“LINCOLN” (1974-76) Review

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“LINCOLN” (1974-76) Review

During the first half of the Twentieth Century, poet and historian Carl Sandburg wrote a six-volume biography on the life of the 16th president of the United States, Abraham Lincoln. Years passed before David Wolper (“ROOTS”, “THE THORN BIRDS”, and the “NORTH AND SOUTH” TRILOGY) produced a six-part miniseries on Lincoln’s life and career, based upon Sandburg’s work.

“LINCOLN” is not what I would your usual biography with a straight narrative. With the exception of one episode that centered on Lincoln acting as a defense attorney in the 1830s and another that focused on the period between his first election and inauguration, the majority of the episodes centered on his administration during the U.S. Civil War. And not in any particular order. Below is a list for those who prefer to watch the entire miniseries in chronological order:

(1.03) “Prairie Lawyer” – Lincoln goes against future political adversary Stephen A. Douglas when he defends physician Dr. Henry B. Truett against murder charges in 1838.

(2.02) “Crossing Fox River” – This episode covers Lincoln’s life between winning his first presidential election in November 1860 and attending his first inauguration in March 1861.

(1.01) “Mrs. Lincoln’s Husband” – In the wake of the death of the Lincolns’ second son William “Willie”, First Lady Mary Todd Lincoln‘s erratic behavior embarrasses and endangers her husband politically when a cabal of Republican senators question her loyalty to the Union.

(1.02) “Sad Figure, Laughing” – Secretary of the Treasury Salmon P. Chase and his daughter Kate attempt to undermine President Lincoln’s bid for re-election during the 1864 presidential campaign, when they become aware of how Lincoln’s jokes and stories seem to erode their fellow Republicans’ confidence in him.

(2.01) “The Unwilling Warrior” – Lincoln finds himself forced to learn the art of war, as he searches for the right general to lead the Union Army to victory between 1861 and 1865.

(2.03) “The Last Days” – Following the Army of Northern Virginia’s surrender at the Appomattox Court House, President Lincoln plans Reconstruction with his cabinet and discusses a post-presidential future with the First Lady.

“LINCOLN” managed to garner a great deal of critical acclaim back in the mid-1970s. Did it deserve it? Perhaps. I found myself somewhat impressed by the production. The miniseries, from a visual point-of-view, has managed to hold up rather well in the past forty years. Aside from the exterior shots, the photography struck me as somewhat sharp and colorful, thanks to cinematographer Howard Schwartz . More importantly, director George Schaefer managed to avoid that “filmed play” aspect that had tainted many British television productions and a few American productions. Somewhat. There were a few scenes that seemed to stretch a tad too long in “LINCOLN”, but not fortunately long enough to stretch my patience too thin.

A part of me wishes that “LINCOLN” had included more scenes of Lincoln’s life before the Civil War. The 1974-76 miniseries must be the first of three productions titled “LINCOLN” – the other two being the 1988 miniseries and the 2012 Steven Spielberg movie – that seemed to be about Lincoln’s years in the White House. Another aspect of this miniseries that I found a bit odd is that it did not feature any African-American characters, other than the occasional extra portraying a White House servant. I think. There is a chance that my memory might be playing tricks with me. I simply find it odd that a production about a U.S. president who had such a strong impact on the history of African-Americans . . . did not feature any black supporting characters. No Elizabeth Keckley, the Washington D.C. seamstress who became Mrs. Lincoln’s personal modiste and close companion, or Frederick Douglass, who had met Lincoln in 1863. Considering Lincoln’s overly cautious approach on the subjects of abolition and civil rights, there is a chance that producer David Wolper feared that Lincoln’s reputation as an emancipator would have slightly eroded. It was okay to discuss slavery, which the production did . . . but not with any real depth.

The miniseries certainly did not hesitate to display Lincoln’s ruthlessness and talent for political manipulation. Even when those traits were occasionally clouded by compassion, humor and verbosity, it was on display. This was especially apparent in two episodes – namely “Sad Figure, Laughing”, in which Lincoln had to deal with the political machinations of Salmon Chase for the Republican nomination for President in 1864; and in “The Unwilling Warrior”, in which he dealt with one general after another in his search for the one military leader who could deal with the Army of Northern Virginia and Robert E. Lee.

The best aspect of “LINCOLN” were the performances. Well . . . some of the performances. I hate to say this, but some of the minor performances struck me as a bit theatrical or amateurish. There were some performances that struck me as solid – including Norman Burton as General Ulysses S. Grant, Robert Foxworth as John T. Stuart, Lloyd Nolan as Secretary of State William H. Seward, Ed Flanders as General George B. McClellan, and Catherine Burns as Mary Owens. But there were those performances that I found impressive. This especially seemed to be the case for Roy Poole as Secretary of Treasury Salmon P. Chase, Elizabeth Ashley as the latter’s older daughter Kate Chase Sprague, Beulah Bondi as Lincoln’s stepmother Sarah Bush Lincoln, John Randolph as the first Secretary of War Simon Cameron and James Carroll Jordan as the Lincolns’ oldest son Robert Todd Lincoln.

But the two performances that outshone the others came from Hal Holbrook and Sada Thompson as the presidential couple, Abraham and Mary Todd Lincoln. This is not really surprising. Of the three productions I have seen about Lincoln, the actors and actresses who have portrayed this couple have all given superb performances. This was the case for both Holbrook and Thompson. Holbrook seemed to have some special connection to the 16th president. The 1974-76 miniseries marked the first time he portrayed the role. He also portrayed Lincoln in the 1985 miniseries, “NORTH AND SOUTH: BOOK II” and he appeared in the 2012 Steven Spielberg movie as an old political crony of the President’s, Francis P. Blair. Holbrook’s portrayal of Lincoln could have easily strayed into the realm of folksy idealism. The actor did not completely reveal the more negative aspects of Lincoln’s character, but he did a superb job in conveying not only the President’s style of humor, but also his political savvy and a temper that can be fearsome. In an odd way, Sada Thompson had the easier job portraying First Lady Mary Todd Lincoln. Hollywood productions are more inclined to explore the more negative aspects of her personality than Lincoln’s. What I enjoyed about Thompson’s performance is that she still managed to make Mrs. Lincoln a likable person, despite the character flaws. It is not surprising that Holbrook won an Emmy for his performance and Thompson earned a nomination. Both of them deserved the accolades.

