Top Ten Favorite Movies Set in the 1930s

Below is my current list of favorite movies set in the 1930s: 

 

TOP TEN FAVORITE MOVIES SET IN THE 1930s

1. “Indiana Jones and the Temple of Doom” (1984) – In this exciting second installment of the Indiana Jones franchise, the intrepid archaeologist is asked by desperate villagers in Northern India to find a mystical stolen stone and rescue their children from a Thuggee cult practicing child slavery. Directed by Steven Spielberg, the movie starred Harrison Ford as Dr. Henry “Indiana” Jones.

2. “The Sting” (1973) – Paul Newman and Robert Redford starred in this excellent Oscar winning movie about a young drifter who teams up with a master of the big con to get revenge against the gangster who had his partner murdered. George Roy Hill directed.

3. “Death on the Nile” (1978) – Peter Ustinov made his first appearance as Hercule Poirot in this superb adaptation of Agatha Christie’s 1937 novel about the murder of an Anglo-American heiress during a cruise on the Nile. John Guillermin directed.

4. “Chinatown” (1974) – Roman Polanski directed this outstanding Oscar nominated film about a Los Angeles private detective hired to expose an adulterer, who finds himself caught up in a web of deceit, corruption and murder. Jack Nicholson and Faye Dunaway starred.

5. “Gosford Park” (2001) – Robert Altman directed this Oscar nominated film about a murder that occurs at shooting party in 1932 England. The all-star cast includes Helen Mirren, Kelly MacDonald, Clive Owen and Maggie Smith.

6. “Evil Under the Sun” (1982) – Once again, Peter Ustinov portrayed Hercule Poirot in this entertaining adaptation of Agatha Christie’s 1941 novel about the murder of a stage actress at an exclusive island resort. Guy Hamilton directed.

7. “O Brother, Where Art Thou?” (2000) – Ethan and Joel Coen directed this very entertaining tale about three escaped convicts who search for a hidden treasure, while evading the law in Depression era Mississippi. George Clooney, John Tuturro and Tim Blake Nelson starred.

8. “Murder on the Orient Express” (1974) – Albert Finney starred as Hercule Poirot in this stylish adaptation of Agatha Christie’s 1934 novel about the Belgian detective’s investigation into the death of a mysterious American aboard the famed Orient Express. Sidney Lumet directed.

9. “Indiana Jones and Raiders of the Lost Ark” (1981) – Harrison Ford made his first appearance as Dr. “Indiana” Jones in this classic movie, as he races against time to find the iconic Ark of the Covenant that contains the Ten Commandments before the Nazis do in 1936 Egypt. Steven Spielberg directed.

“Seabiscuit” (2003) – Gary Ross directed this excellent adaptation of Laura Hillenbrand’s 2001 book about the famed race horse from the late 1930s. Tobey Maguire, Jeff Bridges, Chris Cooper and Elizabeth Banks starred.

Honorable Mention: “Road to Perdition” (2002) – Tom Hanks, Tyler Hoechlin and Paul Newman starred in this first-rate adaptation of Max Collins’ 1998 graphic comic about a Depression era hitman who is forced to hit the road with his older son after the latter witnesses a murder. Sam Mendes directed.

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“POLDARK” Series One (2015): Episodes Five to Eight

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“POLDARK” SERIES ONE (2015): EPISODES FIVE TO EIGHT

Within the past year, I had developed a major interest in author Winston Graham’s 1945-2002 “POLDARK” literary saga and the two television adaptations of it. Series One of the second adaptation produced by Debbie Horsfield, premiered on the BBC (in Great Britain) and PBS (in the United States) last year. Consisting of eight episodes, Series One of “POLDARK” was an adaptation of 1945’s “Ross Poldark – A Novel of Cornwall, 1783-1787” and “Demelza – A Novel of Cornwall, 1788-1790”. Whereas Episodes One to Four adapted the 1945 novel, Episodes Five to Eight adapted the 1946 novel. 

Episode Four left off with the death of Ross Poldark’s uncle, Charles; leaving Trenwith, the family’s premiere estate, in the hands of his cousin Francis. Ross’ former kitchen maid and new bride, Demelza Carne Poldark, formed a friendship with Francis’ sister Verity and accompanied Ross to a rather tense Christmas celebration at Trenwith, which was further marred by an unexpected appearance of the noveau-riche Warleggan family and friends. Ross also learned that copper had been discovered inside his mine and that Demelza had become pregnant with their first child.

Episode Five began several months later with the arrival of a traveling theater company that includes a young actress named Keren, who attracts the attention of miner Mark Daniels. The episode also marked the arrival of two other players – Dwight Enys, a former British Army officer and doctor, who happens to be a former comrade of Ross’; and young Julia Poldark, whose birth interrupted her parents’ enjoyment of the traveling theater company’s performance. The four episodes featured a good number of events and changes in Ross Poldark’s life. Julia’s birth led to a riotous christening in which he and Demelza had to deal with unexpected guests. Francis lost his fortune and his mine to George Warleggan’s cousin Matthew Sanson at a gaming party. Ross learned that his former employee Jim Carter was seriously ill at the Bodomin Jail and tried to rescue the latter with Dwight Enys’ help. The tragic consequences of their attempt led to Ross’ ill nature at the Warleggan’s ball. Dwight drifted into an affair with Keren Daniels, with tragic results.

Ross and several other mine owners created the Carnmore Copper Company in an effort to break the Warleggans’ stranglehold on the mineral smelting business, while Demelza plotted to resurrect her cousin-in-law Verity Poldark’s romance with Captain Andrew Blamey. The success of her efforts led to an estrangement between Ross and Frances. Demelza’s matchmaking also led to financial disaster for her husband’s new business venture. A Putrid’s Throat epidemic struck the neighborhood, affecting Francis, Elizabeth and their son Geoffrey Charles. Not long after Demelza had nursed them back to health, both she and Julia were stricken by disease. The season ended with a series of tragic and tumultuous events. Although Demelza recovered, Julia succumbed to Putrid’s Throat. The Warleggans’ merchant ship wrecked off the coast of Poldark land and Ross alerted locals like Jud and Prudie Paynter to salvage any goods that wash up on the shore. This “salvaging” led to violence between those on Poldark lands and neighboring miners and later, both against local military troops. One of the victims of the shipwreck turned out to be the Warleggans’ cousin, Matthew Sanson. After Ross insulted Sanson’s death in George Warleggan’s face, the season ended with the latter arranging for Ross’ arrest for inciting the riot.

I must admit that I liked these next four episodes a bit more than I did the first quartet. Do not get me wrong. I enjoyed those first episodes very much. But Episodes Five to Eight not only deepened the saga – naturally, considering a they were continuation of the first four – but also expanded the world of Ross Poldark.

One of the aspects of Series One’s second half that caught both my attention and my admiration was the production’s continuing portrayal of Britain’s declining economic situation during the late 18th century . . . especially for the working class. Both Episodes Five and Seven featured brief scenes that conveyed this situation. In Episode Five; Ross, Demelza and Verity encounter a starving family on the road to Turo, begging for food or money. A second brief scene in Episode Seven featured Demelza baking bread and later, dispersing it to the neighborhood’s starving poor. However, the series also featured bigger scenes that really drove home the dire economic situation. Upon reaching Truro in Episode Five, both Demelza and Verity witnessed a riot that broke out between working-class locals and the militia when the former tried to access the grain stored inside Matthew Sanson’s warehouse. I found the sequence well shot by director William McGregor. The latter also did an excellent job in the sequence that featured locals like the Paynters ransacking much needed food and other goods that washed ashore from the Warleggans’ wrecked ship. I was especially impressed by how the entire sequence segued from Ross wallowing in a state of grief over his daughter’s death before spotting the shipwreck to the militia’s violent attempt to put down the riot that had developed between the tenants and miners on Ross’ land and locals from other community.

Even the upper-classes have felt the pinch of economic decline, due to the closing and loses of mines across the region and being in debt to bankers like the Warleggans. Following the discovery of copper inside his family’s mine in Episode Four, Ross seemed destined to avoid such destitution. Not only was he able to afford a new gown and jewels for Demelza to wear at the Warleggan ball in Episode Six, he used his profits from the mine to create a smelting company – the Carnmore Copper Company – with the assistance of other shareholders in an effort to break the Warleggans’ monopoly on the local mining industry. One cannot say the same for his cousin Francis, who continued to skirt on the edge of debt, following his father’s death. Unfortunately, Francis wasted a good deal of his money on gambling and presents for the local prostitute named Margaret. In a scene that was not in the novel, but I found both enjoyable and very effective, he lost both his remaining fortune and his mine, Wheal Grambler, to the Warleggans’ cousin, Matthew Sanson, at a gaming party. But this was not the end of the sequence. Thanks to director William McGregor and Horsfield’s script. The sequence became even more fascinating once the Poldarks at Trenwith learned of Francis’ loss, especially Elizabeth. And it ended on a dramatic level with Francis being forced to officially close Wheal Grambler in front a crowd. I realize the sequence was not featured in Graham’s novel, but if I must be honest; I thought Horsfield’s changes really added a good deal of drama to this turn of events. Not only did McGregor shot this sequence rather well, I really have to give kudos to Kyle Soller, who did an excellent job in portraying Francis at his nadir in this situation; and Heida Reed, who did such a superb job conveying the end of Elizabeth’s patience with her wayward husband with a slight change in voice tone, body language and expression.

I was also impressed by other scenes in Series One’s second half. The christening for Ross and Demelza’s new daughter, Julia, provided some rather hilarious moments as their upper-crust neighbors met Demelza’s religious fanatic of a father and stepmother. Thanks to Harriet Ballard and Mark Frost’s performances, I especially enjoyed the confrontation between the snobbish Ruth Treneglos and the blunt Mark Carne. It was a blast. Ross and Dwight’s ill-fated rescue of a seriously ill Jim Carter from the Bodmin Jail was filled with both tension and tragedy. Tension also marked the tone in one scene which one of the Warleggans’ minions become aware of the newly formed Carnmore Copper Company during a bidding session. Another scene that caught my interest featured George Warleggan’s successful attempt at manipulating a very angry Francis into revealing the names of shareholders in Ross’ new cooperative . . . especially after the latter learned about his sister Verity’s elopement with Andrew Blamey. Both Soller and Jack Farthing gave excellent and subtle performances in this scene. Once again, McGregor displayed a talent for directing large scenes in his handling of the sequence that featured the wreck of the Warleggans’ ship, the Queen Charlotte, and both the looting and riot on the beach that followed. Series One ended on a dismal note with Ross and Demelza dealing with the aftermath of young Julia’s death and Ross’ arrest by the militia for leading the beach riot. Although I found the latter scene a bit of a throwaway, I was impressed by the scene featuring a grieving Ross and Demelza, thanks to the excellent performances from series leads, Aidan Turner and Elinor Tomlinson.

If there is one sequence that I really enjoyed in Series One of “POLDARK”, it was the Warleggan ball featured in Episode Six. Ironically, not many people enjoyed it. They seemed put out by Ross’ boorish behavior. I enjoyed it. Ross seemed in danger of becoming a Gary Stu by this point. I thought it was time that audiences saw how unpleasant he can be. And Turner did such an excellent job in conveying that aspect of Ross’ personality. He also got the chance to verbally cross swords with Robin Ellis’ Reverend Dr. Halse for the second time. Frankly, it was one of the most enjoyable moments in the series, so far. Both Turner and Ellis really should consider doing another project together. The segment ended with not only an argument between Ross and Demelza that I found enjoyable, but also a rather tense card game between “our hero” and the Warleggans’ cousin Matthew Sanson that seemed enriched by performances from both Turner and Jason Thorpe.

I wish I had nothing further to say about Episodes to Eight of Series One. I really do. But . . . well, the episodes featured a good number of things to complain about. One, there were two sequences in which Horsfield and McGregor tried to utilize two scenes by showing them simultaneously. Episode Seven featured a segment in which both Demelza and Elizabeth tried to prevent a quarrel between two men in separate scenes – at the same time. And Episode Eight featured a segment in which both Ross and Demelza tried to explain the circumstances of their financial downfall (the destruction of the Carnmore Copper Company and Verity Poldark’s elopement) to each other via flashbacks . . . and at the same time. Either Horsfield was trying to be artistic or economic with the running time she had available. I do not know. However, I do feel that both sequences were clumsily handled and I hope that no such narrative device will be utilized in Series Two.

