, this spy intelligence agent Foyle learns of this hushed up incident. Foyle can do nothing as Griffiths killed himself so no one can be tried in court.

Still the reason Foyle chases this one down (with help from Milner) is that Griffiths was seeing a psychiatrist who is murdered during the episode. The murder victim is Dr Henry Zeigler, an Austrian, who was doctor for Janice as well as Milner’s now wife, Edith, expecting a baby. It’s Edith’s recognition of Janice that alerts Edward, her husband, to something significant that Janice is hiding.

The depth of feeling in all these is created by the script and the actors so we do not feel this is a circus of improbable distress at all.

Meanwhile while on the one hand, Milner is waiting for a letter to transfer him to a promotion elsewhere (which come at episode’s end) and Foyle has put in for retirement, Sam is looking for another job – and finds herself up against interviews demanding hypocrisies of all sorts. She finds a volunteer position (so unpaid) by a charity organization where we see how hopeless such impersonal attempt to help people find jobs, or places; among those turning up is Andrew, Foyle’s son.

One of the deepest moments in the episode is when Julian Overden turns up as Foyle’s is fishing alone. I cannot account for how Michael Kitchen’s face conveys so much relief after pain. Andrew re-starts his relationship with Sam (Honeysuckle Weeks) who is no easy turn over; Foyle reminds his son, Andrew, how he has hurt her. Their scenes, Sam and Andrew, are done in that third person with the pair of them referring to themselves in the third person the way we’ve seen Foyle do on several occasions with women attracted to him.

Glad to say the shit Martin Longmate, clearly from conversations against the labor transformative goals including Bevin’s heath care is nailed – though the references by Foyle to Longmate being hanged should be bothering – – this viewer is glad Longmate who hurt Janice, was going to take on Sam In the same spirit will be stopped. Foyle says what a shame, you are prefer for a politician.

Again class-based comedy comes out of the sergeant and other police officers going off for mild celebrations. Very moving Churchill’s speech heard over the radio. Quiet diurnal: people can’t sleep because they don’t hear bombs coming over. Milner’s wife wants to name a boy Winston as in Winston Milner; he’s relieved it’s a girl but now she’s Clementine Winston. Sam is for voting for Churchill – he’s pulled us through, hasn’t he?

Quiet diurnal: people can’t sleep because they don’t hear bombs coming over. Milner’s wife wants to name a boy Winston as in Winston Milner; he’s relieved it’s a girl but now she’s Clementine Winston. Sam is for voting for Churchill – he’s pulled us through, hasn’t he? E.M.

The episode ends with the furniture of the old office taken away and Foyle left alone to turn around and leave


Horowitz’s success was partly due to his wife, Jill Green, as also producer, a central part of the film-making team

The disk does return us to better times. A 12 minute making of Foyle abut the secret map making activities behind 5:1, and some real people testifying to how it was done. The Imperial war Museum head now talking for the first time. And reasonable commentary in words from Weeks and Milner about how much the series has meant to them and what they did otherwise (Weeks participated in marathon runs). Another thing to mention about the disk for 5:3 — intrusive trailer at the beginning and no trailer at the end ruining your feeling about the ending you’ve just experienced. As Horowitz thought he was going out, he at least got respect and silence for the program he had just made and the viewer just watched.

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To read about Season 5, Episode 1, Plan of Attack, April 1944, in comments; Season 6, Episode 1, The Russian House, June 1945, in comments; Season 6, Episode 3, The Hide, February, 1945, in comments.


Kitchener as Foyle and Weekes as Sam, 2013 — 7th and 8th season (this will be my last blog on Foyle’s War)

Ellen

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Michael Kitchen, The French Drop (aired 2004)

Evils that befall the world are not nearly so often caused by bad men as they are by good men who are silent when an opinion must be voiced —

Dear Friends and readers,

Our second of a proposed 4 blogs on Foyle’s War: two years have passed since the first season was aired, and 10 months in the series or war chronology since the series began (May 1940). Eight episodes have gone by and with our ninth (February 1941), a new tone sets in, darker, more tired, and Foyle becomes more involved with a Secret Intelligence Agency whose ways of dealing with war are potentially deadly for all involved, and Hilda Pierce (Ellie Haddington) not only returns for the second time, she has a large role in the stories.