There are aspects of “LINCOLN” that I found questionable. Well . . . my main problem is that the production did not focus enough on the question of slavery, which I found rather odd, considering the subject matter. I also wish that the miniseries had included more scenes of Abraham Lincoln’s life before the Civil War. Now some television viewers might find the scattered narrative somewhat disconcerting. I simply figured out the chronological order of the episodes and watched them in that manner. But overall, “LINCOLN” is a first-rate miniseries about the 16th President that holds up rather well, thanks to George Schaefer’s direction and a skillful cast led by the talented Hal Holbrook and Sada Thompson.

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“NORTH AND SOUTH: BOOK II” (1986) – Episode Three “September 1862 – August 1863” Commentary

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“NORTH AND SOUTH: BOOK II” (1986) – EPISODE THREE “September 1862 – August 1863”

I have mixed feelings about Episode Three of “NORTH AND SOUTH: BOOK II”. Fortunately, most of my feelings are positive. This episode featured the Battle of Antietam, the Battle of Gettysburg, and a major schism in the Main family, regarding Madeline Main and her two sisters-in-law – Brett Hazard and Ashton Huntoon. But there was still certain aspects of this episode that I did not find particularly appealing.

I found the first half of this episode to be rather dull. Those reading this article would find this statement surprising, since the Battle of Antietam was featured in this first third of the episode. But I did. Following President Abraham Lincoln’s Emancipation Proclamation, one of the Mains’ slaves, Jim, decided to take matters into hands and run away. Unfortunately, he was caught and killed by the Mains’ former overseer, Salem Jones. I will admit that the reaction to Jim’s death proved to be slightly interesting, thanks to the excellent acting by Erica Gimbel, Beau Billingslea and especially Forest Whitaker; who portrayed Semiramis, Ezra and Cuffey. I was especially impressed by Whitaker’s performance as he conveyed Cuffey’s bitterness over being owned by the Mains. However, I found Brett and Madeline’s presence at Jim’s funeral to be a touch patronizing. But that is merely a private opinion.

Now, I had no problems with Kevin Connor’s direction of the Battle of Antietam. I believe he did the right thing by keeping the battle solely focused upon Billy Hazard and Charles Main. This allowed their brief reunion to be not only surprising, but dramatic. But I do have one major quibble about this particular sequence. How did Charles and his fellow officer, Ambrose Pell go from being cavalry scouts to leading large bodies of infantry troops on the field? If the miniseries had earlier included a small band of scouts under their command, I could see them leading these men into battle. But large bodies of infantry troops? Were the officers of these troops dead? And what kind of troops were they leading? Infantry or dismounted cavalry? I found this kind of inconsistent vagueness very irritating. The Battle of Gettysburg was better handled . . . somewhat. Considering it was one of the major conflicts of the war and fought in the same region – Southern Pennsylvania – as the Hazards’ hometown of Lehigh Station, I was surprised that the screenplay did not focus too highly on it. The battle was simply used as a literary device for the reunion of George and Billy Hazard and an excuse for the latter to go AWOL and see Brett.

The second half of Episode Three turned out to be a big improvement. Most of the slaves left Mont Royal and I did not blame them one bit. Orry’s reaction to their departure was interesting, considering how “BOOK I” had established his slight aversion to slavery. More importantly, his character came off as increasingly conservative. I found this surprising, considering that in the novel, “Love and War”, his views on slavery and racial relations had become slightly more radical. I found that little moment in which Orry bid his mother Clarissa Main good-bye, following his furlough, rather lovely and touching, thanks to the performances of Patrick Swayze and Jean Simmons. But I have mixed feelings about Billy’s decision to go AWOL in order to see Brett in South Carolina. Frankly, I found it disturbing. I do not blame him for missing Brett. But if the writers had not sent her to South Carolina in that ridiculous story line in Episode 2, she would have remained in the North and Billy would not have went AWOL. And his decision to head for South Carolina will prove to be troublesome for Episode Four‘s plot. I am also remain dumfounded by George’s position in the Union Army. During his reunion with Billy before the Gettysburg battle, he claimed that he had been transferred to field duty. And he was seen commanding artillery units. Yet, after the battle, he was seen attending another meeting with President Lincoln and his Cabinet. What the hell? The screenwriters really screwed up this time.

The episode’s second half, Ashton Main Huntoon’s appearance at Mont Royal really stirred things a bit. I found it to be the episode’s most enjoyable segment. Before I explain why I enjoyed it, I have to say a few words regarding Ashton’s reason for visiting her home – namely to confront Madeline about her African ancestry and drive her from Mont Royal and Orry’s radar. If I must be frank, I found Ashton and Bent’s revenge against Orry by using Madeline’s family secret, a bit . . . anti-climatic. Frankly, I thought they could have exposed Madeline’s secret in a more dramatic and satisfying moment – like during a political party in Richmond (which happened in the novel) or expose the secret to the Mains’ neighbors. However, their act of revenge did result in a marvelous scene well acted by Terri Garber and Lesley Anne Down. Semiramis’ rant against Ashton, thanks to another great piece of acting from Gimpel, was nice touch, although a bit fruitless. But it was Brett’s confrontation with Ashton that really did justice to this episode. Kudos to Garber and especially Genie Francis. Francis also shared an excellent scene with Parker Stevenson, who as Billy Hazard expressed his growing discontent with the war.

There is one major problem with this sequence. When Ashton arrived at Mont Royal, she carried foodstuff for the plantation. This makes no sense whatsoever. Ashton was traveling from a state – namely Virginia – that had been ravaged by two years of war. The amount of foodstuff she was carrying from Virginia should have been rare. South Carolina, on the other hand, had been freed of any battles by 1863, aside from the Sea Islands and the forts off the coast of Charleston. There should have been plenty of foodstuff at Mont Royal, thanks to Madeline, Brett, Semiramis and Ezra.