I have another minor quibble and it has to do with makeup for both Eleanor Tomlinson and Heida Reed. In Episode Eight, the characters for both actresses – Demelza Poldark and Elizabeth Poldark – had been stricken by Putrid’s Throat. Both characters came within an inch of death. Yet . . . for the likes of me, I found the production’s different handling of the makeup for both women upon their recovery from Putrid’s Throat rather odd. Whereas Elizabeth looked as if she had recently recovered from a serious illness or death (extreme paleness and dark circles under the eyes), the slight reddish tints on Demelza’s face made her looked as if she had recently recovered from a cold. Winston Graham’s portrayal of Demelza has always struck me as a bit too idealized. In fact, she tends to come off as a borderline Mary Sue. And both the 1970s series and this recent production are just as guilty in their handling of Demelza’s character. But this determination to make Demelza look beautiful – even while recovering from a near fatal illness – strikes me as completely ridiculous.

If there is one aspect of this second group of Series One’s episodes that really troubled me, it was the portrayal of traveling actress Keren Smith Daniels and her affair with Dr. Dwight Enys. After viewing Debbie Horsfield’s portrayal of the Keren Daniels character, I found myself wondering it Debbie Horsfield harbored some kind of whore/Madonna mentality. Why on earth did she portray Keren in such an unflattering and one-dimensional manner? Instead of delving into Keren’s unsatisfaction as Mark Daniels’ wife and treating her as a complex woman, Horsfield ended up portraying her as some one-dimensional hussy/adultress who saw Dwight as a stepping stone up the social ladder. Only in the final seconds of Keren’s death was actress Sabrina Barlett able to convey the character’s frustration with her life as a miner’s wife. Worse, Horsfield changed the nature of Keren’s death, by having Mark accidentally squeeze her to death during an altercation, instead of deliberately murdering her. Many had accused Horsfield of portraing Keren in this manner in order to justify Mark’s killing of her, along with Ross and Demelza’s decision to help him evade the law. Frankly, I agree. I find it distasteful that the portrayal of a character – especially a female character – was compromised to enrich the heroic image of the two leads – especially the leading man. Will this be the only instance of a supporting character being compromised for the sake of the leading character? Or was Horsfield’s portrayal of Keren Daniels the first of such other unnecessary changes to come?

Despite my disppointment with the portrayal of the Keren Daniels character and her affair with Dwigh Enys and a few other aspects of the production, I had no problems with Episode Five to Eight of Series One for “POLDARK”. If I must be honest, I enjoyed it slightly more than I did the first four episodes. With the adaptation of “Demelza – A Novel of Cornwall, 1788-1790” complete, I am curious to see how Debbie Horsfield and her production staff handle the adaptation of Winston Graham’s next two novels in his literary series.

“The Power of One” [PG-13] – 10/20

 

“THE POWER OF ONE”

PART X

Phoebe could not accompany her sisters and the other three to the Halliwell manor, since she had to return to work. But the other four found themselves standing outside the salmon-colored house nearly a half hour later. 

The two witches, the Vodoun priestess and the half-daemon entered the house, as Piper cried out Donna’s name. When a faint voice responded, the quartet headed toward the Solarium. There they found the nanny on the sofa with her charge, watching television. Donna glanced up and smiled. “Piper! What are you doing here?”

“Oh, uh . . .” The Charmed One became speechless, for Olivia had suggested that they did not directly confront the nanny.

Olivia came to Piper’s rescue. “I’m here to borrow some herbs from Piper. We just came back from lunch.”

Piper smiled weakly. “That’s it. Uh, you remember Olivia and Cecile, don’t you? Paige told me that you had met them.”

Donna smiled at the redhead and the black woman. “Oh yeah. Nice to see you, again.” Then her gaze turned to Cole.

“Oh,” Piper added, “and this is Cole. Cole Turner. He’s Olivia’s boyfriend. Cole, this is Donna Thompson. Wyatt’s new nanny.” Olivia noted that the Charmed One failed to mention the half-daemon’s past link to the Halliwell family.

The nanny smiled at Cole. “Nice to meet you.”

“Same here,” Cole replied politely.

“So,” Piper continued, “how is Wyatt doing?” She reached for her son, who had been sitting in Donna’s lap contentedly. As Piper drew Wyatt into her arms, he gurgled happily. “Hel-lo sweetie! How are you? Hmmm. Well, he seems to be doing fine.”

Donna added, “Aren’t you going to get those herbs for Olivia?”

“Huh?” Piper’s eyes widened in confusion. It took all of Olivia’s efforts not to roll her eyes at the Charmed One’s attempt at deception. She noticed that both Cole and Cecile did not bother suppress their efforts.

Olivia then spied an empty glass of water on a nearby table, and an idea came to her. “While you’re at it, Piper, could you get me a glass of water?”

The other witch nodded. “Sure.” Then Piper left the Solarium, while Olivia and her other two companions indulged in small talk with the nanny. Cole politely talked about his job at the law firm, and his relationship with Olivia. Cecile talked about Vodoun practices in New Orleans and Olivia regaled the nanny with hers and Cole’s experiences in babysitting Wyatt – much to Cole’s obvious embarrassment. Eventually, Piper returned with a glass of water for Olivia. And a brown paper bag.

“Thanks,” Olivia said to Piper. Then she deliberately paused and glanced at Donna’s neck. “Oh by the way, Piper. You should see Donna’s necklace. I saw it yesterday, and it’s gorgeous. Right Donna?” She smiled at the nanny.

Donna’s eyes blinked. “Huh?”

Olivia pointed at the leather strap around the nanny’s neck. “Your necklace. The one that you had dropped, yesterday. Why don’t you show it to the others?”

Donna hesitated. “Well . . .” The other three stared at her. “I guess. Uh, it’s . . .” Slowly, she withdrew the object from underneath her blouse. “I bought it at the Red Pyramid. It’s supposed to be some kind of ward against evil. After that daemon had attacked us, I thought it would come in handy.”

Olivia peered at the amulet. It took one glance for her to realize that it was not the one that Donna had worn, yesterday. Obviously, the other woman had made a switch. Or the other amulet was somewhere hidden in a pocket or something.

Both Piper and Cecile glanced at Olivia, before gazing at the amulet around Donna’s neck. “Very nice,” Cecile commented. “Don’t you think, Piper?”

The Charmed One added, “Yeah. But . . .” She directed her gaze at Donna. “But why keep it around your neck?”

“Like I said, it’s a protection ward,” Donna explained. “Don’t want to expose it, if I’m attacked.”

“Oh.” Piper handed the glass of water and paper bag to Olivia. “This is for you.”

Keeping her disappointment in check, Olivia began to drink her water. Wyatt picked up a small rubber ball and threw it at Cole, attracting everyone’s attention. Olivia glanced at the empty glass on the nearby table, and an idea came to her. While the others continued to focus on Wyatt and Cole, she dumped the rest of her water into a potted plant. Then she placed her glass on the table, whipped out her handkerchief and snatched up Donna’s empty glass. As she quickly stuffed the glass into her purse, Cole glanced at her. He frowned. Then Olivia glanced at her watch. “Oh, I better be getting back.” The others stared at her. “Say Piper, could you give me a lift back to the store?”

“Uh . . . sure.” Piper turned to Cole and Cecile. “You guys need a lift as well?”

Cecile nodded, while Cole replied, “I wouldn’t mind.” He continued to stare at Olivia.

The four people then bid both Donna and Wyatt good-bye and left the manor. As they marched down the stoop leading to the sidewalk, Piper asked, “Was that the amulet that you saw?”

Olivia shook her head. “Either she had switched amulets, or I was mistaken. It did look similar to the one that she wore, yesterday.”

“So much for Wyatt’s nanny being a danger,” Cecile commented.

“I’m not so sure.” Olivia reached the black SUV, first.

Cole added, “I assume you’re talking about that glass that you had put in your purse.” Olivia smiled at him.

Piper frowned. “What glass?” Olivia explained what she had done with the glass of water that she had received from Piper. And the glass that she now held inside her purse. “You have one of my glasses?”

“Don’t worry,” Olivia told her. “Just as soon as Forensics check the prints, you can have it back. Meanwhile,” the three women and the half-daemon climbed into the jeep, “can you drop me off at the precinct?”

————

Piper’s voice rang over the telephone. “Nothing happened, Phoebe. We all got a good look at Donna’s amulet. Especially Olivia. It wasn’t the same one that I saw around that demon’s neck. And Olivia claimed that she saw a different amulet, yesterday.”

Phoebe heaved a sigh, as Piper’s words sank in. So much for her suspicion of Donna Thompson. Then an idea came to her. “Wait a minute, Piper. There’s a good chance that she may have switched amulets. Especially after what happened between her and Olivia, yesterday.”

“Phoebe . . .” Piper’s voice hinted skepticism.

“C’mon Piper! Don’t tell me that isn’t possible!”

Another sigh filled Phoebe’s ears, as Piper continued, “Yes, it is possible. In fact,” she hesitated, “that’s what Olivia thinks. Which is why she had decided to steal a glass that had been used by Donna. She’s going to have the police check the prints. She’s still concerned about two Donna Thompsons being born on the same day and in the same year.”

Phoebe exclaimed, “Thank God someone is showing sense!”

“Thank you very much, Phoebe, for that little reminder. Are you now saying that I’m not showing the proper concern for my son?”

Oh God, Phoebe thought. Time for another round of ‘Piper’s Defense Mode Number One’. “Honey, I didn’t say that.”

“Really? Then what?” Piper added, “Look, I’m just as concerned for Wyatt as anyone else. Even more. And at least I haven’t abandoned him to fulfill some kind of lame ass destiny.” Thoughts of Leo flashed in Phoebe’s mind. “Besides, it’s been at least three days since I had hired Donna. Why hasn’t she done anything yet?”

Phoebe sighed. “I don’t know, Piper. Maybe it’s like Cecile had said. Maybe she’s got some elaborate ritual planned. And what about that demon who had attacked you? Nairn?”

“What about him?”

The middle Charmed One continued, “Maybe we should look into this guy. Find out if Donna had hired him.”

This time, Piper sighed. “I knew you were going to say that. I wish I could, Phoebe, but I’m going to be busy, tonight. And tomorrow night, as well. I’ve booked this local band that’s becoming big, and there’s a good chance I’ll have a large crowd on my hands.”

“Well, Paige and I . . .”

Piper interrupted, “Phoebe? You’re not going to drag Wyatt all over creation just to hunt down information on some demon that’s already dead.”

Again, Phoebe sighed. “All right! We’ll keep an eye on Wyatt. At home.” Then another idea came to her. “Or . . . I can ask Paige to get Harry, so they can look into . . .”

“Phoebe, I wouldn’t even bother.” Piper hesitated. “Cole said that he and Andre would look into Nairn’s background. Olivia and Cecile will be busy tonight. And since it has to do with some coven meeting that Paige told me about, I suspect that Harry will be taking her, as well.”

Cole. Well, of course he would be the right man for the job. Phoebe sighed. As she always did whenever she thought about her ex-husband, these days.

“Phoebe?” Piper’s voice expressed concern. “Are you okay?”

The younger woman answered, “Yeah, I’m fine. I guess it’s been a long day for me and it’s not even three o’clock yet.”

“Maybe you should leave work early today,” Piper suggested. “I’m sure that Elise would . . .”

Someone knocked on the door, causing Phoebe to glance up. Jason poked his head inside her office. “Phoebe, are . . . Oh! I’m sorry to interrupt.”

“No, that’s okay.” Phoebe returned her attention back to her sister. “Uh, Piper, I’ll get back to you, later. Bye.” She hung up the telephone, before Piper could respond and smiled at her boyfriend. “Jason! Hi! What can I do for you?”

The newspaper magnate returned Phoebe’s smile with a suggestive one of his own. “I have something in mind, but I don’t think that this is the right moment for it. I missed you at lunch.”

“I’m sorry, baby. I had lunch with Piper.”

Jason headed toward Phoebe’s desk and leaned over. “I came to ask if you’ll be free, tomorrow night.”

Phoebe frowned. “Tomorrow night? Not tonight?”

“I have a business meeting, tonight,” Jason explained. “Something special.” He paused. “Well, to be honest, tomorrow night also has to do with business. Jack McNeill is having some kind of cocktail party, which has to do with that deal between McNeill Corporation and Olivia’s friend. Cecile. The deal that you told me about.”

“But what does that have to do . . .?”

Jason interrupted, “I had asked McNeill if he could get Olivia to re-introduce me to her friend. Instead, he invited me to the party. I must say it was pretty decent of him . . . considering how my relationship with Olivia had ended.” He added, “And I was hoping that you would join me.”