Hilda Pierce and James Wintringham (Samuel West) conferring, spy-like, apart …

This first disk of the third set (or season) has a half-hour film on how they worked hard to show us a spitfire shot to the ground, a man pulled out while on fire, and as he is dragged away, the plane explode. It took several stunt men, strongly controlled fire but there, somehow the plane is not blown up. We learn how few spitfires are left and also how proud the people are to be working with them as the left-overs of how Britain managed to keep Hitler from invading. The Companion book by Rod Green (described in my previous blog) has much information on other particulars of this episode. Horowitz tells of how his scripts are really done justice to, partly because the director is his wife. We watch two different scenes, one of Foyle and his son, the other of Sam and the son bidding adieu – done a couple of times. This material also comes from later episodes in the third set, Enemy Fire set in a hospital where they are caring for badly burnt and later when Andrew has become PTSD and also exhausted and wants to stop the spitfire business because he knows he will lose his life and does get to leave. My sense in watching this is that the third season reached a real height in the series because everyone working together for a valued set of stories.

A comparison of the first two with these second two seasons shows the stories growing darker, more pessimistic, mostly because the ways of winning the war are making the people behave in atrocious (increasingly amoral and immoral) ways. Actors on behalf of the military (with some exceptions) especially are losing their sense of what values they are fighting for. The stories show the first signs of shifting from detective to spy stories (which often show a slide into nationalism, superfluous violence, and fascism).

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Season 3, Episode 1: The French Drop, February 1941. Each time we begin with a strong dramatic incident: here it is a young man, seemingly French, dropped into enemy territory (Germany) so as to spy, blown up immediately. Usual paratext of intriguing music and turning away face.

Again Foyle is trying to be transferred from policing (absurd to be catching murderers) and goes to Sir Giles Messenger (Ronald Pickup) for help. It seems it may be possible; as Sam drives him away, she protests she and Milner need him. Messenger angry at Col James Wintringham (Samuel West) about this loss of life Winringham’s agency sustaining – the implication is the agency is incompetence – and wants to take from Wintringham’s unit the (mysterious) war work sent him at Hill House, where he and a special executive operations woman, Hilda Pierce (Ellie Haddington who first appeared in War Games), have a team. Meanwhile in a bookshop their son, William Messenger seems to have blown himself up. Boy’s mother grief-stricken. Chasing down this son’s background, they find he was estranged from Sir Giles, living seedy lodgings with a caricature of a landlady who supplies a suicide note and watch –- he died because of a thwarted love affair (ah yes). They meet the girl – all melancholy – story she tells is inconsistent, Milner discovers. Trail leads them back to Hill House where nearby Sam’s uncle, Aubrey Stewart, a vicar lives and works. Foyle not only gains entry into the Hill House, but Wintringham invites him to stay: Wintringham seems to be showing off. Sam lives nearby, maybe with uncle.

Paul Milner (Anthony Howell), becoming more desperate having to deal with cynical black market crooks, tells Samantha (Sam) Stewart (Honeysuckle Weekes) he is thinking of transferring

and now Sam supplies the lighter, more affecionate-heart hopeful notes by way of her relationship with a local vicar, her uncle Aubrey Stewart (Timothy Carlton Cumberbatch)

Foyle uncovers absurd and ridiculous sabotage training, as well as attitudes countenancing murder, teaching them how to endure (and perform) torture. Interesting group of men (Raymond Coulthard among them), one an ex-criminal Foyle had put in prison we see trying to sniper shoot Foyle. Colorful characters everywhere, intelligent witty dialogue. It emerges the vicar has seen an unnamed bald man who is connected to bombing murder; Sam spots this bald man and follows him, and finds he and other go to a phone booth where phone not working. Eventually she discovers it’s a place to leave notes which uncover the truth of the bombing. Another young man died recently and was buried (air raid?). Bombing going on, including glimpses of delayed action bombs, people with gas masks.

Foyle discovers that the landlady is Wintringham’s secretary; the whole story of Messenger made up: he was homosexual (in the closet). It was he who was dumped in Germany and died (with which the program began). The body found in the bombing was the recently dead young man’s corpse replanted there –- no corpse in the tomb. There’s a moleat Hill House telling Giles Messenger about what’s happening: he pretends to be French. Foyle re-arrests the sniper-happy ex-criminal (after he has tried to kill both Foyle and Sam by ruining the wheel of her car). Foyle could tell Sir Giles the truth about his son –- he might be more proud of him, but Hilda Pierce convinces Foyle not to tell so that these operations he himself disapproves of morally can go on as they aide the war effort. He loses his chance at joining naval security because Messenger takes out frustration on him.

