Episode Eight- A Beautiful Tale
It is not just battles that this series
stages impeccably. This episode’s centrepiece is a lavish ball which is the
most impressive example of such an event I have seen done in a tv drama series.
Usually with this sort of thing you get a handful of dancers shot close up to
avoid revealing the limited number of extras or space available. It is meant to
give the impression of there being many more participants but often you can
tell there aren’t. Here we have dozens
of dancers gliding about in a vast room and just to ensure we know it, we see
the shot from all angles. Sometimes the camera is ceiling height looking down
on the symmetry of it all, other times we’re deep in the dance following people
round. There’s no stinting on the soundtrack either with a large set of
musicians playing what are presumably authentic period pieces. As a way of
making you feel as if you are there it is superbly constructed. Yet the
finished scenes do not feel over organised or placed; instead there is still
the feel of people enjoying themselves despite the formal nature of the dances
and the bright lights. In fact not even some movies can marshall such an
impressive display.
This is actually merely the backdrop for a
story charting Andrei’s remarkable thawing out after he’s spent years hiding
from the world. At the start he is on a carriage journey and a fellow passenger
remarks that “Spring is a deception” pointing out how the Oak tree doesn’t
sprout leaves till later. At thirty- one Andrei feels his life is simply to be
got through. Then he meets Natasha, the Rostov’s youngest daughter who remains
as free spirited and breathlessly amazed by everything as she did in the first
episode which was five fictional years ago now. And she slowly makes Andrei
realise there is something positive to live for. Not only does he fall in love
but he starts to become involved in government reforms too, Its subtly of course
in the style of another era’s television but true to the formality of the times
though both Alan Dobie and Morag Hood allow something special to shine. You can
see it in their eyes- Andrei’s initial fascination and subsequent captivation,
Natasha’s slowly realising first love There’s something wonderful about all
this however different it seems to the way a modern production would depict these
events and a reminder that the Peace in this series is just as important as the
War.
Episode Nine- Leave of Absence
An episode whose duration may test the
patience of the modern viewer `Leave of Absence` is nonetheless very well made
and bookended by key developments. At the start Andrei tries to get his curmudgeonly
father to bless his proposed marriage to Natasha but the old cove insists his
son must go away for a year first. This being 1810 and Andrei still possessing
some old values he does so even managing to persuade Natasha it is a good idea.
Poor old Pierre meanwhile in his only scene in this installment is also in love
with Natasha but behind the curve as ever lamenting in his journal how he can
never tell her. He’s also become disappointed with Freemasonry. To a viewer’s
eyes it may look like he needs a holiday more than Andrei but anyway much of
the rest of the running rime is devotee to snippets of the Rostovs during some
of that year.
I’m sure it’s as accurate a depiction as
possible but very little happens and the script’s previous urgency in telling
us by way of social conversation what’s going on in the world is absent. Still
there are some very well constructed scenes notably a pacy fox hunt with the
cameras riding alongside the hunters and a secret assignation that confirms Nikolai’s
interest in cousin Sonia. As soon as Natasha declares she can’t imagine being
happier than she is right now (despite her earlier melancholy over her romance’s
twelve month hiatus) you know somethings going to blow. When Nikolai tells his
mother about his feelings towards Sonia she is the one who is devastated. Disappointingly
we tune in to this drama when it’s nearly over which given the languid pace of
the previous half hour seems an odd decision. Even so it’s a good showcase for
some of the regular cast with Faith Brook taking advantage of several scenes
where her character’s mood alters. Plus its always lively to check in with the
larger than life performance of Anthony Jacobs as Prince Bolkonsky. Just what
is he always sketching though?
Episode Ten- Madness
It’s a rule of television dramas-
especially soaps- that no romantic couple can remain happy because contended
relationships make for dull narratives. Tolstoy got there first! This
fabulously constructed episode uses up about six months’ worth of soap opera
plotting in under fifty minutes and is so engaging you find yourself shocked by
the decisions Natasha makes and cheering on Pierre as he boots Kuragin out of
town. Every move may seem familiar to us now but this was all written in 1867.