Disappointed that Jason did not have romance in mind for tomorrow night, Phoebe mumbled, “Cecile’s computer software must be that great, if you want to meet her that badly.” A thought came to her. “Wait a minute! Haven’t you met Cecile before? When you were dating Olivia?”

“Once. But we never really became acquainted. Besides,” Jason smiled curtly, “Olivia and I only dated for about two months. I didn’t see Cecile again, until a few years later at Bruce’s wedding.” He paused and gave Phoebe a pleading look. “You don’t mind, do you, baby? Joining me for tomorrow night?”

Phoebe stared into Jason’s dark blue eyes and sighed. How could she resist? “No, I don’t,” she finally said. “As long as I’m with you. But on Saturday, you’ll take me to some place special. Right?”

“Whatever you say.” Jason leaned even further and planted a light kiss upon Phoebe’s forehead. “I’ll pick you up around seven, tomorrow night. Bye.” He blew her a kiss and left the office.

Another sigh escaped Phoebe’s mouth, as she leaned back into her chair. She thought about Piper’s refusals to heed her warnings; and being forced to sit back and wait, while Olivia and Cole deal with the Donna Thompson situation. And now, Jason wanted to use her as the Token Girlfriend for the McNeills’ party, tomorrow night. Despite being a powerful witch and successful career woman, she was beginning to feel pretty useless.

———–

Strains of a jazz band filled Andre’s ears, as he and Cole entered the elegant nightclub on Powell Street. The houngan glanced around the establishment, recalling the last time he had visited Vorando’s – for Bruce’s bachelor party, last spring. He still could not help but admire the nightclub’s Art Deco-style interior.

Upon making their way to the bar, he and Cole ordered drinks. Andre asked for a Black Russian, while Cole ordered a whiskey-and-soda. After the bartender served their drinks, Cole added, “By the way, is Riggerio here?”

The bartender’s face became mask-like. “Who?”

Rolling his eyes, Cole retorted, “Just tell him that an old friend from Portofino is here to see him. He’ll understand.”

Looking slightly uneasy, the bartender nodded and headed toward the back of the club. While the pair sipped their drinks, Andre said, “Guess what? I finally bought the ring, today.”

“What?” Cole stared at his friend.

Andre sighed. “The engagement ring. For Cecile?” He continued, “Olivia and old Mrs. McNeill had convinced me to go ahead and ask Cecile to marry me.” He shot a quick glance at the half-daemon’s stoic expression. “I suppose you think that I shouldn’t bother.”

Blue eyes widened, as Cole protested, “I never said such a thing. In fact, the reason Cecile wanted to break up with you in the first place was because she wanted to get married . . . and thought that you didn’t.”

The news took Andre by surprise. “What? Do you mean to say that I’ve been worried all this time for nothing? Damn man! Why didn’t you . . .?”

“Hey! We were interrupted,” Cole shot back, looking defensive. “When Olivia and Cecile had shown up for dinner. And you kept disappearing on me, after that!”

Andre opened his mouth to protest, but the bartender returned. “Uh, Riggerio can see you, now. Follow me.” He led the houngan and the half-daemon toward an inconspicuous-looking door at the far side of the nightclub, and ushered them inside an office.

Although different in color tone, Riggerio’s office had also been designed in the sleek, Art-Deco style. The club’s owner sat behind a large desk, peering at his computer and obviously enjoying the music that came from the live band. The moment the two visitors stood before his desk, the handsome-looking daemon glanced up and smiled. “Well, look who’s here! Andre!” He nodded at the bartender and ordered another round of drinks, before the latter disappeared from the office. “When Frederico mentioned Portofino, I had been expecting only Belthazor.” He stood up and shook Andre’s hand. “How are you, my friend? I have not seen you in . . . what? Three months?”

Andre smiled. “Actually, four months. Not since you had hired me to find that missing . . . friend of yours. And I believe I had ended up finding his corpse, instead.”

Riggerio turned to Cole and shook the latter’s hand. “Belthazor. What brings you here? Is the lovely Signorina McNeill with you?”

Cole smiled wryly at the mention of Olivia’s name. “The . . . lovely Signorina McNeill is doing fine. Unfortunately, she and her family are attending some kind of meeting for their coven, tonight. Cecile had joined them.”

“Ah! The beautiful Signorina Dubois is in town, as well.” Riggerio nodded, as he repeated his earlier question. “So, what brings you two here?”

Cole paused, before answered. “Information.” Andre noticed how Riggerio’s face quickly became businesslike. “Have you heard of a daemon named Nairn? He used to be an assassin.”

Riggerio frowned. “Used to be?”

Andre explained, “He was killed a few days ago. While trying to kidnap the Halliwell baby.”

Surprise illuminated Riggerio’s dark eyes. “Nairn is dead? This is certainly news to me. Did the Charmed Ones kill him?”

“The oldest sister,” Cole murmured. “Piper. Along with some Vodoun priestess, who happens to be the baby’s nanny.”

Riggerio seemed saddened by the news of his fellow daemon’s death. And yet, Andre could not help but feel that Riggerio’s grief did not seem genuine. “Poor Nairn,” the daemon said with a shake of his head. “I knew that his luck would one day run out. I supposed that going up against a Charmed One was a lot more difficult than the head of the Lehme Order. Still, accepting an assignment involving the Halliwell child.” Again, he shook his head. “Very dangerous for a mid-level daemon. Even one as skilled as Nairn.”

“Did you know that he had protection, all those years?” Cole added. Riggerio stared at him. “Some kind of amulet that blocked the powers of others.”

“And yet, he still ended up dead?”

Cole sighed. “That’s another story. Right now, we need to know who had hired him.”

The other daemon shrugged his shoulders. “How would I know? I did not know that he was dead.” He paused, as his eyes hardened. “Not that I mind, to be perfectly honest. That bastard had killed a member of our coven, back in the late 70s. He has been on our shit list, ever since. As to who may have hired him,” Riggerio’s expression became less hard, “I don’t know. But . . . I have a pretty good idea who can provide you with that information.”

Andre warily eyed his host. “Exactly how much is this piece of information is going to cost us?”

Riggerio stared at the houngan, before he threw back his head and laughed. “Ah, my friend! You know me too well.” He quickly sobered. “Do not worry. This information will cost you nothing.”

“So, who is this person that can give us the information we need?” Cole demanded.

Riggerio paused before he replied, “A witch.”

Both Andre and Cole exchanged shocked looks, before staring at the daemon in disbelief. “Say that again?” Andre demanded.

“I said a witch.” The daemon continued, “After Nairn had killed a member of our coven, we began searching for him. We never managed to catch up with him, but not long ago, one of my . . . colleagues discovered that a witch named Esmerelda Ross had acted as an agent for him. All of Nairn’s jobs had been arranged through her.”

Andre wondered if he had heard correctly. “You mean to say that a witch is associated with a demonic assassin? Are you sure she’s not a warlock?”

Riggerio shook his head. “No, my friend. Signorina Ross is neither Stregheria, Wiccan or a member of any other recognized Pagan religion. She belongs to a sect that . . . well, practices a darker view of mysticism. Which means that she has not broken her oath, as a witch.”

“And which is why she’s a witch and not a warlock,” Cole added. “Is she some kind of Satanist?”

“No, no, no. From what I had learned, her kind – like the Wiccans and the Streghore – does not believe in the concept of Satan.”

The bartender returned with another round of drinks for Andre and Cole. He also served a glass of white wine to Riggerio and left. Andre turned to Riggerio and asked, “Where can we find this Esmarelda Ross?”

With a sigh, Riggerio replied, “Unfortunately, I cannot answer that question.” He took a sip of his wine. “I have no idea where she lives. I only know her name.” The daemon turned to Andre. “But if I were you, il mio amico, I would go back to that little investigation you had done for me. The ‘missing friend’, whose corpse you had found, was the one who had told me about Signorina Ross. He had disappeared not long after our last conversation.”

Andre continued to sip his drink, as he contemplated Riggerio’s words.

END OF PART X

“LIFE WITH FATHER” (1947) Review

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“LIFE WITH FATHER” (1947) Review

Warner Brothers is the last studio I would associate with a heartwarming family comedy set in the 19th century. At least the Warner Brothers of the 1940s. And yet, the studio did exactly that when it adapted Howard Lindsay and Russel Crouse’s 1939 play, “Life With Father”, which happened to be an adaptation of Clarence Day’s 1935 novel.

If I must be frank, I am a little confused on how to describe the plot for “LIFE WITH FATHER”. But I will give it my best shot. The movie is basically a cinematic account in the life of one Clarence Day, a stockbroker in 1880s Manhattan, who wants to be master of his house and run his household, just as he runs his Wall Street office. However, standing in his way is his wife, Vinnie, and their four sons, who are more inclined to be more obedient of their mother than their father. You see, Vinnie is the real head of the Day household. And along with their children, she continues to demand that Mr. Day overcome his stubbornness and make changes in his life.

Thanks to Donald Odgen Stewart’s screenplay, “LIFE WITH FATHER” focused on Mr. Day’s attempt to find a new maid; a romance between his oldest son Clarence Junior and pretty out-of-towner named Mary Skinner, who is the ward of his cousin-in-law Cora Cartwright; a plan by Clarence Jr. and second son John to make easy money selling patent medicines; Mrs. Day’s health scare; Mr. Day’s general contempt toward the trappings of organized religion; and Mrs. Day’s agenda to get him baptized. Some of these story lines seem somewhat disconnected. But after watching the movie, I noticed that the story lines regarding Clarence Junior and John’s patent medicine scheme were connected to Clarence Junior’s romance with Mary and Mrs. Day’s health scare. Which played a major role in Mrs. Day’s attempt to get her husband baptized. Even the baptism story line originated from Cousin Cora and Mary’s visit.

Many would be surprised to learn that Michael Curtiz was the director of “LIFE WITH FATHER”. Curtiz was not usually associated with light comedies like “LIFE WITH FATHER”. Instead, he has been known for some of Errol Flynn’s best swashbucklers, noir melodramas like “MILDRED PIERCE”, the occasional crime drama and melodramas like the Oscar winning film, “CASABLANCA”. However, Curtiz had also directed musicals, “YANKEE DOODLE DANDY” and “FOUR DAUGHTERS”; so perhaps “LIFE WITH FATHER” was not a stretch for him, after all. I certainly had no problem with this direction for this film. I found it well paced and sharp. And for a movie that heavily relied upon interior shots – especially inside the Days’ home, I find it miraculous that the movie lacked the feel of a filmed play. It also helped that “LIFE WITH FATHER” featured some top notch performers.

William Powell earned his third and last Academy Award nomination for his portrayal as Clarence Day Senior, the family’s stubborn and temperamental patriarch. Although the Nick Charles character will always be my personal favorite, I believe that Clarence Day is Powell’s best. He really did an excellent job in immersing himself in the role . . . to the point that there were times that I forgot he was an actor. Powell also clicked very well with Irene Dunne, who portrayed the family’s charming, yet manipulative matriarch, Vinnie Day. It is a testament to Dunne’s skill as an actress that she managed to convey to the audience that despite Clarence Senior’s bombastic manner, she was the real head of the Day household. Unlike Powell, Dunne did not receive an Academy Award nomination. Frankly, I think this is a shame, because she was just as good as her co-star . . . as far as I am concerned.

“LIFE WITH FATHER” also featured excellent performances from the supporting cast. Jimmy Lydon did a wonderful job portraying the Days’ oldest offspring, Clarence Junior. Although Lydon was excellent portraying a character similar in personality to Vinnie Day, I found him especially funny when his Clarence Junior unintentionally project Mr. Day’s personality quirks when his romance with Mary Skinner threatened to go off the rails. Speaking of Mary Skinner, Elizabeth Taylor gave a very funny and superb performance as the young lady who shakes up the Day household with a burgeoning romance with Clarence Junior and an innocent remark that leads Mrs. Day to learn that her husband was not baptized. Edmund Gwenn gave a skillful and subtle performance as Mrs. Day’s minister, who is constantly irritated by Mr. Day’s hostile stance against organized religion. The movie also featured excellent performances from Martin Milner, ZaSu Pitts, Emma Dunn, Derek Scott and Heather Wilde.