I’ve unraveled the experience of the plot – it’s more interesting in the criss-cross way things emerge. There is a depiction of the culture of this more rural area and these young men.


In the hospital staff put on funny skits where they make fun of themselves

Episode 2: Enemy Fire, February 1941. This is a wonderful episode. Much that happens is sad and several threads (characters’ ultimate fates) remain very much unresolved, but all that just made it richer because we also saw how many of the characters meant so well and are good and doing good insofar as they can. It’s an uplifting episode — as if we needed this at this point.

The story is centered on a hospital for burnt people, severely wounded that way, and as it begins we see a very fancy castle-like structure, Digby Manor, is requisitioned and the Sir Michael (Michael Wood) who owns the castle, has been put into a cottage (big building really) on his own estate. We see him adjusting with difficulty and his housekeeper, Mrs Roecastle (Alexandra Moen). All this is based on real strides made in medicine at the time which were experimentally and humanely used in such hospitals. Bill Paterson plays the dedicated original doctor-surgeon Patrick Jamieson. We see saved men wretchedly deformed.


Andrew Foyle’s (Julian Ovenden)’s very great upset as he finds he was nearly severely burnt because of a man’s seeming carelessness

A wife-beating thug, Gordon Drake, works at the airfield nearby and is lazy and doesn’t do all the safety measures you must to keep the man in the spitfires alive enough to keep the Germans on the other side of the channel. We see Andrew Foyle berate him and his great anger because he is in danger — could be badly burnt. Drake visits a young wife who is bored with her surgeon husband, Dr Wren (whom we learn saved Paul Milner); the wife attracted to this lout. It’s apparent she is not the only woman –- this kind of thing has more than a tinge of misogyny. We are back to the pattern of the first series: vile men (at the heart of fascism and evil) and good men with such potential being hurt. A strange man tells Wren about these visits; his name is Preston and he also tells Foyle and Milner.

The hospital is being sabotaged – it’s thought by Sir Michael at a distance – perhaps paying Drake, perhaps the housekeeper.

What happens is Andrew is not given the next mission(his superior officer sees that he is exhausted) and Andrew’s friend, Greville Woods, goes, and (has been built up for) the spitfire blows up and he is almost burnt to death because Drake again did not make sure the glass to open the cockpit worked –- Drake also probably make the plane go on fire, meaning to burn Andrew to death. Greville taken to the hospital (after the spectacular stunt we are told about on one of the features) and his girlfriend needs to be shamed into seeing him and staying with him. He turns out not to be blinded.

Entertainments are put on and a couple of nights later one is done – music hall stuff which is thematically relevant and piquant – we and Foyle see Wren sneak out for a few moments.

Next we learn Drake is dead; his wife relieved but she did not do it. Wren blamed even though his wife and Milner think he couldn’t murder someone. Turns out Wren did hit Drake’s head hard but it was Preston who came by and drowned the man in a nearby street fountain. Preston turns out to be Mrs Drake’s brother, Pip, trying to protect her.

Foyle has also figured out who did the sabotage: the housekeeper; he gets her to confess by accusing Sir Michael – who then tells Foyle how bitterly he feels about himself since when he was exhausted (like Andrew) he shot himself in the leg. His batman, Drake’s father saw, in later years told his son and now Gordon Drake was blackmailing Sir Michael, demanding hush money.

It’s an episode about mental disability as well as physical. Mental for which the men are not blamed and yet the episode maintains Sir Michael has been a hollow man. The parallel here is Foyle’s son who cannot any longer bear risking his life in a spitfire and watching others die

The real ending is penultimate and then the last; Andrew has fled to Sam’s house, and Sam is hiding him there over night; when the commanding officer comes to tell Foyle his son is in danger of deserting, Sam (offstage) confesses to Foyle where Andrew is. Foyle retrieves Andrew, takes him to a pub and Andrew resolves to return. There are other scenes between them – over chess for example.