Anthony Zerbe made his first appearance as General Ulysses S. Grant, whom George had traveled all the way to Tennessee to meet, on behalf of President Lincoln. Veteran stars James Stewart and Olivia De Havilland appeared near the end of this episode. Did anyone know that those two had once dated in the late 1930s? Anyway, Stewart gave a charming performance as Madeline’s Charleston attorney, despite his Midwestern accent. However, De Havilland’s portrayal as Virgilia Hazard’s field hospital supervisor, Mrs. Neal, proved to be more interesting and complex. I could not decide which character was more irritating – Virgilia’s arrogant disregard for Mrs. Neal’s advice, or the latter’s patronizing concern for Southern patients at the expense of the other patients and her unfounded suspicions that Virgilia was ignoring them. Both De Havilland and Kirstie Alley gave superb performances in their scenes together.

Although Episode Three had its flaws, I cannot deny that Kevin Connor did an excellent job as the director. But I believe he was ably supported by the miniseries’ crew. Once again, Jacques R. Marquette’s photography provided a good deal of color and style to this episode – especially in the Battle of Antietam sequences. Jospeh R. Jennings continued his excellent production designs, ably transforming viewers back to the United States of the early 1860s. I could say the say about Robert Fletcher’s costume designs. I was especially impressed by his wardrobe for Maude and Isobel Hazard, along with Ashton Huntoon, who ended up being the best-dressed character of the episode. Below are examples of Fletcher’s work:

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Despite a some quibbles and a dull first half hour, Episode Three was an improvement over Episode Two. I was surprised by the number of excellent dramatic moments and first-rate acting in this episode. Also Kevin Connor’s direction of the Battle of Antietam and Gettysburg struck me as pretty damn good. I could say that Episode Three was the highlight of the 1986 miniseries. But I do not believe I would go that far.

“NORTH AND SOUTH: BOOK II” (1986) – Episode Two “July 1861 – August 1862” Commentary

 

“NORTH AND SOUTH: BOOK II” (1986) – EPISODE TWO “July 1861 – August 1862” Commentary

Episode Two began with the aftermath of Bull Run. It also featured Brett Main Hazard and Semiramis’ journey to South Carolina, Orry Main’s wedding to his widowed neighbor Madeline LaMotte, and Elkhannah Bent and Ashton Main Huntoon’s smuggling operations. I wish I could be objective about this particular episode, but I cannot. I dislike it too much. It is one of the main reasons why I have so much difficulty with “NORTH AND SOUTH: BOOK II” in the first place.

My main beef with this episode centered around the plot line that featured Brett and Semiramis’ journey south to Mont Royal, following the Bull Run battle. First of all, I believe that this particular plot line was badly written. Brett and Semiramis should not have had any difficulties getting past Union lines, since nearly the entire Union Army had fled to Washington in disarray, following the battle. Second, once they had reached Richmond and delivered the message about Clarissa Main’s injury, they could have accompanied Orry back to South Carolina. They would have arrived at Mont Royal in late July or early August 1861, instead of November 1861. And why did it take them so long to reach South Carolina in the first place? Surely, the two could have traveled by train. The Union Army had not began destroying Southern railroad tracks during the summer of 1861. And one last question – why on earth was a message sent to Brett in Washington D.C. in the first place? An accommodating neighbor of the Mains or a local doctor could have sent the message about Clarissa to Orry in Richmond. It would have been a lot easier. And quicker. Talk about bad writing!

I have a few other qualms about Episode Two. I find it odd that Justin La Motte never suffered any legal repercussions for his attack upon Mont Royal in Episode One. Nor did Orry Main encountered any repercussions for La Motte’s death, when he rescued Madeline from her venal husband. And could someone please explain Orry’s war duties to Jefferson Davies and the Confederacy? It is bad enough that he managed to procure such a high position within the Confederate Army, considering his previous military history. But what exactly was his duty? Was he the main quartermaster for the Confederate Army? Was he involved in investigating war profiteers? Or was he some unrealistic jack-of-all-trade? In fact, I have the same complaint about George Hazard’s position with the Union Army. Like Orry, his previous military history was very limited. Yet, he managed to become a military aide to President Lincoln and serve other duties for the Army – duties that seemed to be very varied. I was especially shocked to find George attending one of Lincoln’s Cabinet meetings. Really? Are they serious? This is incredibly sloppy writing. Both Charles Main and his fellow officer Lieutenant Ambrose Pell continue to unnecessarily cart around their swords, during their duties as scouts. And I still see no signs of enlisted men under their command. Episode Two also featured a moment when President Lincoln announced his“Emancipation Proclamation” to his cabinet . . . and George Hazard. I realize this should have been a profound moment, but the pretentious dialogue left me feeling cold.

However, there were some good moments in this episode. George and Orry had a bittersweet reunion inside a barn, while both were traveling to their respective capitals. Charles visited the widowed Augusta Barclay’s farm after being injured by Union cavalry. Stanley and Isobel Hazard scheme to profit from the war and make enough money to take over Hazard Iron. And in one brief scene, Congressman Greene had an embarrassed reaction to a wounded soldier that did David Odgen Stiers’ skills proud as an actor. Of all of these scenes, the one that really impressed me proved to be the one that featured Stanley and Isabel’s scheming. For me, this was a step up from their narrative in John Jakes’ 1984 novel. The reason I was so impressed by these scenes was due to the first-rate performances from the cast.

Aside from the Stanley and Isabel story arc, I feel that the rest of the scenes benefited from the cast’s excellent acting. This was especially apparent by James Read and Patrick Swayze’s performances in the scene that featured George and Orry’s reunion, and also the performances by Lewis Smith, Kate McNeill and first-time actor John Nixon. Both Philip Casnoff and Terri Garber continued to amazing heat in their portrayals of Elkhannah Bent and Ashton Main Huntoon. Kurtwood Smith gave an intense and fascinating portrayal of Billy Hazard’s commander Hiram Burdan. And Whip Hubley, an actor I have never been that particularly impressed with, gave an interesting performance as Billy’s regimental rival, Lieutenant Stephen Kent.

Kevin Connor continued to handle his actors with skill. And the miniseries’ photography by Jacques R. Marquette continued to strike me as colorful, but not particularly impressive. But there is one aspect of this production that continued to really impress me was Robert Fletcher’s costume designs – especially for the women. Below are examples of his work in this episode:

But if I must be brutally frank, Episode Two featured some of the worst writing in this miniseries, and probably in the entire trilogy. No amount of excellent performances or dazzling costume designs could improve my opinion or save what proved to be an otherwise dull episode.