No doubt Jack Pullman adapted and corralled material but this storyline
provides an excellent half way point for the series.
In Moscow on business Natasha appears to
have gone beyond pining for the absent Andrei and is easily distracted by the
charms of Anatole Kuragin. Despite initially resisting she soon falls in love
with him. Only Sonia deduces what is happening but when she tells their host,
the fearsome Maria Dimitreva all hell breaks loose. Not that Sonia’s own
controversial feelings for her cousin are even mentioned in this episode though
Countess Rostova has stayed at home probably still getting over the shock.
It’s great stuff, enlivened by the
classical dialogue and social awkwardness which makes the underlying compressed
passion all the more felt by the viewer. It is also a showcase for Morag Hood
who maintains a childish air, emphasising the character’s youth and inexperience.
This episode sees flashes of a temper and wilfull streak which culminates in
her trying to poison herself when Kuragin is chased away. Kudos too to Colin
Baker for not playing Kuragin as simply an obvious sleazeball with more than a
suggestion that he really does have feelings for Natasha even though he is
actually married. There’s also a terrific turn from Beatrix Lehmann as the
fearsome godmother who makes sure Kuragin gets his dues. She gets a couple of
staff of deal with him but I actually thought she was going to run downstairs
and slap him with a broom!
I wasn’t expecting this production to place
as much emphasis on home life as it does on military escapades but it’s large
cast of characters and depiction of the hidden dalliances in society life have
really gelled to the point where going back to the battlefield, as we inevitably
must, will seem a bit dull. A stray line about Naploeon being up to his old
tricks suggests that moment is not far away but for now this episode is the
best `at home` one with enough drama to engage even today.
Episode Eleven- Men of Destiny
Everybody’s talking about it! Its 1812 and the oncoming undeclared war that
is rumoured to be imminent is the talk of the town. Andrei’s gone back to the
army, Pierre is debating whether or not to join and even the Rostov’s youngest
wants to join the Hussars. The Tsar is hoping it doesn’t happen but preparing
in case it does. Napoleon on the other hand is actually preparing for it. In a
fiery declaration during this episode’s opening scene he states his intention
to unite Europe with the same values, laws and currency and that Russia will be
part of it. The episode is as masterfully staged using different devices used
to convey both sides. Bonaparte’s initial scene consists partly of a letter
he’s just dictated being read back to him and then this is challenged by his
former chief of Police Fouche who has spent three months drafting what he feels
are the things France should be doing. Later on we get a big speech the Emperor
makes, a simpler call to arms that leans on patriotism and suggests that all
this war will lead to a grand peace. David Swift eschews any cod French accent
but the enigmatic leader definitely shows in every moment of a gripping performance.
When Napoleon declares his plans it is with fervour and conviction.
Meanwhile, Pierre’s bizarre theory pivots
on interpreting the Book of Revelations so that it suggests he will play a key
part in Napoleon’s destiny. It is clearly the thoughts of a man with time on
his hands and considering the rumoured threat Russian society seems relaxed
enough. Andrei though seems to have more of a grip on what is happening. We
hear his thoughts as he listens to the Tsar’s projected plans which he feels
lack reality though he keeps his thoughts to himself (and us). Alan Dobie does
a great job with these internal monologues even though the character has to
keep a straight face, he offers nuances that underscore what we are hearing.
In one of the series’ most accomplished,
yet simple, sequence we cut several times from one of those grand Balls with
Generals and aristocrats waltzing around a ballroom with the nigh time manouveres
of the French army building a bridge to invade Russia. Tellingly even when this
move is reported to the Tsar he and his cohorts retire to discuss it but the
dance goes on. Until, that, is, the picture fades in and out to reveal Napoleon
himself marching into the same room, now emptied of people, furniture and
lights. This has as much power as if they’d staged a battle. The series has
already shown it has ample resourced to show impressive big scale scenes but
this really brings home what has happened and how vulnerable Russia was all
along.
The Lonely Sea: Amazon.co.uk: Connors, John: 9798859399956: Books
For more on my other books there’s a website www.johnconnorswriter.com
Alt blog www.thiswayupzinealt.blogspot.com
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