Closing touching adieus between Andrew and his father and then Andrew and Sam. Quietly acted. Beautifully. We see the spitfire with Andrew in it flying off. The commanding officer transferred him. There is deep feeling over this spitfire for it was such planes with men giving up their lives that helped prevent Hitler invading England.

Episode 3: They fought in the fields, April 1941. I had to watch this twice and the second time very slowly, and now I don’t know why I found it so hard to understand. There are two parallel stories going on, and they are intertwined. In the one Germans are coming over-head in airplanes bombing people. This way of conducting war is primary today (witness Ukraine). Soldiers murdering civilians, destroying their worlds. The episode as usual begins with a sort of “hook:” a man lands and dies. As we go through this story we discover that nearby is a place for interrogating spies, they are taken there, and it’s run by a Major Cornwall (James Wilby) who resents any interference and will not cooperate with Foyle — whom Cornwall insults

Nearby there is a farm or farms on which are working Land Army girls, Rose Henshall and Joan Dillon — very dirty hard work for little pay, but important for Britain to feed itself. There another death occurs, a murder of what seemed to me an old man, the farmer, Hugh Jackson. Of course it’s called suicide but soon it’s clear it’s a murder (this is another repeated motif in the series). The episode reminded me of the previous (Enemy Fire) where it’s the human interest of the story and situation (there bad burns, a hospital opened to deal with these) that holds us, not so much about corrupt people making money off the war.


The girls very hard at work — we do see they get ample food

I found it somewhat problematic. It opens with land-girls understandably resentful of the more middle class Foyle, Milner and Sam — I am supposed to believe they and the farmer’s son, Tom (Joe Armstrong) are won over by the goodness of Sam and generosity of Foyle. Lifelong marginalization (especially one of the girls committed some crime) doesn’t go away like that. How the farmer very old now became the lover of the other girl who is now pregnant didn’t persuade me and I was even less persuaded by how happy she is at the end to live on that farm with the farmer’s son and his bride (the other girl).

In the background is Hugh Jackson’s wife who was tired of Jackson and tried to run off — but he murdered her first and put her in a grave he drinks liquor over every night. Jackson was killed because he saw some of the shenanigan’s the Germans were up to as they tried to kill their own pilots who were imprisoned and could tell about German radar.

The murdered wife has her parallel in Barbara Hicks, a woman there to investigate wood (?), who is also bitter when Foyle first met her — she hates men because of bad experience but is also supposed won over by Foyle’s goodness. It’s too quick again, but there are some touching scenes where they refer delicately to their different pasts — and Foyle’s loss of his wife (one of the episodes begins with his annual visit to her grave).


They are so courteous to one another ….

Suddenly too Major Cornwall is sorry; he had meant well, it seems, his interrogation techniques do not include torture but also don’t protect his prisoners from one another. The Germans as a culture or group are represented as not paying fair essentially. So some unusual hostile nationalism, not surprising were we to regard these characters as in 1941 February. Well done, good performances, but it does not hold together because of this desire for an upbeat ending and rewards for the land-girls as well romance for Foyle.

Episode 4: A War of Nerves, June 1941. This one does not strain for anything — no need — it goes into the terrible increased and ever more complicated ways of bombing, the use of delayed bombs especially. And it returns to central characters cheating and making money off the war. June 1941 — the Blitz eased, but the delayed bombing tactic has spread; at the end of the episode we hear that Germany has invaded Russia and that (a coming slaughter we know) is cause to feel hope as the English gov’t is now allied with Russia. At the same time other places are starting to fall like Crete. The comment (hope) it’ll be over by next Christmas by Sam is made ironic by Foyle


Peter Capaldi unfairly treated

Two threads: one interesting, a kind of back-handed defense of communism, socialism, workers — Foyle is told he must investigate Raymond Carter (Peter Capaldi), a communist and socialist leader, find out things about him so the gov’t can arrest him. Foyle quickly finds nothing and does nothing. By the end of the hour we discover Foyle’s superior, Commissioner Rose (Colin Redgrave) ordering this is not only deeply anti-labor but angry because his daughter is planning to marry the the man — he can’t stand the idea.