“NORTH AND SOUTH: BOOK II” (1986) – Episode One “June-July 1861” Commentary

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“NORTH AND SOUTH: BOOK II” (1986) – EPISODE ONE “JUNE-JULY 1861” Commentary

Judging from past articles I have written about the “NORTH AND SOUTH” Trilogy, one would surmise that of the three miniseries that have aired in the past decades (two in the 1980s and one in the 1990s) that I seemed to have the most problem with the second miniseries in the trilogy, namely “NORTH AND SOUTH: BOOK II”. And if I have to be honest, one would be right.

It is odd that I would choose the second miniseries as the most problematic of the three. “NORTH AND SOUTH: BOOK II”is set during the four years of the Civil War – a historical conflict that has heavily attracted my attention for so many years that I cannot measure how long. “HEAVEN AND HELL: NORTH AND SOUTH BOOK III”, which had aired at least seven-and-a-half years after the second miniseries, was set during the early years of Reconstruction and has a reputation among the “NORTH AND SOUTH” fans as being inferior to the other two. But for some reason, I have had more of a problem with “BOOK II”. So I have decided to examine each of the six episodes of the 1986 miniseries to determine why this chapter in the “NORTH AND SOUTH” trilogy is such a problem for me.

Without a doubt, Episode One of “BOOK II” is my favorite in the entire miniseries. It re-introduced the main characters from the first miniseries in the story. It also set the stage for the main characters’ experiences during the war, for the rest of the miniseries. It featured an excellent opening shot on the streets of Washington D.C. that introduced both Brett Main Hazard, and the slave Semiramis. It also featured a well shot sequence that centered around a colorful ball at the Spotswood Hotel in Richmond, attended by Ashton and James Huntoon, and Elkhannah Bent. Most importantly, it featured one of my favorite battle scenes – namely the Battle of Bull Run that was fought near Manassas, Virginia on July 18, 1861. If I have to be frank, this interpretation of Bull Run remains my favorite. Director Kevin Connors filmed the entire sequence with great style and skill and composer Bill Conti injected it with a brash, yet haunting score that still give me goose bumps whenever I watch it. Even better, the sequence ended with actress Wendy Kilbourne uttering one of the best lines in the entire trilogy.

I certainly have no problems with the miniseries’ production values. Jacques R. Marquette’s photography struck me as rather beautiful and colorful. This was especially apparent in the opening Washington D.C., the Spotswood Hotel ball and Bull Run sequences. If I have one complaint, I wish the photography had been a little sharper. Joseph R. Jennings and his production designs team did an excellent job in re-creating the United States during the Civil War era. Bill Conti continued his excellent work as composer for the saga’s production. But if there is one aspect of the miniseries’ production values that really blew my mind were the costumes designed by Robert Fletcher. I was especially impressed by the following costumes:

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I do have a few quibbles about Episode One. First of all, it introduced Charles Main’s role as a cavalry scout for the Confederate Army. Considering that he started out as a Captain in this miniseries, it made no sense to me that he and another officer – a first lieutenant – would be participating scout duties without the assistance of enlisted men. I guess one could call it as an example of the story being historically inaccurate. And I wish someone would explain why the Mains’ neighbors (or slaves) sent word to Brett Main Hazard in Washington D.C., of the injuries her mother, Clarissa Main, had suffered when Mont Royal’s barn was set on fire by Justin La Motte. Would it have been a lot easier (and quicker) to send word to Orry Main, who was on duty in Richmond, Virginia?

I find the idea of both George Hazard and Orry Main serving as military aides to their respective political leaders – Abraham Lincoln and Jefferson Davis – very improbable. Following their graduation from West Point in 1846, the two friends had only served at least 18 months in the U.S. Army before resigning for personal reasons. Yet, after the outbreak of a civil war, thirteen years, the audience is supposed to believe that both were able to secure such high positions within their respective armies? Especially when one considers the fact that neither were politically active between 1848 and 1861? I find this very illogical . . . even for a work of fiction.

My last major quibble featured the character of Elkhannah Bent. What was he doing with the portrait of Madeline Fabray LaMotte’s mother? The audience knew that he had procured it from an expensive whorehouse in New Orleans. But Bent had no idea that Madeline was romantically involved with one of his nemesis, Orry Main, until after Ashton Main Huntoon informed him. So, why did he bother to get his hands on the painting at a time when he was ignorant of the romantic and emotional connection between Orry and Madeline?

I certainly had no problems with the episode’s performances. The cast, more or less, gave solid performances. But I was especially impressed by a handful. Two of the better performances came from Parker Stevenson and Genie Francis, who portrayed the recently married Billy and Brett Hazard. I was especially impressed by one scene in which the two nearly quarreled over Billy’s decision to transfer from the Corps of Engineers to Hiram Berdan’s Sharpshooters Regiment. Terri Garber and Philip Casnoff literally burned the screen in their portrayal of the early stages of Ashton Main Huntoon and Elkhannah Bent’s affair. This episode featured another quarrel . . . one between George Hazard and his sister, Virgilia, who had arrived in Washington D.C. to become a nurse. Both James Read and Kirstie Alley were superb in that scene. And finally, I have to single out Forest Whitaker, who did a superb job in expressing the resentful anger that his character, Cuffey, felt toward his situation as a slave and toward his owners, the Mains.

Although Episode One featured some stumbling blocks that I have already mentioned, I must say that it turned out rather well. For me, it is probably the best episode in the entire 1986 miniseries. Not only did it featured some excellent performances, it was capped with a superb sequence featuring the Battle of Bull Run, directed with skill by Kevin Connor.

The Major Problems of “NORTH AND SOUTH: BOOK II” (1986)

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THE MAJOR PROBLEMS OF “NORTH AND SOUTH: BOOK II” (1986)

In the eyes of many fans of the trilogy of miniseries based upon John Jakes’ saga, ”The NORTH AND SOUTH Trilogy”, the only miniseries not worthy of the entire saga is the third one – ”HEAVEN AND HELL: North and South Book III”. I wish I could agree with them. After all, the production values for ”BOOK III” had not been as impressive as the other two. And of the three miniseries, ”NORTH AND SOUTH: BOOK II” had the best costume designs. But looking at the three miniseries from the prospective of a writer, I have finally come to the conclusion that it was ”BOOK II” (set during the Civil War), and not ”BOOK III” that ended up being a lot more disappointing to me.