Another aspect of “LIFE WITH FATHER” that I found admirable was its production values. When it comes to period films, many of the Old Hollywood films tend to be on shaky ground, sometimes. For the likes of me, I tried to find something wrong with the production for “LIFE WITH FATHER”, but I could not. J. Peverell Marley and William V. Skall’s photography, along with Robert M. Haas’ art direction, and George James Hopkins’ set decorations all combined to the household of an upper middle-class family in 1885 Manhattan. But the one aspect of the film’s production that really impressed me was Marjorie Best’s costume designs. Quite frankly, I thought they were beautiful. Not only did they seem indicative of the movie’s setting and the characters’ class, they . . . well, I thought they were beautiful. Especially the costumes that Irene Dunne wore.

As much as I had enjoyed “LIFE WITH FATHER”, I could not help but notice that it seemed to possess one major flaw. Either this movie lacked a main narrative, or it possessed a very weak one. What is this movie about? Is it about Clarence Junior’s efforts to get a new suit to impress Mary Skinner? Is it about Mrs. Day’s health scare? Or is it about her efforts to get Mr. Day baptized? I suspect that the main plot is the latter . . . and if so, I feel that is pretty weak. If this was the main plot in the 1939 Broadway play, then screenwriter Donald Odgen Stewart should have changed the main narrative. But my gut feeling tells me that he was instructed to be as faithful to the stage play as possible. Too bad.

I see now that the only way to really enjoy “LIFE WITH FATHER” is to regard it as a character study. Between the strong characterizations, and superb performances from a cast led by Oscar nominee William Powell and Irene Dunne, this is easy for me to do. It also helped that despite the weak narrative, the movie could boast some excellent production values and first-rate direction from Michael Curtiz. You know what? Regardless of the weak narrative, “LIFE WITH FATHER” is a movie I could watch over and over again. I enjoyed it that much.

“AND THEN THERE WERE NONE” (2015) Review

“AND THEN THERE WERE NONE” (2015) Review

Ever since I gave up reading the “NANCY DREW” novels at the age of thirteen, I have been a fan of those written by Agatha Christie. And that is a hell of a long time. In fact, my fandom toward Christie’s novels have extended toward the film and television adaptations. Among those stories that have captured my imagination were the adaptations of the author’s 1939 novel, “AND THEN THERE WERE NONE”.

To be honest, I have seen at least three adaptations of the 1939 novel – the 1945, 1966 and 1974 adaptations – before I had read the novel. Although I found some of the novel’s aspects a bit troubling – namely its original title and minimal use of racial slurs, overall I regard it as one of Christie’s best works . . . if not my favorite. After viewing three cinematic adaptations, I saw the BBC’s recent adaptation that aired back in December 2015 as a three-part miniseries.

I noticed that “AND THEN THERE WERE NONE” was the first adaptation I have seen that more or less adhered to the novel’s original novel. But it was not the first one that actually did. One of the most famous versions that stuck to the original ending before the 2015 miniseries was the Soviet Union’s 1987 movie called “DESYAT NEGRITYAT”. However, I have never seen this version . . . yet. Anyone familiar with Christie’s novel should know the synopsis. Eight strangers are invited by a mysterious couple known as Mr. and Mrs. U.N. Owen for the weekend at Soldier Island, off the coast of Devon, England in early August 1939. Well . . . not all of them were invited as guests. Waiting for them is a couple who had been recently hired by the Owens to serve as butler and cook/maid. The weekend’s hosts fail to show up and both the guests and the servants notice the ten figurines that serve as a centerpiece for the dining room table. Following the weekend’s first dinner, the guests and the two servants listen to a gramophone record that accuses each of them with a crime for which they have not been punished. The island’s ten occupants are:

*Dr. Edward Armstrong – a Harley Street doctor who is accused of killing a patient on the operating table, while under the influence of alcohol

*William Blore – a former police detective hired to serve as security for the weekend, who is accused of killing a homosexual in a police cell

*Emily Brent – a religious spinster who is accused of being responsible for the suicide of her maid by abandoning the latter when she became pregnant out of wedlock

*Vera Claythorne – a games mistress hired to serve as Mrs. Owen’s temporary secretary, who is accused of murdering the young boy for whom she had served as a governess

*Philip Lombard – a soldier-of-fortune also hired to serve as security for the weekend, who is accused of orchestrating the murder of 21 East Africans for diamonds

*General John MacArthur – a retired British Army officer accused of murdering a fellow officer, who was his wife’s lover during World War I

*Anthony Marston – a wealthy playboy accused of killing two children via reckless driving

*Ethel Rogers – the maid/cook hired by the Owens, who is accused with her husband of murdering their previous employer

*Thomas Rogers – the butler hired by the Owens, who is accused with his wife of murdering their previous employer

*Justice Lawrence Wargrave – a retired judge accused of murdering an innocent man by manipulating the jury and sentencing him to hang

Shortly after listening to the gramophone, one member of the party dies from poisoning. Following this first death, more people are murdered via methods in synonymous with a nursery rhyme from which the island is named. The murderer removes a figurine from the dining table each time someone is killed. The island’s remaining occupants decide to work together and discover the murderer’s identity before time runs out and no one remains.

From the numerous articles and reviews I have read about the miniseries, I came away with the impression that many viewers and critics approved of its adherence to Christie’s original ending. And yet . . . it still had plenty of changes from the story. The nature of the crimes committed by five or six of the suspects had changed. According to one flashback, Thomas Rogers had smothered (with his wife Ethel looking on) their elderly employer with a pillow, instead of withholding her medicine. General MacArthur literally shot his subordinate in the back of the head, instead of sending the latter to a doomed military action during World War I. Beatrice Taylor, the pregnant girl who had committed suicide, was an orphan in this production. Lombard and a handful of his companions had literally murdered those 21 East Africans for diamonds, instead of leaving them to die with no food or other supplies. And William Blore had literally beaten his victim to death in a jail cell, because the latter was a homosexual. In the novel, Blore had simply framed his victim for a crime, leading the latter to die in prison. I have mixed feelings about some of these changes.

By allowing General MacArthur to literally shoot his wife’s lover, instead of sending the latter to his death in a suicidal charge, I found myself wondering how he got away with this crime. How did MacArthur avoid suspicion, let alone criminal prosecution, considering that Arthur Richmond was shot in the back of the head in one of the trenches? How did the murderer find out? Why did Thomas Rogers kill his employer? For money? How did the couple avoid criminal prosecution, if their employer was smothered with a pillow? Even police forensics back then would have spotted death by smothering. I understand why Phelps had made Beatrice Taylor an orphan. In this scenario, Emily Brent would have been the only one with the authority to reject Beatrice. But what about the latter’s lover? Why did the murderer fail to go after him. And how did Blore evade charges of beating a prisoner to death inside a jail cell? None of his fellow officers had questioned his actions? And if they had kept silent, this made them accessories to his crime. Then why did the murderer fail to go after them, since he or she was willing to target Ethel Rogers for being an accessory to her husband’s crime?

One character that went through something of a major change was Philip Lombard. His aggressiveness and predatory nature remained intact. But for some reason, screenwriter Sarah Phelps had decided to transfer his bigotry to both Emily Brent and William Blore. The screenplay seemed to hint through Lombard’s comments that if those 21 men had been Europeans instead of Africans, he still would have murdered them to get his hand on those diamonds. In fact, he went even further with a tart comment to Miss Brent by accusing European religious fanatics of being more responsible for the deaths of Africans than the military or mercenaries like himself. It was Blore who used a racist slur to dismiss Lombard’s crime. And it was Miss Brent, instead of Lombard, who insulted the mysterious Mr. Owens’ intermediary, Isaac Morris, with an anti-Semetic slur. I can only wonder why Phelps deemed it necessary to transfer Lombard’s bigotry to two other characters.

There were some changes that did not bother me one bit. Certain fans complained about the presence of profanity in this production . . . especially the use of ‘fuck’ by at least two or three characters, who seemed like the types who would use these words. Mild profanity has appeared in previous Christie novels and adaptations. And the word ‘fuck’ has been around since the Sixteenth Century. I really had no problem with this. Phelps also included lesbian tendencies in Emily Brent’s character. There were some complaints about this change. Personally, I had no problem with it. This change added dimension to Miss Brent’s decision to cast out Beatrice Taylor, when the latter ended up pregnant. Episode Three featured a party scene with the four surviving guests in which they indulged in booze and Anthony Marston’s drugs to relieve their anxiety over their situation. It was not included in Christie’s novel, but I thought the scene did a great job in showing the psychological impact upon the remaining characters . . . especially for Dr. Armstrong, who went into a drunken rant over the horrors he had witnessed in World War I.

Watching “AND THEN THERE WERE NONE” left me with the feeling of watching some kind of early 20th century Nordic thriller. I have to credit both the producers, director Craig Viveiros, production designer Sophie Becher and cinematographer John Pardue. What I found interesting about the miniseries’ visual style is the hint of early 20th century Art Deco featured in the house’s interior, mixed with this gloomy atmosphere that truly represented the production’s violent and pessimistic tale. Everything visual aspect of this production seemed to literally scream death and doom. Even the production’s sound department did an outstanding job in contributing the story’s atmosphere, especially in those episode that featured the storm that prevented the survivors from making an attempt to leave the island. I also enjoyed Lindsay Pugh, whose costumes did an excellent job in re-creating the fashions of the late 1930s. More importantly, “AND THEN THERE WERE NONE” was not some opportunity for a Thirties’ fashion show, but a more realistic look at how British middle-class dressed on the eve of World War II. My only complaint is the hairstyle worn by actress Maeve Darmody, who portrayed Vera Claythorne. I am referring to the long bob worn by Vera in her 1935 flashbacks, which struck me as a bit too long for that particular year.

Many have complimented both Sarah Phelps and Craig Viveiros for closely adhering to the moral quagmire of Christie’s tale. Each or most of the characters are forced to consider the consequences of their actions and their guilt. If I have to be brutally honest, I have to compliment the pair as well. At first I was inclined to criticize the production’s three hour running time, which I originally believed to be a tad too long. But now I see that the running time gave Viveiros and Phelps the opportunity more in-depth explorations of the characters – especially Vera, Blore, Miss Brent and General MacArthur. This was done through a series of flashbacks for most of the characters. I said . . . most. There were some characters that hardly received any flashbacks – especially the Rogers, Anthony Marston, Edward Armstrong and Philip Lombard. I could understand the lack of many flashbacks for one or two characters, but I would have liked to see more for Rogers, Dr. Armstrong and Lombard. Especially Lombard. I never understood why he only had one flashback that vaguely hinted his murders without his victims being seen.

On the other hand, I was more than impressed with the production’s exploration of Vera, Blore, Miss Brent, Mrs. Rogers and General MacArthur’s crimes. Both Phelps and Viveiros seemed to have went through a great deal of trouble to explore their backgrounds and crimes. In the case of Mrs. Rogers, the production did not really explore the crime of which she and her husband were accused. But the miniseries did spend some time in Episode One focusing on the consequences she had suffered from her husband’s crime . . . and I found that more than satisfying. I enjoyed how General MacArthur, Miss Brent and Blore had initially refused to acknowledge their crimes . . . and how the growing death count and the possibility of their own deaths led them to finally face their guilt, whether out loud or internally. I found General MacArthur’s acknowledgement of guilt very satisfying, for it culminated in that famous line regarding the characters’ fate:

“No one’s coming for us. This is the end.”

From a dramatic point of view, the most satisfying character arc proved to be the one that belonged to Vera Claythorne. She is not my favorite character . . . at least not in this production. Nor did I regard her as the story’s most interesting character. But I thought Phelps and Viveiros did a hell of a job handling her character arc. Vera struck me as the type who went through a great deal of effort to hide her true nature via a respectable facade. Actually, the other characters share this same trait. Judging from what I have seen from this production, no one seemed to do it better than one Vera Claythorne. I suspect most people would be hard pressed to believe that this attractive and intelligent woman would deliberately lead a young boy to his death. Like I said, I did not particularly regard Vera as the story’s most interesting character. But I do believe that Phelps and Viveiros handled her story arc with more depth and mystery than any of the other characters . . . and with more flashbacks.

While reading several articles about “AND THEN THERE WERE NONE”, I noticed that many had placed emphasis on the characters’ guilt and the possibility of them facing judgment for their actions. In a way, their opinions on this topic reminded me of why the murderer had set up the whole house party in the first place. Then I remembered that the murderer had also used the house party to indulge in his or her blood lust. And the killer used the guilt of the other inhabitants to excuse the murders . . . in his or her mind. This made me wonder about society’s desire for others to pay for their sins. Especially sins that involved death. Is society’s desire for killers to pay for their crimes a disguise . . . or excuse for its own blood lust? Like I said . . . I wonder.