The stronger thorough content is about a pair of men running a factory where they embezzle gov’t money by pretending their work force is much bigger than it is. They treat their workers badly and we see an attempt at (an illegal it’s pointed out) strike. Into this come the squad of bomb disposers, with the truth emphasized how little trained such people were, how dangerous and nerve-wracking the task. One of them “loses” it in a bar and starts a fight with his gun; he turns out to be moral, in fact balks at keeping the huge amount of money they find stashed near where a delayed bomb landed. His girlfriend is a welder in a factory whom Sam befriends. And we have another more thuggish crook and his wife who is also a welder.

The best parts are this attention to what life was like during the war …. and Foyle as moral center with Sam as the good heart center ….

******************************************************
To read about Season 4, Episodes 1-4, see comments, Episode 1, Invasion, April 1942; Episode 2, Bad Blood, August 1942; Episode 3, Bleak Midwinter, December 1942; and Episode 4, Casualties of War, March 1943.


A passing moment from The Bleak Midwinter

Of great interest in all these disks, starting with the 2nd through the fourth are the various features telling the literal ways the film-makers made the episodes, about the costumes, the attitudes of mind of the people acting, the historical background. There is also much written information to click on.

Ellen

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All Creatures Great and Small, Christmas episode, 2021 (closing scene … )

Friends and readers,

A long while ago, a new subgenre emerged — it may have occurred before TV, but certainly with TV: the Christmas special. At first the kind was a variety show, comedy and songs, with our weekly host/hostess, but didn’t take long for the filmed drama, serial style, to enter our lives directly into this holiday season everyone (seemingly) in the northern (and now even the southern — witness Australia) hemisphere seems determined to act out. In all the Christmas blogs I’ve done over the years, I have among the classic movies (1951 Scrooge, 1946 It’s a Wonderful Life), ghost, romance (Poldark), and popular Christmas movies, probably “done” a Christmas special. Indeed I remember writing about Downton Abbey in Scotland. There’s no use condescending, for some of these hours are brilliant and sustain us today still, for example, the early Sesame Street Christmas, the one where Mr Hooper and Bert and Ernie played out the O.Henry story, and Big Bird talked of Santa “stacked over Kennedy”.

Though James Herriot’s books have now provided at least one fine movie (1974, with Anthony Hopkins as Siegfried Farnon), and I’m told of eight entertaining years of British TV, beginning a few years after that (1978-90, with Robert Hardy as Farnon, and Christopher Timothy as Herriot, Peter Davison as Tristan), and last year was an unexpected hit (“Snuggling down in the Yorkshire Dales to save a few cows turned out to be just what the doctor ordered last winter.” , — I don’t know if anyone paid any special attention to Episode 7. I wasn’t inclined to until I started watching it. This evening I helped myself loosen the tightness I feel as I work at being cheerful under the prolonged strain of Covid — the isolater — by watching it twice!


Opening scene with James Herriot (Nicholas Ralph) opening gate in fence to move on through the beautiful countryside to a worn old house where an aging couple, white farmer with a black English wife, have called him because she is worried over a dog having trouble producing her puppies


Matching first scene with Mrs Hall (Anna Madeley, superb in the part), far more than housekeeper, to one side, and Siegfried Farnon (now Samuel West) to the other of a perfect tree: she is urging him not to open Tristan’s veterinarian test results, for looking won’t change them, and knowing (he’s failed once again) may spoil the days to come

By this time or as of this evening, I confess to having watched this new and third iteration of a first season (2021) through twice, its second season (2022) once (minus the Christmas episode which has not been played yet on British TV), a segment on YouTube of the 1974 movie once, and about 8 episodes of the first season of the 1975 version, once each. At first I was slightly hostile, instinctively alienated by the self-conscious pastoralism of the paratexts (please no meretricious Arcadias was my thought):


In the Christmas episode underneath the refrain associated with, framing the series, could be heard lightly Christmas bells …

Then the events occurring seemed dismayingly predictable.  But as I became involved with the animal care, and then the developing relationships and personalities, especially that of Mrs Hall, I was drawn in, and then amiably addicted. I remembered the paratexts from the 2016 Durrells and how I learned to love that series, and eventually bought the books by Gerry, a group biography, then a wonderful travel meditative book on Corfu, and before you know it, I was reading another of Lawrence Durrell’s travel books with different eyes, understanding where they came from far more. I am a fan of Keeley Hawes for life now.