None of the three miniseries were exact copies of the novels from which they had been adapted. Changes were made in all three. Despite some flaws, I had no problems with most of the changes in “BOOK I” and “BOOK III”. But I found some of the changes in ”BOOK II” to be very questionable. In fact, some of these changes really did nothing to serve the miniseries’ story, except pad it unnecessarily in order to ensure that it would last six episodes.

Below are some examples of the questionable plotlines I found in “BOOK II”:

*Around the end of Episode I, Brett Main Hazard (Genie Francis) – a South Carolina belle who had recently married Pennsylvania-born army officer, Billy Hazard (Parker Stevenson) – and her maid, Semiramis (Erica Gimpel), had left Washington D.C. just before the Battle of Bull Run (July 21, 1861). The former had received a written note about Madeline LaMotte (Lesley Anne Down)’s kidnapping by her estranged husband (David Carradine) and the injuries that Brett’s mother – Clarissa Main (Jean Simmons) – had suffered following a barn fire at the Main’s South Carolina plantation, Mont Royal. Brett and Semiramis finally reached Mont Royal in November 1861. I have a lot of problems with this.

1) Why was the message about Clarissa and Madeline sent to Brett in Washington D.C. and not to Brett’s older brother, General Orry Main (Patrick Swayze) in Richmond? It would have been easier to reach him, since Richmond was inside Confederate territory.

2) Would it have been easier for Brett and Semiramis to remain in Richmond and wait for Orry to depart for South Carolina? What was the point of them leaving him a message and continuing their journey south? They would have reached Mont Royal a lot sooner.

3) Why did it take them three to four months to reach South Carolina? It took them at least less than a week to travel from Washington D.C. to Richmond, Virginia – despite being delayed by Union troops. They were on horseback. So why did it take them an additional three-and-a-half months to reach Mont Royal in South Carolina?

*Episode I revealed that both George Hazard and Orry Main served as military aides for their respective political leaders – Abraham Lincoln and Jefferson Davis. Between Episode I and early Episode III, George provided information to Lincoln on battle results and on the President’s behalf, interviewed General Ulysses S. Grant in Tennessee, to see if the latter was the right man to take over the Army of the Potomoc in Virginia. George became a field commander right before the Battle of Gettysburg. Orry not only provided battle results and other information to Davis, he also served as some kind of quartermaster and investigator of corruption within the Confederacy. He became a field commander right before the Battle of Fort Steadman in Episode Six. I had a lot of problems with this.

1) Although both George and Orry had graduated from West Point’s Class of 1846 and served in the Mexican-American War, they only served for a duration of at least eighteen months. Both men, due to personal reasons, had left the Army by the late winter/early spring of 1848. How on earth did both managed to acquire such high positions – militarily and politically – at the start of the Civil War, thirteen years later? Even the younger members in their families – Billy Hazard and Charles Main – had more military experience before the war – nearly five years apiece.

2) Neither George or Orry had acquired any further military experiences or participated in any political movements or organizations in their respective home states of Pennsylvania and South Carolina, during those thirteen years between 1848 and 1861.

3) Although George primarily served as an adviser for Lincoln before becoming a field commander, Orry served in a confusing mixture of duties that included military adviser, quartermaster, and investigator. What the hell? It almost seemed as if the screenwriters could not make up their minds on what capacity Orry had served in the Confederate Army, before becoming a field commander during the war’s final month.

4) In the early summer of 1863, George became an artillery commander in the Army of the Potomoc. I am aware that he had graduated from West Point near the top of class, ranking sixth. But in 1846, George had decided to choose the Infantry in which to serve. His only previous military experience before the Battle of Gettysburg was fifteen months as a junior infantry officer during the Mexican-American War. How on earth did he end up in artillery, with no previous experience in that particular field?

George and Orry’s military experiences during the war smacked of a great deal of bad continuity, lack of logic and confusion in this production. I will further explore the

*In Episode Three, despondent over being unable to see Brett for two years, Billy decides to go AWOL following the Battle of Gettysburg (July 1-3, 1863) and head south to South Carolina to see his wife Brett. Upon his arrival at Mont Royal, he stays there less than 24 hours and leaves to return to the Army. He returned to duty in Hiram Burdam (Kurtwood Smith)’s Sharpshooter regiment in late April/early May 1864, in time to participate in the Battle of the Wilderness. And I had problems with this.

1) It took Billy less than a month to travel from Southern Pennsylvania (Gettysburg) to Mont Royal in South Carolina. Yet, it took him at least eight to nine months to rejoin his regiment, who were back in Virginia by the time of his arrival. Why did it take him longer to travel from South Carolina to Virginia, than it did for him to travel from Southern Pennsylvania to South Carolina? He was on horseback.

2) Billy had been AWOL from the Army for at least nine to ten months (July 1863 – late April/early May 1864). Why did Colonel Burdan fail to punish him for abandoning his post without permission . . . for so long? In the spring of 1864, the Union Army was not exactly desperate for an increase in manpower, unlike the Confederate Army. In fact, Billy never even faced a court martial or trial of any kind for his actions. His only punishments were a stern lecture from Burdan and being passed over for a promotion to the rank of captain. This is illogical . . . even for a fictional story.

*Charles Main (Lewis Smith) and Augusta Barclay (Kate McNeil) first met each other while the former was on a scouting mission for the Confederacy and the latter was smuggling medicine in July 1861. They met again, the following year, when Charles appeared at her farm, wounded. In the spring of 1864, following the Battle of the Wilderness, they began a love affair that lasted until they said good-bye for the last time in February 1865. Two months later, following the surrender of the Confederate Army at Appomattox, Charles returned to Barclay Farm and learned that Augusta had died while giving birth to his son, Augustus Charles. Charles learned that Augusta’s South Carolina relatives had taken custody of Charles Augustus Main and returned to Charleston. There, Charles took custody of his son for the first time. I have a problem.