What else can I discuss about “AND THEN THERE WERE NONE”? Oh yes. The performances. The miniseries featured a collection of well known actors and actresses from several English speaking countries, especially Great Britain. I must admit that I may have vaguely heard of Douglas Booth, but I have never seen him in any particular role, until this production. But I must say that I found his portrayal of rich playboy Anthony Marston very impressive. Booth did a beautiful job in capturing the selfish and self-indulgent nature of the young elite. I wish Anna Maxwell-Martin had a bigger role in this production. However, I had to be satisfied with her performance as Ethel Rogers, who had been hired to serve as maid and cook for the Owens’ house party. I thought she was excellent as the bullied wife of Soldier Island’s butler, Thomas Rogers. I was also impressed by Noah Taylor, who gave a first-rate performance as Rogers, who hid his brutish nature with the facade of a servile man. I only wish that Phelps had not made the same mistake as Christie – namely failing to get into Rogers’ mind. I think Taylor could have rolled with such material. Miranda Richardson gave a masterful performance as the prim and hypocritical Emily Brent, who hid her own passions and sins with a stream of moral pronouncements. Her performance culminated in that wonderful moment when her character finally acknowledged her role in that young maid’s suicide. One of my favorite performances came from Sam Neill, who portrayed the very respectful retired Army officer, General John MacArthur. Neill had claimed that this particular performance was not a stretch for him, since MacArthur reminded him of his own father. But I thought the actor’s performance rose above that assessment, as his character not only faced his guilt for a crime of passion, but also faced the realization of his impending death.

On the surface, Charles Dance’s portrayal of retired judge Lawrence Wargrave seemed like many roles he had portrayed in recent years – cool, elegant and a little sharp. But I really enjoying watching him convey Wargrave’s subtle reactions to the temperamental outbursts from the other inhabitants. And I found his skillful expression of Wargrave’s emotional reactions to memories of the man the character was accused of killing via an execution sentence really impressive. “AND THEN THERE WERE NONE” marked the third time I have seen Toby Stephens in an Agatha Christie adaptation. Of the three productions, I regard his work in this miniseries and the 2003 television movie, “FIVE LITTLE PIGS” as among his best work. Stephens did a superb job in developing . . . or perhaps regressing Dr. Edward Armstrong’s character from this pompous Harley Street physician to a nervy and frightened man by the third episode. Thanks to Stephens’ performance, I also became aware that the character’s alcoholism and tightly-wound personality was a result of the horrors he had faced during World War I.

Ever since I first saw 2012’s “THE DARK KNIGHT RISES”, I have become aware of Burn Gorman. He is one of the most unusual looking actors I have ever seen . . . and a first-rate actor. I really enjoyed his portrayal of former police detective William Blore as this slightly shifty man with a penchant for allowing his paranoia to get the best of him, as the body count rose. Although his Blore comes off as a rather unpleasant man, Gorman still managed to inject some sympathy into the character as the latter finally faces his guilt over the young homosexual man he had beaten to death. Most of the critics and fans seemed to be more interested in Aidan Turner’s physique than his performance as soldier-of-fortune, Philip Lombard. I feel this is a shame, because I thought he gave an excellent performance as the shady and pragmatic mercenary, willing to do anything to stay alive . . . or have sex with Vera Claythorne. What really impressed me about Turner’s performance is that he is the second actor to perfectly capture the animalistic and aggressive Lombard as described in Christie’s novel, and the first English-speaking actor to do so. The miniseries’ producers had some difficulty in finding the right actress to portray Vera Claythorne. In the end, they managed to find Australian actress Maeve Darmody six days before filming started. And guess what? They made a perfect choice. Darmody was superb as the cool and intelligent Vera, who is the first to connect the poem to what was going on.

I thought some of screenwriter Sarah Phelps’ changes to Agatha Christie’s tale did not exactly work for me. But despite a few flaws, I have to commend both her and director Craig Viveiros for doing an excellent job in translating Christie’s most celebrated and brutal tale to the television screen. And they were ably assisted by superb performances from a very talented all-star cast. “AND THEN THERE WERE NONE” is one Christie production I can watch over and over again.

“The Helmsman’s Logs – 2374” [PG-13] – 1/2

 

“THE HELMSMAN’S LOGS – 2374

RATING: [PG-13]
SUMMARY: The fourth in a collection of Tom Paris’ personal logs during Voyager’s journey in the Delta Quadrant.
DISCLAIMER: Tom Paris and all other characters related to Star Trek
Voyager belong to Paramount, Viacom, Rick Berman, the Roddenberry
family and other Trek producers.

AUTHOR’S NOTES: This covers Season Four episodes from “The Gift” to post-“Hope and Fear”.

“THE HELMSMAN’S LOGS – 2374”

PART 1

STARDATE 51002.61:

(Sighs) The year is now 2374. (Pauses) For once, I’m not feeling hung over after a party. I guess that none of us really had the urge to drink. Not while we were busy looking over our shoulders for the pursuing Borg or Species 8472. So far, we’re still looking.

As for the party, it did not last long after the New Year had arrived. I don’t mind. At least it wasn’t as dismal as last year’s celebration. But I must admit that talking about the Borg and Voyager’s newest addition to the crew did not enliven my mood. B’Elanna had spent most of the evening discussing the Borg addition to the ship’s technology. And getting into a state of anxiety over our new crewman. Many want the Borg off the ship. Frankly, I don’t see the point, since she has been disconnected from the Collective. B’Elanna thinks I’m being naïve. In other words, our little disagreement over our new crew member had almost left me in a foul mood. Great! We have our first fight since the Nyrian habitat and it happens to be over a complete stranger.

Both Chakotay and the Captain had appeared at the party. They remained long enough to usher in the New Year. Since both were still anxious about the Borg, they did not remain very long and left. Separately. Hmm, I guess they haven’t completely reconciled, yet. I have this odd feeling that the Borg may have damaged their relationship for good. End personal log.

STARDATE 51006.86:

It’s been three days since our encounter with the Borg and Species 8472. Ship repairs have resumed with a vengeance. Everyone is still talking about our new passenger. Again, B’Elanna did not fail to express her opinion that the Captain should get rid of the ex-drone. This time, I kept my mouth shut. Who knows? She may be right. B’Elanna did tell us one bit of information. The Borg’s name is Seven-of-Nine. Her human name – that’s right, she’s a human – is Annika. Hmmm, very pretty. End personal log.

STARDATE 51009.86:

I can’t believe it. It’s been five hours since she was forced to leave the ship and I still can’t believe that she’s gone. Kes, I mean. (Pauses) I guess I’m still having trouble comprehending the whole incident. B’Elanna believes that Kes had transformed into a powerful spirit. Well, Kes became powerful, all right. Not long after she left Voyager, she had transformed into a non-corporeal being and sent the ship some 9.5 light years closer to the Alpha Quadrant. That means in less than three years, Voyager has traveled in 12.5 light years – with 57.5 years left in our journey.

Kes had also saved us from the Borg. Our new passenger, Seven-of-Nine, tried to contact the nearest Borg cube by accessing the ship’s subspace transmitter. Kes managed to telepathetically stop her in time. But not before our favorite drone gave Harry one hell of a whack.

(Sighs) Even as I now talk, I still cannot believe that Kes is gone. And to think, I had a crush on her for nearly a year. Still, she was a great friend and I’m going to miss her. I think we all will – especially the Doc, Tuvok . . . and Neelix, of course. (Pauses) Good-bye Kes. I’m going to miss you. End personal log.

STARDATE 51023.29:

Baytart, Jenkins and I were in Cargo Bay Two, searching for navigational parts, when we caught sight of our super cargo. The other two kept their distance, while lucky me had to get close to collect the parts. She was standing in her new Borg regeneration chamber, when her eyes opened and began to follow me. Creepy. But she remained silent. I bid her a quiet good-bye and left with the other two. Not much communication was achieved, but I can safely state that Second Contact between Seven-of-Nine and me proved to be a hell of a lot less painful than our first. End personal log.

STARDATE 51070.09:

B’Elanna and I were having lunch in the Mess Hall today, discussing cultural holidays. When I asked about Klingon holidays, she brought up something called Day of Honor. Apparently, it is an observance day in which Klingon warriors test their honor by enduring some kind of ritual hazing. Hmmm, sounds interesting. I had asked her when was the last time she had observed the Day of Honor and she almost laughed in my face. It seems that B’Elanna has not observed this special day since she had turned seventeen. B’Elanna doesn’t realize it, but she has given me an idea for a new holoprogram. I only hope that I can talk her into participating in it. End personal log.

STARDATE 51085.73:

Voyager has finally learned of Chakotay’s whereabouts – at least Tuvok has. He found Chakotay, brainwashed by the Vori and engaged in their war against the Kradin. Poor Chakotay. He’s had it pretty bad since his near assimilation by those ex-Borgs, nearly five months ago. He and the Captain are still divided over Seven-of-Nine. And now this. I may not like him very much, but I cannot help but feel sorry for him. B’Elanna sees this as a sign that I am finally growing up. I ought to teach her a lesson about making such comments. End personal log.

STARDATE 51113.25:

The subject of the Day of Honor came up, again. To my surprise, it was B’Elanna who first mentioned it. Apparently, she has been thinking about her mother, lately. Eight years have passed since she had last seen Miral Torres. B’Elanna must miss her very much, which seems strange. I have never known B’Elanna to mention her mother without making some kind of complaint.

When I told her about my idea for a Day of Honor holoprogram, she decided that she wanted to help me. Great! I’m really looking forward to this. Especially if it means spending a great deal of time with B’Elanna. End personal log.

STARDATE 51162.37:

B’Elanna and I have finally completed the Day of Honor program. And just in time. Tomorrow will be her official day to commemorate. Ah! Can’t wait to see how it will turn out. End personal log.

STARDATE 51170.62:

God! (Pauses) For the first time in ages, I can barely think. I’m speechless. (Pauses) And it’s not the tri-ox treatment I had received. Oh God! (Sighs) I can’t believe . . . Shit! I don’t know who really had to endure a Day of Honor – B’Elanna or me. I guess we both did, in our own ways.

B’Elanna’s Day of Honor had begun three days ago. One, the holoprogram turned out to be a bust. Not because it had not been created properly. It all went wrong, because B’Elanna was not in the mood to enjoy it. To put it simply, she was having one of “those” days. She woke up late. Didn’t have time for breakfast. Nearly everything in Engineering began to malfunction. Worst of all, Seven-of-Nine finally reported for duty and her first assignment happened to be Engineering. It didn’t take long for B’Elanna to confront Seven about previous victims of the Borg. And when Seven failed to display the proper remorse, B’Elanna kicked her out of Engineering.

Yep, that’s right. I had heard what happened. Let’s just say that gossip and rumors tend to spread pretty fast on this ship. I love B’Elanna very much, but she does have this tendency to be a bit too judgmental about people – even without getting to know them. Hell, I had personally experienced this trait first hand, during Voyager’s first year in the Delta Quadrant. And this is why when I ran into our ex-Borg on Deck Seven, I offered her my friendship. Why not? Everyone deserves a second chance.

B’Elanna wasn’t the only one who didn’t take for Seven’s presence aboard Voyager. We had encountered a race of aliens called the Caatati. I guess one could call them the beggars of the Delta Quadrant. They had asked the Captain for food, medical supplies and thorium – namely a lot. Due to our situation, the Captain was only able to allow them so much. That would have been the end of it, except our Caatati visitor had spotted Seven with me and nearly went into a fit. His race had nearly been devastated by the Borg.

I wish I could say “thus ended a difficult day”, but I can’t. It only grew worse. Engineering’s experiment with creating a transwarp wormhole led to the warp core being dumped. The Captain ordered us to use the Cochrane shuttle to fetch it, only the Caatati managed to get it first. B’Elanna tried to break their tractor beam. Instead, they sent an antimatter pulse to block our efforts. Not only did they succeed, they also caused the destruction of the Cochrane, leaving B’Elanna and myself wearing AVS suits and stranded in space.

(Sighs) Until the day I die, I do not think I will ever forget those moments drifting in space. That and Sakari IV. After B’Elanna and I found ourselves drifting in space, an ionic shower damaged my AVS suit’s supply of oxygen and I ended up sharing B’Elanna’s supply. But the ionic shower had also damaged her suit, leaving a half hour of oxygen between the two of us. We flirted a bit. Okay, I flirted with B’Elanna. We talked about the Academy and then it got serious – all because I wanted to know if her feelings toward me had changed over the years. Not only did B’Elanna answered yes, she also revealed a lot more. She told me (Pauses) . . . she confessed to being in love with me.