As the first season went on, not only did it move beyond its kind conventions, the film-makers defied, went against the way the comic-emotional tropes are usually developed. This Christmas episode outdid itself. Most Christmas stories end with the characters getting some version of their heart’s desires, having clearly become life’s winners, not quite here. We learn eventually in fact Tristan (the puzzlingly marvelous Callum Woodhouse — also an unexpected mainstay of The Durrells) has not passed his exams, but when Siegfried opens the letter and reads pass/fail, he lies and then puts the letter in the fire. He will (at least for now) treat his younger brother insofar as he can as a certified veterinarian.  During this episode we watch Tristan learning on the job, not only to care for animals (a donkey requisitioned for the Christmas pageant) but the human being who is its caretaker and is in as much need of alert attention if any good is to be done for the donkey.


Tristan (dressed in the elf outfit to please his brother, Siefgfried) congratulating a small boy dressed as a wise man on telling that he fed the donkey mistletoe – now Tristan can try to figure out how to help the creature’s obvious pain

All episode long Mrs Hall is expecting, waiting, watching, eagerly anticipating the return of her son, Edward, to her (after a jail sentence in which her evidence helped convict him), only to about 3/4s through realize he is not coming. We see her hold up in church, the singing forcing her to control her crying (Siegfried holding her hand over the song book), and while appearing to accept, still in that last still not forgetting him. Because this is the way most Christmas stories end, like her I kept expecting him, but no miraculous forgiveness and reconciliation, only a growing awareness of the hardness of what his reality might now be.


The subtitle, Repeat the sounding joy, functions ironically

Most striking of all, after all Helen Alderson (Rachel Shenton) does not marry Hugh Hulton (Matthew Lewis). Several episodes seem to have brought them together, and now a main motive of this episode is her coming wedding, complete with bachelor’s party for him, the beautiful dress, the congratulations, the ceremony to be performed tomorrow as a key community event. But she cannot face it, and has apparently herself understood she loves Herriot; she urges Herriot to take her with him as he returns late in the evening to the the aging couple and their distressed female dog. The birth takes several hours, fog comes in, they cannot return until morning. We learn of how this couple came to marry, how they loved and have been true to their love against much prejudice and ostracizing.


A Black English woman was always an outsider says the wife, Hattie Edkins (Hetty Rudd)

First Helen and then James settle down to sleep on separate couches. With real difficulty he manages to start the car (it is very cold) and return her to her waiting dress, father. Then taking the kindly meant but conventional advice of Mrs Hall and Siegfried, James starts to drive away back to Glasgow (for Christmas with his parents), but at a symbolic crossroads, reverses and drives back. He discovers that Helen did not go through with the wedding, and now sits on a bench, alone, maybe waiting for him?


James sits next to her, and we watch them from the back, gradually talk, and hold hands, walking out of the church, the right couple at last

Hugh vanishes from the stage after his brief appearance at the party, on his way to a bachelor’s party — he has lost a lot of money as well as pride and his heart’s desire.

Of course it’s not all quiet trauma and doubt. The actresses are all very pretty, Helen especially in her melancholy and strong stasis


Helen brooding at a window (same posture seen in Anna Maddeley as Mrs Hall), standing in front of the car on the cold morning, enduring the coming wedding still

There are two other romances, which while moving at glacial paces, seem to be getting somewhere. Lovely ceremoniousness between Siegfried and an older woman friend of Mrs Hall, Dorothy (Maimie McCoy); like my present hero, Christopher Foyle (who knows not Michael Kitchen?), Siegfried says he is having difficulty forgetting his deceased wife. Tristan is perhaps more than flirting with Maggie (Mollie Winnard).


James and Helen with Connie (Charlie May-Clark) who has hopes of Herriot and finds everything so festive


Preparations for the coming feast — Siegfried overlooking what Mrs Hall has set out in the kitchen

Throughout the episode there is much happy activity, Christmas party, Christmas dancing, Siefried as Santa in green and white; the farmer’s market, Mrs Hall’s food, her shopping for Brussel sprouts. The dog does give birth finally and we watch the first puppy struggle for life and survive. Christmas carrolling in church (de rigueur in such films). Scenes of people eating together, drinking, just (as at the end) being together. All well-meaning. That does seem to be a universal tendency of these Christmas stories; when we meet a genuine evil man, like Mr Potter (Lionel Barrymore) in It’s a Wonderful Life, he is hated by all and thwarted, to the great satisfaction of all viewers, including this one.