1) Charles and Augusta saw each other for the last time in February 1865. When Charles returned to her farm, two months later, her former servant – Washington (John Nixon) – informed him that she had recently died from giving birth to Charles’ son. Yet, Augusta certainly did not look pregnant, during Charles’ last visit two months ago – when the unborn baby should have been at least six to seven months old. And she was wearing a corset.

2) Following his discovery that he was a father, it did not take Charles very long to return to South Carolina and claim his child. Yet, the recently born Charles Augustus Main looked at least between one to two years old. If that had been the child’s real age, Charles and Augusta’s son would have been born a year earlier – before they had consummated their relationship in May 1864.

*After being driven from Mont Royal by the discovery of a family secret by Ashton Main Huntoon (Terri Garber), Madeline Main (Lesley Anne-Down) settles in Charleston around July-September 1863. The following spring in May 1864, she meets a former slave/refugee named Jim (Bumper Robinson) and his sick mother. Because of this meeting, Madeline decides to offer aid to many of Charleston’s war refugees – whether they are ex-slaves or poor whites. She also learns about Jim and his mother’s personal history. Apparently, they were Tennessee slaves who were freed upon the arrival of Union troops at their former master’s plantation, who decided to make their way to Charleston.

1) WHAT IN THE HELL IS THIS? Why on earth would recently emancipated slaves make their way deep into Confederate territory? Did the writers of the miniseries honestly believe that slaves were that stupid? Jim and his mother were from Tennessee. They could have easily made their way to any of the following cities:

*Nashville, Tennessee – which fell to Union troops in February 1862
*Memphis, Tennessee – captured by the Union in June 1862
*New Orleans, Louisiana – fell to Union troops in April 1862
*Louisville, Kentucky – which remained in the Union throughout the war

*Vicksburg, Mississippi – which fell to Union forces in July 1863

Any of the above cities were closer to the plantation owned by Michael’s former owner and could have provided safe refuge for him and his mother. Certainly not Charleston, South Carolina, which was too far and still Confederate territory by the spring of 1864.

2) The writers could have written Michael and his mother as South Carolina slaves. And yet . . . they would have been wiser to head for Hilton Head, the only safe haven for runaway slaves in South Carolina, until February 1865.

As I had stated earlier, the flaws mentioned in this article are merely samples of many I had spotted in “NORTH AND SOUTH: BOOK II”. Do not get me wrong. I do not dislike the 1986 miniseries. But it featured flaws in its screenplay that makes me doubt the prevailing view among the saga’s fans that it is superior to the last chapter in John Jakes’ tale. Mind you, “HEAVEN AND HELL: NORTH AND SOUTH BOOK III” is far from perfect. But the flaws featured in “BOOK II”makes it easy for me to regard it as my least favorite chapter in the trilogy.

“NORTH AND SOUTH: BOOK I” (1985) – Episode Six “1860-1861” Commentary

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“NORTH AND SOUTH: BOOK I” (1985) – EPISODE SIX “1860-1861” Commentary

We finally come to the last episode of the 1985 miniseries, “NORTH AND SOUTH: BOOK I”. And it is a doozy. This is the episode in which the Hazard and Main families unknowingly say good-bye to the past and present before their lives are turned upside-down by the American Civil War.

Episode Six opens on Presidential Election Day (November 6, 1860), two days after Lieutenant Billy Hazard’s arrival in Charleston, South Carolina; at the end of Episode Five. An excited Brett Main, who had been staying at her sister’s home since her quarrel with their brother Orry at the family’s plantation, Mont Royal anticipates meeting Billy. Brett’s elation over her reunion with her fiancé during a luncheon is dimmed by his anger over Orry’s reluctance to approve their marriage, and a violent encounter with a group of pro-secession thugs hired by Ashton to kill Billy. Following Abraham Lincoln’s election as the new president, the state of South Carolina begin its preparations to secede from the United States. Before secession can be achieved, George Hazard visits Orry at Mont Royal to mend their estrangement and convince the other man to approve Billy and Brett’s upcoming marriage. The two men go to Charleston to inform the engaged couple. Unfortunately, Billy receives orders to report to Fort Moultrie, which turns out to be a protracted stay following South Carolina’s secession from the Union. Following Texas’ secession a month later, Charles Main resigns from the U.S. Army and heads back home to South Carolina.

Less than two months later, Billy receives orders from his commander, Major Robert Anderson to report to the War Department in Washington D.C. and deliver dispatches. He uses the opportunity to marry Brett at Mont Royal. The wedding finally allows Ashton to plot her revenge against Billy, using Forbes LaMotte’s help. Fortunately for Billy, Madeline LaMotte overhears Forbes, his Uncle Justin and friend Preston Smith going over Ashton’s plot. With great difficulty and pain from Justin, Madeline escapes from Resolute and heads for Mont Royal to warn the Mains. Billy and Brett are ambushed by Forbes and Preston on their way to the rail stop. Just as Billy and Forbes engage in a duel that would have left the former with a useless pistol, Charles arrives in time to assist his friend. The conflict ends with Forbes’ death at Billy’s hand, Justin bereft of his nephew and wife, and Ashton banished from Mont Royal by Orry. In April 1861, Orry mortgages Mont Royal to return money that George had invested in their sawmill. During his journey north, Major Anderson had been forced to surrender his command at Fort Sumter. With small difficulty, Orry arrives at Lehigh Station, where he meets George and Constance’s new daughter. Also, a vengeful Virgilia incites a mob to attack the Hazard home and lynch Orry. Fortunately, George manages to intimidate his neighbors into calling off the attack. Virgilia leaves Belvedere for the last time with some loot in hand. And George and Orry bid each good-bye before the latter departs Lehigh Station for his journey back to South Carolina.

I must say that “NORTH AND SOUTH: BOOK I” certainly ended with a bang. And a very satisfied one. There were some problems. I found Terri Garber’s performance in a scene that featured Ashton’s rant against Brett and Billy rather hammy. She gave a great performance throughout most of the miniseries. But this one scene was probably her weakest moment. I was very curious over Elkhannah Bent’s appearance in Washington D.C. on the day of President Lincoln’s inauguration. He was still wearing a U.S. Army uniform, despite the fact that his home state of Georgia had already seceded two months earlier. In fact, I found it surprising that Charles Main did not resign from the Army, until two months after South Carolina’s secession. The miniseries continued its irritating habit of expressing an erroneous length of time for the period Madeline La Motte was being drugged by her husband. But the episode’s real problem proved to be the character of Forbes LaMotte, nephew of Justin LaMotte.