(Laughs bitterly) Strange. I had no trouble admitting that I was in love with B’Elanna some eight months ago . . . to myself. But when she demanded that I say something after her confession, I responded with a joke, instead. (Sighs) How lame! I wanted to admit that I was in love with her, but I was too floored by her confession. Also, Voyager had chosen that moment to contact us. It’s odd. One minute, I’m floating in space, stunned by B’Elanna’s confession and everything goes black. The next thing I knew, I’m waking up in Sick Bay, with the Doc’s face hovering over mine. B’Elanna had already returned to her quarters. I wanted to pay her a visit before returning to my quarters, but I lost my nerve. I don’t know. I’m thrilled that B’Elanna might possibly love me. But how can she be in love with a guy who lacked the courage to express his own feelings? Even worse, how long will that love last when she finally becomes acquainted with the real Tom Paris? End personal log.

STARDATE 51179.25:

The Captain made a little announcement during the Senior Staff meeting, today. She has promoted Tuvok to Lieutenant Commander. A celebration dinner will be held in his honor, tomorrow. Considering how long Tuvok has been in Starfleet, I’m surprised that he has not reached the rank of Captain or Admiral, by now. Still, I’m happy for him.

After seeing her at the staff meeting, I ran into B’Elanna outside the Mess Hall, later this evening. She took one look at me and fled down the corridor. Frankly, I don’t blame her. She had admitted her feelings to me . . . and I made a joke. I wouldn’t be surprised if she never wants to lay eyes upon me, again. End personal log.

STARDATE 51182.25:

I really don’t know how to begin. It’s been quite a day. Tuvok is now a lieutenant-commander. I’m the Doctor’s new medical assistant. And B’Elanna and I . . . well, we had spoken with each other for the first time in three days.

It happened right after Tuvok’s promotion luncheon. I followed her out of the Mess Hall. Asked her if she really meant what she had said about being in love with me. I don’t know why I had asked. I guess that a part of me wanted to know if I had heard right. That B’Elanna’s confession had not been a figment of my imagination, caused by a lack of oxygen. But it wasn’t. B’Elanna confirmed my . . . my what? My fears? My hopes? Maybe a little of both.

After B’Elanna had admitted her love for me . . . for the second time . . . she rambled on about how she understood if I didn’t reciprocate her feelings. Well, I had to shut her up one way or the other. If she had continued any longer, she would have convinced herself that I didn’t love her. So, I kissed her. Thoroughly, I hoped. I must say that her lips were as soft and warm as I had remembered from Sakari IV. And I would have kissed her even longer, if the Doctor had not interrupted us. Not that the Doc’s interruption really mattered. Even though I didn’t actually say, “I love you,” I think that B’Elanna got the message on how I really felt about her. Hopefully, this means that my hope for a relationship will finally become a reality. End personal log.

STARDATE 51184.55:

Just finished my first day as the Doc’s medical assistant. Since he has been on an Away mission with B’Elanna, I was left in charge of Sick Bay.

Nothing much happened. I treated an indigested stomach and a lacerated hand. The last belonged to Seven-of-Nine, who had been assigned to work with Harry on design enhancements for the Astrometrics Lab. While treating her hand, I made a few jokes to put her at ease. Seven didn’t seem to mind them, but Harry practically went ballistic. Hmmmm, I haven’t seen Ensign Eager this emotional since he fell for that hologram, last year. Or was it Lyndsay Ballard? I don’t remember. Anyway, I tried to warn him that Seven wasn’t emotionally ready for a relationship. But knowing Harry, I’m sure that he didn’t listen. Oh well. At least he didn’t go running to Tuvok for advice. End personal log.

STARDATE 51187.65:

(Sighs) B’Elanna had returned with Doc from their Away mission, a few hours ago. They had an encounter with a psychotic hologram, who tried to kill B’Elanna by ripping her heart out. God! She managed to destroy him before he could damage her heart permanently. Also, she and the Doc returned to Voyager just in time for him to perform surgery. So, B’Elanna left the Sick Bay with a clean bill of health . . . and just in time for our first date, tonight. Our first real date.

(Pauses and listens to B’Elanna mumble in her sleep) I must admit that I had felt very nervous when I showed up at her quarters. We had a nice dinner – replicated Ktarian soufflé, a pasta salad and a nice 2294 Merlot. Mind you (pauses as B’Elanna mumbles again) the meal as nice, but all I could think about was that cute little maroon dress she wore. And taking it off.

Okay, so I sound like some kind of sex fiend. But B’Elanna . . . God! She looked so beautiful and irresistible! (Sighs) We were a bit shy at first, but the moment our lips met . . . oh God, I’m beginning to sound like a bad romance holonovel. Let’s just say that I forgot about any shyness on my part. For a moment, I had feared I was being just a little too enthusiastic. But B’Elanna brushed away such fears when she began ripping off my clothes. (Sighs happily) This might be a personal log, but I’m sure that someone will end up listening to this some day in the future. So, I’ll just say that a Klingon woman’s reputation for sexual prowess is very well deserved; and sleeping with B’Elanna was more than great sex. It was . . . okay, I think I’m about to sound like a cliché. Sleeping with B’Elanna was like a meeting between two souls; and I never want to be . . .

(B’Elanna mumbles a little louder, “Tom?”)

B’Elanna! I’ll be with in a . . . Hey! B’Elanna! That tickles! B’Elanna!

(B’Elanna: “Hey Helmboy! Aren’t you going to finish that log or what?”)

Right. And last but not least, I never want to be apart from her again. Ever.

(B’Elanna: “Hmmm, how romantic. Now why don’t you show me what never being apart means?”)

Be careful of what you wish for, Lieuten . . . Oooof! End personal log.

STARDATE 51195.59:

I wonder if Starfleet Academy ever considered giving courses on diplomatic encounters gone awry, thanks to former Borg drones. (Sighs) Our encounter with the B’omar was certainly one for the books. We had come across their space and needed their permission to avoid a long detour. To be honest, the B’omar didn’t help matters by imposing all of those travel restrictions upon us.Travel at Warp 3? Keep our weapons off-line? And that ridiculous course they had suggested!

Of course, Seven’s actions didn’t help. Some Borg signal had reactivated her nanoprobes, causing her to go amok. She attacked Neelix in the Mess Hal, stole a phaser, attacked several Security crewmen and stole one of the shuttles. Damaging the Shuttle Bay, in the process. After Seven’s escape, the B’omar wanted nothing to do with us. Matters grew worse after Tuvok and I went after her in another shuttle and tracked her to a Class-M moon – the very place where her parents’ ship had crashed, before they were all assimilated by the Borg.

Voyager exchanged fire with a few B’omar ships, while I tried to beam Seven and Tuvok to the shuttle. But not before Tuvok helped Seven deal with her memories of being assimilated. Let’s just say that the entire incident resulted in Voyager making a long detour around B’omar space. End personal log.

STARDATE 51204.1:

Don’t get me wrong. I love B’Elanna with ever fiber of my being, but there are times when she simply drives me crazy. And I’m not being complimentary. It’s been three days since the incident with Seven and the B’omar and B’Elanna has not stopped bitching about it. Okay, I understand why she’s pissed for having to oversee the repairs in the Shuttle Bay. But God! I’ve had to listen to B’Elanna bitch and moan for hours over Seven’s actions and the Captain’s refusal to dump our favorite Borg on the nearest M-class planet. Both Harry and I tried to make B’Elanna see that Seven had been reliving a childhood trauma. But she has refused to listen. This morning had been the last straw.

After one last rant about the Captain’s “obsession with the Borg”, I lost my temper and told her that her complaints were becoming a bore and that she should give them a rest. I must say that I was damn lucky to avoid a public beating at the hands of a pissed off half-Klingon. Instead, B’Elanna gave me a death glare that rivaled the Captain’s’ and stormed out of the Mess Hall. I’ve tried to apologize since, but she refuses to speak to me. (Sighs) I think a little trip to the Airpondics Bay is in order. End personal log.

STARDATE 51207.06:

Ah! There’s nothing in the Universe like fine food, wine and make-up sex. All due to a dozen of red roses from the Airpondics Bay. A fellow could get used to this. End personal log.

STARDATE 51230.8:

Strange energy readings were detected by Harry this morning, and now Voyager is on its way to investigate. It is a good thing that we are about three days away. This should give the Captain plenty of time to recover from the headaches that have been plaguing her, lately. If I were her, I would spend those three days in my quarters. She practically looks like death warmed over. Doc has tried relieving her headaches with various medications, but nothing seems to help. Oh well.

Meanwhile, B’Elanna and I have been . . . well, a little more than enthusiastic during our off-duty hours, lately. Actually, we’ve been pretty active during duty hours, as well. Neelix and Pablo Baytart nearly caught us having sex in the Mess Hall, early this morning. I don’t know what’s going on, but every time I find myself near B’Elanna, I have this urge to rip her clothes off and take her right there on the spot. (Pauses) Okay, I’m really starting to sound like some kind of sex fiend. But I can’t help it. Every time we’re apart, all I can think about is her. Her sable eyes, that sexy growl of hers, her pert breasts, and the way her nails would rake up and down my back when we’re . . . (Sighs) Great! Now, I’m in dire need of a cold shower. End personal log.

STARDATE 51235.84:

Thanks to a double shift I had been forced to work, I missed out on a date with B’Elanna. Damn! I don’t even know what is worse – canceling the date with B’Elanna or dealing with this sexual obsession of mine. (Sighs) Since I can’t do anything about the former, I might as well see to the latter. There hasn’t been much activity in Sick Bay, lately. Maybe I can find a way to spend some time with her. That is, if the Doc can spare me for one lousy shift. End personal log.

STARDATE 51239.04:

B’Elanna and I had just spent an embarrassing moment with the Captain, today. Just before dinner, last night, Tuvok had caught us . . . uh, kissing on one of the computer consoles in Engineering. The snitch! He must have high-tailed it back to the Captain, for she really chewed us out, after the Senior Staff meeting. Whew! Guess we’ll have to a little more discreet from now on. Meanwhile, poor Neelix had some kind of attack in the Galley and had to be beamed to Sick Bay. Chakotay is already there, due to some kind of rapid ageing he has experienced. What the hell is going on, here?

One last thing – the strange energy readings that Harry had detected, turned out to be binary pulsars. End personal log.

STARDATE 51244.36:

For the past two weeks, a race of aliens have been using Voyager as a traveling laboratory for a series of experiments. These aliens – whose name we still don’t know – had attached their ships to ours and subjected the crew to a series of medical tests. They did all of this, while walking about the ship . . . invisible. Tests that monitored our dopamine levels – which explained the Captain’s headaches – to sexual hormone levels. Now I know why B’Elanna and I have been at each other like dogs in heat. Those bastards also stopped the auoeli in B’Elanna’s lungs from processing air and nearly killed her. This happened after she and the Doc nearly discovered what was going on. In the end, it was Seven who finally revealed the aliens. Needless to say, the Captain did not take the news very well. Especially after Crewman Huberman died from a synaptic shock. I wish I had been on the Bridge when she steered the ship toward the binary pulsars. According to Harry, the pulsars’ gravity managed to destroy both alien ships – although one nearly escaped. Although Voyager had escaped destruction, the pulsars had damaged both navigational control and some of the ship’s hull plating. The Doctor and I have begun removing the DNA markings given to us by the aliens. Everything should return to normal. Somewhat. There is still the matter of Crewman Huberman. End personal log.

STARDATE 51244.36:

A memorial service for Huberman was held this morning. A dark moment for an otherwise normal day. At least normal for us. The aliens’ DNA markings have been completely removed from the entire crew. B’Elanna, I’m happy to say, has fully recovered. We decided to celebrate with a private dinner in my quarters. I thought that a pasta salad with Ktarian Merlot would be nice. She should be here in another . . . (the doorbell chimes) Oh, she’s here. End personal log.

STARDATE 51255.55:

With the new Astrometrics Lab completed, the Captain has permitted the crew to celebrate with a party. Which means that I’ve got at least a half hour to shower, change into clean clothes and pick up B’Elanna. The party will be held in the Resort holoprogram in Holodeck One. Neelix will provide the refreshments, as usual. (Sighs) Oh well, not everything can be perfect.

Voyager also entered Krenim space, this morning. A Krenim starship captain warned us that his race was involved in a border dispute with another. He warned us to avoid Krenim space. Happily, the Captain agreed and ordered me to plot a new course for the Alpha Quadrant. End personal log.