If you are like me, home alone, you can vicariously join in to a Christmas that is believable. I do most days need some cheering up, so often so sad that right now my movie-watching includes this year’s All Creatures Great and Small, the set of DVDs sent me by my friend Rory. They still my heart with the strong projection of love, understanding, kindness between one another. I am especially fond of the direct emphasis on the animals the Vets and everyone else too are caring so tenderly for. That the first episode of the second season (about to start on US TV on PBS) opened with an temporarily ill but still adorable cat being taken care of by James was perhaps overdoing it …


Mrs Pumphrey (Diana Rigg) and Tricky-Woo — alas they are not in the Christmas episode

A few words about the differences between this 21st century version and the 20th: The 1978 serial is realer, its pastoral qualities quieter or not so determined, for money comes up right away, people have vexed and unforgiving temperaments.  The housekeeper is not so pretty or obliging and motherly (she keeps her distance, is a paid servant). There is far less depth of emotion. The literal events are much closer to the book.  This 21st century version has added characters (Helen’s sister for example, Herriot’s mother), usually a sign of strong change. I’m glad to see the overbearing dictatorial mother of the 21st century is not in the book. The women in the first series simply go to work, and are less self-conscious about it — dare I say the 20th century version is more quietly feminist? The 1978 series makes no strong effort to be pro-family the way this new series does — everyone does not become a honorary family member somewhere. Hugh’s role is smaller; he is simply preferred by Helen’s family for his higher rank and money. Much less is made of Mrs Pumphrey (Diana Rigg in the new iteration) and Tricky-Woo, the pampered pug. It seems in the 21st century the film-makers assume we long for imagined strong communities where people live up to some social obligations they usually don’t in real life. The 1978 is quicker in pace; I don’t feel it’s more comic though it’s trying to be. We might say the 2020/21 is a more romantic familial series (following in the steps of the 21st century The Durrells?)

Both series show the characters caring for the farm animals and pets, but as far as I watched of the 1978 version (I stayed only for a trial week) the cameras don’t come up as close to them, and I feel at more intensely caring approach is felt in the 2021 episodes. The wikipedia articles tells you that Nicholas Ralph had to do quite a bit of training to enact his role. Mrs Hall (Audrey) is centrally involved in all the veterinarian business too (all personal and professional issues). The impersonal minor presence on the typewriter, in the kitchen in the old 1978 series in this 2021 version holds up the light by which Herriot performs a dangerous operation on a cow.

I would say the 2021/2 version of All Creatures Great and Small is far more theatrical than any of the previous (including the original movie)

Gentle reader, you could do far worse than spend one of these holiday evenings watching the Christmas episode of the 2021 All Creatures Great and Small.

Ellen

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So long as there shall exist, by reason of law and custom, a social condemnation, which, in the face of civilization, artificially creates hells on earth, and complicates a destiny that is divine, with human fatality; so long as the three problems of the age – the degradation of man by poverty, the ruin of woman by starvation, and the dwarfing of childhood by physical and spiritual night – are not solved; as long as, in certain regions, social asphyxia shall be possible; in other words, and from a yet more extended point of view, so long as ignorance and misery remain on earth, books like this cannot be useless.”
Victor Hugo, preface to Les Misérables (Hauteville House, 1862)

Dear friends and reader,

As I started to read it, the text seems to me utterly contemporary and referring itself to what is all around us today; a book again
for our time … I became so excited with the beauty of the prose and the incisive suggestively rich allegorical underpinnings …

I’m hope I am not giving an impression that I spend my life making schedules for reading with other people: this the sixth such calendar I’ve put on this blog this year. In four cases they were part of syllabi for classes I teach (this year all online) but in two they are schedules for me and several other people (thus far we have 7) to read together over several weeks (here months) on a listserv. I put this one on because most unexpectedly when I shared a previous schedule for this book with two FB pages I found a couple of people joined the listservs where we are reading them, and more people were planning to read along than I thought would. It is a famous book, many movies, a stupendously successful musical, many editions, many translations, and a full secondary literature.