I had no problems with actor William Ostrander’s portrayal of Forbes. He gave a subtle and skillful performance. This was especially apparent in one scene in which Forbes, Justin and Preston discussed Ashton’s plan to have Billy murdered. David Carradine was fine, despite a few hammy moments. On the other hand, David Weaver’s portrayal of Preston Smith struck me as rather stagey . . . over-the-top. Only Ostrander managed to project any villainy with real subtlety. While watching Episode Six, I found myself wondering why Forbes had even bothered to help Ashton kill Billy. Why? I understood why in Jakes’ novel. The literary Forbes was in love with Brett. He did not take her rejection of him no better than Ashton took Billy’s rejection. I never got the impression that Forbes was in love with either Brett or Ashton in the miniseries. Forbes seemed to regard Brett’s rejection as a minor annoyance. And his feelings toward Ashton seemed to be based on pure lust and amusement. So why did he agree to murder Billy on Ashton’s behalf? The screenwriters’ portrayal of Forbes is probably one of the miniseries’ major failures.

However, I still regard Episode Six as one of the miniseries’ better chapters. Once again, Richard T. Heffron proved his talent for directing crowd scenes. I was especially how he handled the growing frenzy and chaos of “secession fever” that permeated Charleston in two scenes – namely Billy and Brett’s encounter with street thugs and the night Charleston announced South Carolina’s secession from the Union. Ironically, the latter sequence began in Ashton’s dining room, where Brett, Orry and George heard the bells of St. Michael’s Church announced the secession. This latter sequence not only benefited from Heffron’s depiction of the celebration in the streets, but also the Mains and George’s somber reaction to the news. Other first-rate crowd scenes were in the sequence featuring Orry’s northbound journey to Lehigh Station. They include the announcement of Major Anderson’s surrender of Fort Sumter on a train headed for Philadelphia, Orry’s encounter with fervent Unionists in that city, and his and George’s encounter with a lynch mob instigated by Virgilia. The miniseries also featured one exceptional action sequence – namely Ashton and Forbes’ attempt to murder Billy. From the moment Ashton learned of Billy and Brett’s departure from Mont Royal to Forbes’ death at the hands of Billy, this sequence crackled with energy, excellent pacing and suspension; thanks to Heffron’s direction and a well-written score by Bill Conti. The episode also benefited from Stevan Larner’s sweeping photography, especially in the secession sequences and the one featuring the murder attempt on Billy. In fact Larner earned a well-deserved Emmy nomination for his work in this episode. Vicki Sánchez offered some lovely costume designs for this episode. I was veryenamored of two particular designs worn by Terri Garber and Wendy Kilbourne:

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But this day dress worn by Genie Francis really appealed to me:

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Like the miniseries’ other episodes, the dramatic scenes for Episode Six proved to be its pride and joy. Both James Read and Patrick Swayze provided some of their best moments in two scenes – one that featured George Hazard’s visit to South Carolina in the episode’s first half, and the other that featured Orry Main’s perilous journey to Pennsylvania. John Stockwell had his best moment as Billy Hazard in a scene that featured Billy’s anger over Orry’s refusal to approve Brett’s marriage to him. He had ample support from Genie Francis. I also enjoyed Jonathan Frakes and Wendy Fulton’s performances in a scene in which Stanley and Isabel Hazard discussed their plans to take over Hazard Iron during George’s absence during the war. It is a pity that Fulton did not reprise her role as Isobel. Both Mary Crosby and Deborah Rush gave solid performances, but Fulton seemed to personify the literary character. Hal Holbrook made his first appearance as President Abraham Lincoln in a fine and subtle performance – a skill that he will maintain in“NORTH AND SOUTH: BOOK II”. However, the best dramatic scene featured Constance Hazard’s attempt to convince her sister-in-law Virgilia to stay with the family in Lehigh Station, following the debacle with the lynch mob. Both Wendy Kilbourne and Kirstie Alley performed the hell out of that scene.

Despite certain flaws I had detected in Episode Six, I must admit that I really enjoyed it. The episode not only featured some exciting historical moments and a first-rate action sequences, but also some excellent dramatic scenes that brought out the best in producer David L. Wolper, director Richard T. Heffron and the cast. Episode Six proved to be the first example of how all three miniseries seemed to end on a positive note, production wise. “NORTH AND SOUTH: BOOK I” might be flawed, it is still a joy to watch and one of my favorite miniseries of all time.

“NORTH AND SOUTH: BOOK I” (1985) – Episode Five “1856-1860” Commentary

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NORTH AND SOUTH: BOOK I” (1985) – EPISODE FIVE “1856-1860” Commentary

Following the emotional and ugly incidents from Episode Four, events for both the Hazard and Main families become even uglier, as the United States inches closer to a full blown civil war. The ugliness culminates in a major event in the form of John Brown’s famous October 1859 raid on Harper’s Ferry in (then) western Virginia.

Episode Five, set between 1856 and 1860, opened with Madeline recovering from Justin’s angry reaction to her mysterious disappearance (helping a pregnant Ashton Main acquire an abortion from a low country free black woman). Unbeknownst to Madeline, La Motte’s physician has recommended daily doses of laudenum to keep her “nerves” steady. Due to the laudenum, La Motte will keep Madeline drugged and under control for the next four-and-a-half years. Not long after Madeline’s “recovery”, a pregnant-free Ashton marries fiancé James Huntoon. Several months after the wedding, a bored Ashton unsuccessfully tries to convince Orry to take her on a trip to New Orleans, where Huntoon is giving a pro-secession speech to the city’s inhabitants. Following his speech, Huntoon and three other men – including one Captain Elkhannah Bent – spend some time at a brothel owned by one Madame Conti. Huntoon and Bent exchange a few words, in which the latter spies a photograph of the former’s wedding party. Bent not only recognizes his former classmate Orry Main, but is captivated by Madeline La Motte’s image. During a later conversation with Madame Conti, Bent spots a painting that features the image of a former prostitute of mixed blood that turns out to be Madeline’s mother.