STARDATE 51261.03:

Our encounter in Krenim space had led me to thinking about Kes. It has been three months, since she left Voyager. I could not help but think about the alternate timeline she had experienced before our encounter with the Borg and Species 8472. A timeline that had us at war with the Krenim for at least a year. The Year of Hell. According to Kes, a good number of the crew had been killed – including two senior staff members, whose names Kes had never revealed. I’m almost tempted to access her personal logs, but that would be a shabby way to honor Kes’ memory. I guess the details of her experiences in the alternate timeline will remain a mystery. Too bad. End personal log.

STARDATE 51362.25:

Voyager came across a new planet called the Mari homeworld. The Mari are a race of telepaths who are technically advanced – at least by Starfleet standards. This means that we don’t have to worry about the almighty Prime Directive. Since the Captain has been able to establish diplomatic ties, she ordered me to establish orbit around the planet. And the crew will be able to enjoy shore leave for the next few days. Hopefully, B’Elanna and I will get to enjoy a few hours of sightseeing, together. End personal log.

STARDATE 51369.25:

I can’t believe it! B’Elanna has been arrested by the Mari authorities for having violent thoughts! Violent thoughts? What the hell is this? They’ve got to be kidding! Then again, I guess not. It seems the Mari people have outlawed violent thoughts, believing the latter can lead to violent acts. While in the marketplace of the Mari capital city, B’Elanna had violent thoughts when some man had bumped into her. This led the man to beat another Mari citizen to death in full view of everyone. If found guilty, B’Elanna will have to undergo an engramatic purge.

Great! My girlfriend is in danger of being lobotomized! I asked the Captain if she plans to rescue B’Elanna. Unfortunately, she reminded me that according to Starfleet protocol, we have to respect Mari laws. The Captain also added that she and Tuvok will investigate and ensure that B’Elanna is exonerated. Sounds lovely, but what if they can’t exonerate her? She would still have to undergo the purge. The Doc told me that hopefully, he would be able to reconstruct her engrams. This is supposed to reassure me?

I can’t believe that the Captain is willing to allow B’Elanna to undergo such a thing. I mean, if she was willing to rescue Harry and me from the Atkirian prison, why not do the same for B’Elanna? (Sighs) This is fucked up beyond belief! And to think I had purchased a gift for her. Now, I don’t know if B’Elanna will ever get the chance to enjoy it. I wonder if Chakotay would consider planning a jailbreak. End personal log.

STARDATE 51374.11

B’Elanna is back, I’m happy to say. Thank God for Tuvok! He found out that a Mari merchant had deliberately provoked B’Elanna into a violent thought, in order to steal it telepathetically and sell it on the black market. Very sick, in my opinion. So much for Mari non-violence. The Mari had managed to erase one-tenth of B’Elanna’s violent engrams, before Tuvok and the Captain presented them with the real perpetrator.

B’Elanna told me that Tuvok finally appreciates the struggle she had endured with her violent Klingon psyche. Geez! I like Tuvok, but did he really had to associate her temper with her Klingon side? Now, B’Elanna is more determined than ever to control her thoughts. (Sighs) I told her that she should worry more about her actions than her thoughts. I also reminded her that Klingons weren’t the only species that had to struggle with violent impulses. But I got the feeling that she didn’t believe me. Damn! Hopefully, she will. One day. End personal log.

STARDATE 51449.44

Is it me or has Neelix been acting odd, lately? He must have been more upset over that Mari woman’s death than I had first imagined. In fact, he has seemed a little out of sync, ever since Kes’ departure. I had hoped that his friendship with Talli on the Mari homeworld would improve his mood. Unfortunately, Talli was killed and Neelix’s dark mood returned. Maybe this upcoming Away mission with Chakotay and me will help. End personal log.

SUPPLEMENTAL LOG

Christ! I can’t believe it! Neelix is gone! Dead! And all because of a simple mission to investigate a proto matter nebula. The shuttle got a little too close to the nebula, and Neelix was hit by an energy discharge. I just can’t . . . I never realized how difficult it would be for me to deal with his death. It’s funny. I’m closer to B’Elanna and Harry, but Neelix was the only person on this ship who understood what it meant to live with a questionable past. And to whom else can I talk with, about flying? Hell, I found it easier to talk with Neelix than the other pilots in my division. If only I hadn’t flown that damn shuttle so close! End personal log.

STARDATE 51456.14:

I thought that being resurrected by Seven’s modified nanoprobes and celebrating Prixin would put Neelix in a good mood. Apparently, it didn’t. He tried . . . to commit suicide by transporting himself into that nebula. God! I wonder what Chakotay had said to convince him not to kill himself.

Speaking of Chakotay, he has assigned B’Elanna to the Gamma shift for the next two weeks. Son-of-a-bitch! This means, we’ll barely have time together. If I didn’t know better, I’d swear that Chakotay had deliberately planned this to keep us apart. (Sighs) But I do know him better. He may not have been thrilled about our new relationship, but he’s not petty. But if one must suffer in the name of love . . . End personal log.

STARDATE 51460.79:

I wish to God that Seven had never detected that damn array system. Now that I think about it, I wish the Captain had never ordered the Astrometrics Lab to be remodeled in the first place. But since we did stumble across the array system, Seven was able to detect that Starfleet vessel in the Alpha Quadrant. Probably some Galaxy-class ship on a deep space mission.

At first, the Captain tried to send a message to the ship, using the array. When that failed, B’Elanna came up with the brilliant idea of sending a holographic message. Namely the Doctor. And guess who will be left to act as Acting Chief Medical Officer? (Sighs) Chief Medical Officer. Dammit! I’m a pilot, not a medic! Why in the hell didn’t the Doctor train someone from the Science Division to train as his assistant? Someone like Sam Wildman? What if the Doc never return from the Alpha Quadrant? What if his program gets lost in the signal between us and Starfleet?

I have to do something about this. (Pauses) Hmmm, since B’Elanna is still monitoring the array, perhaps Harry can help. I may know a lot about holoprogramming, but when it comes to creating a program as complex as the EMH, I’m going to need an engineer. End personal log.

END OF PART 1

“POLDARK” Series One (2015): Episodes One to Four

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“POLDARK” SERIES ONE (2015): EPISODES ONE TO FOUR

In the years between 2010 and 2015, I have not been able to stumble across a new British period drama that really impressed me. Five years. That is a hell of a long time for a nation with a sterling reputation for period dramas in both movies and television. Fortunately, the five-year dry spell finally came to an end (at least for me) with the arrival of “POLDARK”, the BBC’s new adaptation of Winston Graham’s literary series.

I am certain that some people would point out that during this five-year period, the ITV network aired Julian Fellowes’ family drama, “DOWNTON ABBEY”. I must admit that I enjoyed the series’ first season. But Seasons Two to Six merely sunk to a level of mediocrity and questionable writing. I had never warmed to “RIPPER STREET” or “THE HOUR”. And I have yet to see either “PEAKY BLINDERS” or “INDIAN SUMMERS”.

A few years ago, I had tried a stab at the first episode of the 1975-1977 series, “POLDARK”, which starred Robin Ellis. After viewing ten minutes of theatrical acting and dated photography in Episode One on You Tube, I gave up. Last summer, I read all of the hullaballoo surrounding this new adaptation with Aidan Turner in the lead. Utilizing Netflix, I tried my luck again with the 1975 series and ended up enjoying the first four episodes (I have yet to watch any further episodes) and quite enjoyed it. Then I tried the first two episodes of the 2015 series and found it equally enjoyable. I enjoyed both versions so much that I took the trouble to purchase both the entire 1975-77 series and the first series of the new version. In fact, I have decided to watch both versions simultaneously. But I am here to discuss the first four episodes of the 2015 series.

Series One of “POLDARK” . . . well the 2015 version . . . is based upon Winston Graham’s first two novels in the saga – 1945’s “Ross Poldark: A Novel of Cornwall, 1783-1787” and 1946’s “Demelza: A Novel of Cornwall, 1788-1790”. Episodes One to Four seemed to be an adaptation of the 1945 novel. The series begins with a young Ross Poldark serving with the British Army in 1781 Virginia, during the American Revolution. During an attack by American troops, Ross is struck unconscious in the head by a rifle butt. The episode jumps two years later with Ross returning home to Cornwall by traveling coach. He learns from a fellow coach passenger and later, his Uncle Charles Poldark at the latter’s Trenwith estate that his father had died broke. More bad news follow with Ross’ discovery that his lady love, Elizabeth Chynoweth, became engaged to Charles’ son, his cousin Francis, after receiving news of his “death”. The only possessions Ross has left is his father’s estate, the smaller estate Nampara, which is now in ruins, two copper mines that had been closed for some time and two servants – the drunken Jud and Prudie Paynter – to help him work the estate. Even worse, a family named Warleggan, who had risen from being blacksmiths to bankers, were gaining financial control over the neighborhood. Not long after his decision to remain in Cornwall, Ross rescues a miner’s daughter named Demelza Carne from a mob trying to use her dog Garrick as part of a vicious dogfight. Taking pity on her, he decides to hire her as his new kitchen maid.

There have been a few complaints that this first season for the new “POLDARK” series had moved a bit too fast, in compared to the first one in 1975. After all, the latter spanned sixteen episodes in compare to the eight ones for this new first season. However, what many failed to consider is that the first series from 1975 had adapted four novels ranging from “Ross Poldark: A Novel of Cornwall, 1783-1787” to Graham’s fourth novel, 1953’s “Warleggan”. Granted, the Demelza Carne character was first introduced in this version’s first episode, whereas she was introduced in the second episode of the 1975 series. This did not bother me at all . . . in compare to some other viewers.

There were other changes that did not bother me. Many have commented on the warmer nature of Elizabeth Chynoweth Poldark, Ross’ former love and cousin-in-law. Frankly, I am glad that showrunner Debbie Horsfield had decided to go this route with Elizabeth. Unlike many, I have never considered Elizabeth’s character to be cold. Considering that Elizabeth was never a cold parent, I found it difficult to conceive her as a cold woman. I have always suspected that she was simply a very internalized character who kept her emotions close to her chest. Although actress Heida Reed portrayed Elizabeth as a reserved personality, the screenplay allowed more of her emotions to be revealed to the audience in compare to Winston Graham’s first four novels. Elizabeth’s erroneous decision to marry Francis and her personality flaws – namely her penchant for clinging to society’s rules – remained intact. But she was not portrayed as some walking icicle in a skirt, even though a good number of fans had a problem with this. I did not. I never saw the need to demand for this icy portrayal of Elizabeth in order to justify Ross’ love for Demelza. Apparently, neither did Horsfield. Some viewers have complained about Elizabeth’s husband, Francis Poldark, as well. He seemed too weak and hostile in compare to Graham’s portrayal of Francis in his novels. First of all, Francis never really struck me as a strong character to begin with. And thanks to the screenplay and Kyle Soller’s performance, Francis began the series as a rather nice young man who seemed genuinely relieved that Elizabeth had decided to continue with their wedding plans, despite Ross’ return from America. But it was easy to see how his character began its downward spiral, starting with the villainous George Warleggan’s poisonous insinuations that Ross and Elizabeth still had feelings for one another. And when you combine that with Charles Poldark’s equally negative comments regarding his nature, it was not difficult to see how Francis allowed his insecurities to eventually get the best of him.

Horsfield certainly stayed true to the story arc regarding the romance between Francis’ sister Verity Poldark and a hot-tempered sea captain named Captain Blamey. I must be honest . . . I have slightly mixed feelings about the whole matter. A part of me recognized Verity’s loneliness and the fact that her family seemed willing to use her spinster state as an excuse to nearly regulate her to the status of a housekeeper. My problem with this story arc is Captain Blamey. Why oh why did Graham made a character who had killed his wife in a fit of alcoholic rage during a domestic quarrel? When I first learned about his background, I could easily see why Charles and Francis Poldark were so against the idea of Verity becoming romantically involved in this guy. Yes, I realize that people need a second chance in life. Yes, I realized that Blamey was honest about his alcoholism and the details surrounding his wife’s death. But he became the first sympathetically portrayed male character who ends up committing an act of violence against a woman. The first of . . . how many? Two? Three? Frankly, I find this rather disturbing coming from a politically liberal writer like Graham, let alone any other writer.