I then discovered I had been far too optimistic or naive about quite how long Victor Hugo’s profound masterpiece is. In the 2013 Deluxe Penguin edition I am reading the text in it’s 1416 pages, including notes bit excluding the introduction. So I revised it, and will now put it here and the URL to this blog in those two places as an amendment. I am also inviting people to join us this way. Go to:

https://groups.io/g/TrollopeAndHisContemporaries

or

https://groups.io/g/18thCWorlds

The novel is divided into 5 books, corresponding (as David Bellos shows in his wonderfully lucid nformative and enjoyable book on Les Miserables as The Novel of the Century) to five stories or narratives, the first three centered more or less on three of the major characters: 1) Fantine; 2) her daughter, Cosette; 3) the young man who falls in love with Cosette, Marius; 5) and our hero whose lifeline is the general backbone of the book, Jean Valjean. 4 appears to be centered on the rebellion that occurs in the novel in Paris, which all our still living major characters, even Javert, the police guard who goes in pursuit of Valjean, take part in. Parts 1, 2, 3, and 5 are 8 to 9 books each, with Part 4, 15 books.

I will be reading the recent Penguin translated by Christine Donougher (used by Bellos, recommended by him) and have followed the numbers I found there but also have the older Penguin Norman Denny (where two chapters said to be straight history are placed in the back of the book). This time I do not have the text in French (as I did when on these same listservs we read Hugo’s Notre-Dame de Paris).

For the week beginning Sunday,

Oct 3: Part 1, Bks 1-2
Oct 10, Part 1, Bks 3-5
Oct 17, Part 1, Bks 6-8
Oct 24, Part 2, Bks 1-3
Oct 31, Part 2, Bks 4-6
Nov 7, Part 2, Bks 7-8
Nov 14, Part 3, Bks 1-3
Nov 21, Part 3, Bks 4-6
Nov 28, Part 3, Bks 7-8
Dec 5, Part 4, Bks 1-3
Dec 12, Part 4, Bks 4-6
Dec 19 Part 4, Bks 7-9
Dec 26 Part 4, Bks 10-12
Jan 2, Part 4: Bks 13-15
Jan 9, Part 5, Bks 1-3
Jan 16, Part 5, Bks 4-6
Jan 23, Part 5, Bks 7-9

So we finish just as February is rolling round …

As you can see we’ve started already but we will take a longer time over the first Part (Fantine) to give people a chance to join in, get the book and catch up, become (we hope) immersed.


Harriet Walter reading aloud poetry (so did Tobias Menzies) from Simon Schama’s The Romantics and US: the third part includes an impressive meditation on Hugo

Translations and editions. For what it’s worth, here is an article about the merits and flaws of several central translations. The Wilbour translation is contemporary with Hugo, and the Isabel Hapgood is another good 19th century text (with pictures), but Hugo sanctioned and gave advice on a translation by Sir Lascelles Wraxall, which is online at Gutenberg. If you go to Part 1, Fantine, that will take you to the later books. Hugo’s original French is also online at Gutenberg: you begin with Part 1, Fantine. There is a venerable Everyman whose translator is not named. Here is my old Denny, quite lively English, with a good introduction. And the latest, an award winner by the highly praised Julie Rose for Modern Library


Group photo of actors in 2018/29 Les Miserables

Movies galore: I’ve watched several and think nothing competes with the most recent, however too short, by Andrew Davies, 2018/19: Dominic West, David Oyelowo, Adeel Akhtar; Lily Collins, Olivia Coleman; Ron Cook. Dir: BBC/Masterpiece. I’ve never seen a more terrifying poignant depiction, Lily Collins astonishing, unforgettable, without hair, without teeth, laughed at, spurned and finally dying without retrieving her child in time.

The musical needs no description here. Here is a blog where they read Les Miserables one chapter a day and compared the movies (it includes clips).


Signature theater production in Arlington (my husband, Jim, loved this one and wrote a now lost blog on it)

Here is Peter Brooks’s just, apt, enthusiastic review of David Bellos’ book (you can find none better in the new biography of a book mode) through having read about Hugo thoroughly and Les Miserables too. I’m also reading slowly as we go Graham Robb’s suave biography


Victor Hugo on the terrace of Hauteville House, Guernsey, where he wrote Les Misérables, 1868

Join us

https://groups.io/g/TrollopeAndHisContemporaries

or

https://groups.io/g/18thCWorlds

Ellen

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