Two years later, Orry and Brett travel to Lehigh Station to visit the Hazards. Unfortunately, the visit goes sour when Orry and Virgilia engage in a quarrel, prompting the latter’s brother to come to her defense. On their way back to South Carolina, the Main siblings encounter Virgilia and Grady, when their train is stopped by John Brown and his men during their raid on Harper’s Ferry. The encounter also leads to a reunion between Orry and Priam, the former Mont Royal slave who had escaped over eleven years ago. Once Orry and Brett’s train is allowed to continue south, Grady and Priam are killed by Virginia militia and Virgilia is captured. She ends up captured and placed in an insane asylum in Washington D.C. Upset over Madeline’s continuing distant behavior and his estrangement from George, Orry gets drunk and quarrels bitterly with Brett over her desire to marry Billy Hazard. The following morning, she leaves Mont Royal to stay with Ashton and Huntoon in Charleston. And Billy arrives in the city to report for duty at Fort Moultrie.

Three major plot lines dominate Episode Five – Bent’s discovery of Madeline’s family history, Orry and George’s quarrel, John Brown’s raid on Harper’s Ferry and Orry’s quarrel with Brett. This episode featured at least three crowd scenes and a major historical moment. And I must say that director Richard T. Heffron handled all of these major scenes very well, especially the Harper’s Ferry sequence. The sequence featuring Ashton and Huntoon’s wedding reception reminded me of the details Heffron, cinematographer Stevan Larner and production designer Archie J. Bacon put into creating a low country South Carolina social event. These same details provided the episode with a memorable ending, which featured Billy’s arrival in Charleston. But the Harper Ferry’s sequence really struck me as impressive. One of the miniseries’ best cinematic moments featured the sequence’s closing shot of the rear of Orry and Brett’s train disappearing into the night.

But there were minor scenes in Episode Five that proved to be gems. I was especially impressed by Heffron’s direction of Bent’s conversation with Madame Conti regarding Madeline’s mother. The scene was greatly helped by fine performances from Philip Casnoff and Elizabeth Taylor. Another fine dramatic scene featured Orry’s quarrel with Virgilia and George Hazard. All of the actors – especially Patrick Swayze, Kirstie Alley and James Read – did well in this scene. However, there were moments when the acting threatened to get a bit hammy. Another good dramatic scene appeared in the midst of the Harper’s Ferry sequence – namely Orry and Brett’s confrontation with Virgilia, Grady and Priam. I was especially impressed by Georg Stanford Brown and David Harris’ performances in this scene. Johnny Cash made an appearance as abolitionist John Brown. He did a pretty good job, even if I had a little difficulty in accepting Cash’s Upper South accent, while portraying a man from Connecticut. Kirstie Alley came back true to form in a scene featuring Virgilia’s reunion with Congressman Sam Greene, portrayed by David Odgen Stiers. And both actors gave fine and subtle performances. Swayze, who seemed to be very busy in this episode, got to shine one last time in the scene featuring Orry’s quarrel with Brett. Not only did Swayze gave an exception performance, but so did Genie Francis, who gave her best performance in the entire six-episode miniseries. However, the one scene that really stuck with me featured Ashton’s attempt to coerce Orry into taking her on a trip to New Orleans. Not only did it provide some excellent performances from both Swayze and Terri Garber, but also an interesting moment that exposed Orry’s own hypocrisy regarding the secessionist movement.

I have already discussed cinematographer Stevan Larner and production designer Archie J. Bacon’s work in this episode. Bill Conti continued his fine work as the miniseries’ composer. But of course, I want to discuss Vicki Sánchez’s gorgeous costumes . . . again. I could wax lyrical about her work, but I believe the following images can express how I feel:

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My favorite costume is Sánchez’s re-creation of a Charles Worth gown for Constance Hazard:

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The episode was marred by one major problem regarding the story’s timeline. When Ashton asked for Madeline’s help regarding her pregnancy in Episode Four, she informed the latter that her wedding to James Huntoon was scheduled for the following spring . . . of 1857. Yet, following Madeline’s recovery from her husband’s brutal treatment, Orry paid a visit to the La Motte plantation – Resolute – and announced that Ashton and Huntoon were scheduled to get married in a few days. Mind you, all of this was happening three months following Charles Main and Billy Hazard’s West Point graduation . . . in September 1856. So . . . what happened? When did Ashton and Huntoon rescheduled their wedding six to seven months earlier? Or is this merely another blooper regarding the story’s time line?

The painting of Madeline’s mother that had grabbed Bent’s attention in New Orleans struck a negative note within me. Madeline was born in the mid-1820s. This means that her mother must have been working for Madame Conti either between the late 1810s or the early-to-mid 1820s. The image of Madeline’s mother looked like this:

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First of all, the gown looked tacky. I cannot be more brutally frank. Second, both the gown and the hairstyle did not reflect the fashions of the 1820s. Instead, the painting looked as if it had been created during the 1840s or the 1850s. I do not know who created this painting, but I believe it was poorly made. And the miniseries’ producer and production designer should have insisted upon something that accurately reflected the decade of Madeline’s birth.

I have one last complaint. One of the best sequences from John Jakes’ 1982 novel featured Charles Main’s experiences in Texas and his conflict with Elkhannah Bent during the late 1850s. In Episode Five, Bent had met Huntoon in New Orleans. The city was a jumping off point for Army personnel traveling to Texas. One could easily assume that he was on his way to Texas. After all,“HEAVEN AND HELL: NORTH AND SOUTH BOOK III” did confirm that Charles had served under Bent during this period. So, why did producer David Wolper and the screenwriters avoided the sequence? Episode Five could have included Charles’ experiences in Texas and ended the episode with the Harper Ferry’s incident. The remainder of Episode Five – including Orry and Brett’s quarrel, her flight to Charleston and Billy’s arrival in South Carolina – could have been included in Episode Six, allowing that episode to be extended. After all, the final episode of the 1977 miniseries, “ROOTS” had been extended past ninety minutes.

Despite my complaints, Episode Five proved to be a fine penultimate episode for the miniseries. It featured some excellent acting by the cast, well directed dramatic scenes by Richard T. Heffron and a first-rate re-creation of John Brown’s raid on Harper’s Ferry. In the following episode, the Civil War is about to crash upon the lives of the Hazards and the Mains.