But if there is one aspect of Graham’s saga that I wish Horsfield had not so faithfully adapted, it was the series of circumstances that led to Ross’ wedding to his kitchen maid, Demelza. By the beginning of Episode Three, audiences became aware of Demelza’s unrequited love for Ross. Audiences also became aware of Ross’ growing dependence of her presence in his household. I find this understandable, considering that both Jud and Prudie proved to be questionable servants. However, two things happened. First of all, one of Ross’ field hands, Jim Carter, got arrested for poaching on the property belonging to another landowner named Sir Hugh Bodrugan. Ross tried to prevent Jim from being sent to prison. Unfortunately, his temper got the best of him at Jim’s trial and he ended up in a heated debate with the narrow-minded judge, Reverend Halse. Meanwhile, Demelza received word from her abusive and newly religious father that he wanted her back in his home after hearing rumors that she and Ross were having an affair. So what happened? Demelza decided to spend her last day appreciating the finer household goods at Nampara . . . while wearing a gown that once belonged to Ross’ late mother. A drunken Ross returns home, finds her in his mother’s gown, chastises her before she seduces him into having sex. A day or so later, Ross decides to marry her in a private wedding ceremony with only Jud and Prudie as witnesses.

What on earth was Winston Graham thinking? What was he thinking? I have never come across anything so unrealistic in my life. What led Ross to marry Demelza in the first place? Many fans have tried to put a romantic sheen over the incident, claiming that subconsciously, Ross had already fallen in love with Demelza. Yeah . . . right. I knew better. I knew that Ross did not fall in love with her, until sometime after the wedding. So, why did he marry her? Someone named Tim Vicary posted a theory that Ross, drunk and still angry over Jim Carter being imprisoned, had married Demelza as a way of thumbing his nose at the upper-classes, whom he blamed for Jim’s fate. To me, this sounds like Ross had entered matrimony, while having a suppressed temper tantrum. Hmmm . . . this sounds like him. But despite Mr. Vicary’s theory, I still have a problem with the circumstances surrounding Ross and Demelza’s nuptials. Why? Let me put it this way . . . if I had returned home and found my servant roaming around the house wearing the clothes of my dead parent, I would fire that person. Pronto. The only way this sequence could have worked for me was if Ross had fallen in love with Demelza by Episode Three. Ross may have been fond of his kitchen maid and grown used to her presence. But he was not in love with her . . . not at this stage.

I really do not have many other complaints about these first four episodes. Well . . . I have two other complaints. Minor complaints . . . really. There was a scene in Episode Two in which Ross and a prostitute named Margaret discussed Elizabeth’s marriage to Francis. Margaret cheerfully consoled Ross with the prediction that he would find someone who will make him forget Elizabeth. The next scene shifted to Demelza strolling across Nampara with her dog Garrick closely at her heels. Talk about heavy-handed foreshadowing. And if there is nothing I dislike more it is ham-fisted storytelling . . . especially when it promises to be misleading. My other complaint centered around the Ruth Teague character and her mother. I could understand why Ruth would be interested in marrying Ross. He is young, extremely attractive, a member of the upper-class and the owner of his own estate – no matter how dilapidated. But why on earth would Mrs. Teague support her daughter’s desire to become Mrs. Ross Poldark? Despite Ross’ status as a member of the landed gentry and a landowner, he has no fortune. Thanks to his late father, he found himself financially ruined upon his return to Cornwall. Why would Mrs. Teague want someone impoverished as her future son-in-law? Especially when she seemed to be just as ambitious for her daughter as Mrs. Chynoweth was for Elizabeth?

Despite the circumstances surrounding Ross and Demelza’s wedding and that ham-fisted moment in Episode Two, I enjoyed those first four episodes of “POLDARK”. Enormously. Watching them made me realize that Winston Graham had created a rich and entertaining saga about complex characters in a historical setting. I have to confess. My knowledge of Great Britain during the last two decades of the 18th century barely exists. So, watching “POLDARK” has allowed me to become a little more knowledgeable about this particular era in Britain’s history. One, I never knew that Britain’s conflict with and the loss of the American colonies had an economic impact upon the country . . . a negative one, as a matter of fact. I had heard of the United States and France’s economic struggles during this period, but I had no idea that Britain had struggled, as well. More importantly for Cornwall, the price of tin and copper had fallen during the 1770s and 1780s, thanks to this economic depression. This economic struggle contributed to the slow decline of the aristocracy and the landed gentry for Cornish families like the Poldarks and the Chynoweths. I read somewhere that this period also marked the increased rise of Methodism throughout the country. Although this phenomenon will play a bigger role later in the series, Episode Three revealed the first hint through Demelza’s ne’er do well father, who ended up becoming a fanatic Methodist after remarrying a widow with children.

But the heart and soul of this series is the drama that surrounds Ross Poldark and the other major characters in the saga. When I say all of the major characters, I meant it. I realize that many would regard both Ross and his kitchenmaid-turned-bride Demelza as the heart and soul of this saga. Well . . . yes, they are. But so are the other characters – including Francis, his father Charles, Verity, Jud, Prudie Cary Warleggan, Jim and Jinny Carter, Captain Blamey, Ruth Teague and especially George Warleggan and Elizabeth. I found them all fascinating. I especially enjoyed how their stories enriched Ross’ own personal arc.

More importantly, these first four episodes provided some very interesting moments and scenes that left a strong impression . . even now. I am certain that only a few would forget that moment when Ross experienced both joy and disbelief when he reunited with his family after three years. And at the same time, discovered that his lady love had moved past the reports of his death and became engaged to his cousin Francis. Wow, what a homecoming. Other memorable moments featured the first meeting between Ross and Demelza at the local street market and the first meeting between Verity and Captain Blamey at an assembly dance. Despite my feelings regarding the circumstances surrounding Ross and Demelza’s wedding, I must admit that I found her seduction of him rather sexy. The scene featuring Demelza and Verity’s growing friendship in early Season Four struck me as very charming and entertaining. I also enjoyed the Episode Three montage that conveyed how Ross had grown accustomed to Demelza’s presence in his household and her ability to sense any of his particular needs. Another montage that I managed to enjoy, featured the community’s reaction to the couple’s wedding in early Episode Four, the poignant death of Charles Poldark in the same episode and the numerous conversations between Ross and George Warleggan that featured their growing enmity. But there were certain scenes – especially those that featured social gatherings – that stood out for me. They include:

*The assembly ball in Episode Two in which Verity met Captain Blamey for the first time. This scene also featured that very interesting and rather sexy dance between Ross and Elizabeth, which made it clear that the former lovers still harbored feelings for each . . . especially Ross. And this scene also marked the first time in which Francis became suspicious of those feelings, thanks to George’s poisonous insinuations.

*Charles and Francis’ confrontation with Ross regarding the latter’s support of Verity and Blamey’s courtship at Nampara. I found this scene to be very emotionally charged, due to the violent confrontation between Francis and Blamey that resulted in an ill-fated duel. It was capped by Elizabeth’s appearance at Nampara and her revelation that she was pregnant with Francis’ child.

*Ross tries to help his farm hand Jim Carter to avoid a prison sentence for poaching. This scene not only revealed Ross’ inability to control his temper and self-righteousness, but also featured a delicious confrontation between him and the judge, the Reverend Dr. Halse. And here is a lovely tidbit, the latter was portrayed by none other than Robin Ellis, who had portrayed Ross Poldark in the 1975-77.

*Episode Four also featured that marvelous Christmas at Trenwith sequence in which Ross and Demelza visit Francis and Elizabeth for the holidays. The entire cast involved in this sequence did a great job in infusing the tensions between the characters. I especially enjoyed the scene that featured the actual Christmas dinner.

Speaking of the cast, I have no complaints whatsoever. Everyone else have their favorites. But for me, the entire cast seemed to be giving it their all. Caroline Blakiston proved to be very witty as the elderly Aunt Agatha Poldark, who seemed bent upon making the other members of her family uncomfortable with her blunt comments. Warren Clarke gave a very memorable performance as Ross’ Uncle Charles. Unfortunately, he had passed away after filming his last scene in Episode Four. At least he went out with a first-rate role. Richard Harington made a very intense Captain Blamey and Harriet Ballard made an effectively bitchy Ruth Teague. “POLDARK” marked the first time I have ever really paid attention to Pip Torrens, who portrayed Cary Warleggan, George’s uncle. Which is not surprising, since he did a first-rate job in his portrayal of the greedy and venal banker, who seemed to be dismissive of both the upper and working classes. There were times when I could not decide whether to find Jud and Prudie Paynter funny or beneath contempt. This was due to the complex performances given by Phil Davis and Beatie Edney. I have already mentioned Robin Ellis, who was wonderfully intimidating and self-righteous as the bigoted Reverend Dr. Halse. Even after nine years away from the camera, he obviously has not lost his touch.

I first saw Ruby Bentall in the 2008 miniseries, “LOST IN AUSTEN”. But if I must be honest, I had barely noticed her. I certainly noticed her poignant and emotional performance as Verity Poldark, Ross’ “Plain Jane” cousin, who seemed doomed to spending the rest of her life serving her father’s and later, her brother’s household. Physically, Jack Farthing looks nothing like the literary George Warleggan from Graham’s novels. And I do not recall his character being featured so prominently in the first two novels. Personally, I do not care. I am really enjoying Farthing’s complex performance as the social climbing George, who seemed to resent the Poldarks’ upper-class status and especially Ross personally. Despite being as much of a greedy bastard as his uncle, Farthing did a great job in conveying George’s more humane nature. Fans have been so busy complaining that Kyle Soller’s portrayal of Ross’ cousin, Francis Polark, is nothing like the literary character, I feel they have been ignoring his superb performance. Personally, I suspect that Soller has been giving the best performance in the series. I have been really impressed by how he transformed Francis from a likable, yet mild young man to an embittered one filled with resentment and insecurities. I found myself wondering why Soller’s performance seemed familiar to me. Then it finally hit me . . . his portrayal of Francis reminded me of Robert Stack’s performance in the 1956 melodrama, “WRITTEN IN THE WIND”. Only Soller will be given the chance to take Francis’ character on another path before the series’ end.

The character of Elizabeth Chynoweth Poldark seemed to produce a curious reaction from fans of Graham’s literary series. From my exploration of the Internet, I have noticed that many fans either tend to ignore the two actresses who have portrayed her – Heida Reed and Jill Townsend in the 1970s series – or criticize their performances. For this particular series, I feel that Reed has been knocking it out of the ballpark in her portrayal of the introverted Elizabeth. Yes, Debbie Horsfield’s production has allowed Reed to express Elizabeth’s inner feelings a bit more prominent to the television audiences. Yet at the same time, the actress managed to perfectly capture the internalized and complex nature of Elizabeth’s character. On the other hand, fans and critics have expressed sheer rapture over Eleanor Tomlinson’s portrayal of Demelza Carne Poldark, the kitchen maid who became Ross’ bride. Well, I certainly believe that Tomlinson is doing a hell of a job portraying the earthy Demelza. What makes me appreciate her performance even more is how she manages to combine Demelza’s feisty personality and the insecurities that lurk underneath.

Before “POLDARK” first aired in Great Britain, many of the country’s media outlets had speculated on whether actor Aidan Turner would be able to live up to Robin Ellis’ portrayal of Ross Poldark from the 1970s. I knew it the moment I had heard he had been cast in the lead of this new series, based upon his previous work in “DESPERATE ROMANTICS” and “THE HOBBIT” film series. And Turner prove me right. He turned out to be the right man for the right role. Turner seems obviously capable of carrying the series on his shoulders. He has a very strong presence and seems quite capable of conveying Ross’ strong will. But more importantly, he is doing a top-notch of portraying not only Ross’ virtues – the will to rebuild his life and especially his compassion for other – but also his personal flaws – namely his temper, his arrogance and self-righteousness (which were on full display during Jim Carter’s trial and his assumption that Demelza would immediately know how to become an upper-class wife), and especially his obsessive nature, which has been directed at Elizabeth ever since his return to Cornwall.

Considering that this article is mainly about the first four episodes of “POLDARK”, I am surprised that I have written such a great deal. To be honest, this series has really impressed me. I have not been this enthused about a story since John Jakes’ “NORTH AND SOUTH” series and its television adaptation. I suspect that it is not as highly regarded by critics, due to it being labeled a bodice ripper or a turgid melodrama. But for me . . . personally . . . “POLDARK” is more than that. Yes, it is a costumed melodrama. But it is also a good history lesson of life in Britain in the late 18th century. And more importantly, the melodrama and the historical drama serve as effective backdrops to a first-rate story filled with interesting and very complex characters – especially one Ross Poldark. I cannot wait to see how Debbie Horsfield handles the second half of this first season.