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Post by filmnoir5 on Jan 15, 2007 16:42:08 GMT -5
The Sally Lockhart Mysteries: The Ruby in the Smoke Feb 4 If this is part of an ongoing series/character I know nothing about her. Prime Suspect 6: The Last Witness Feb 18/25 Haven't seen any of the others, know this is the final, I've heard that Helen Mirren is fantastic. The Best of Masterpiece Theatre Sunday, March 4, 2007"Think back -- what's your favorite Masterpiece Theatre drama ever? Who are your favorite villains and stars, male and female? Who stands out as a memorable scene stealer? And who is your all-time, number one performer first seen on a Masterpiece Theatre series? This anniversary special -- put together according to the results of our survey -- will answer those and many more questions!" (Yes, I lifted this directly from the website; www.pbs.org/wgbh/masterpiece/schedule/index.html I'm excited for this!) After that it's Kidnapped and Wind in the Willows, but I'm sure we'll write between then and now. --Catbird This is the next to last episode of Prime Suspect she agreed to do one more that aired this past fall. PBS and BBCAmerica air these from time to time and some of the local libraries get these since they are not as widely available at video stores. I recommend these episodes. Some are 2 hours others are 4 hours (or 2 part episodes) but Helen Mirren is good in all of the episodes. I would not be surprised to see these air more often due to the attention that she is receiving good TV and film reviews from her performances as Queen Elizabeth I & II. In a way it is a more serious version of The Closer. Sally Lockhart is new to US TV (and PBS) but it stars former Dr. Who actress Billie Piper. She was very good on Dr. Who. I am anxious to see which Masterpiece Theatre shows get picked to air this spring. I hope it is something I have not seen and it might be one or more of the Prime Suspect episodes since some aired on Masterpiece Theatre after the series stopped airing on Mystery.
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Post by Patcat on Jan 16, 2007 10:41:29 GMT -5
David Suchet plays Professor Van Helsing in the DRACULA adaptation. He's not Peter Cushing, but I look forward to it.
Patcat
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Post by sarahlee on Jan 16, 2007 12:28:39 GMT -5
Do you know who will play Dracula?
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Post by janetcatbird on Jan 22, 2007 16:27:48 GMT -5
I'm sure Dracula is listed on the site, but I didn't recognize the name. Last night was Jane Eyre Part 1, so here's cut and paste from the Bronte thread (my thoughts): You can be proud of me, I didn't yell at the TV once! I have a memory for the little details so I'm going to remember stuff they don't show, (or little things that weren't int he book, like Helen's tombstone), but I've gotten better at breathing deeply and telling myself "Film is not book, film is not book." I miss the little things from the novel, but in terms of general plot and basic elements of character they're fairly accurate. I like the stylized stuff for young, over-imaginative Jane, and then the transition into more conventional humdrum as an adult. I must quibble about the little red neckerchief, and the blatant, obvious put it on when she feels good, take it off when lousy, but they could have done a heck of a lot worse. So glad they kept the portraits--as I myself have sobbed as I talked to the mirror to pull myself together, Ruth Wilson nailed it. The scarf in the attic--well, film is visual, I'll live with it, nice mystery there. The only bit I really had a problem with was the whole creek scene, with Rochester catching water beetles for Adele and then talking about the little grey bird: that was heavy-handed and didn't suit the particular line in the story, for any of the characters at that point. I miss the banter and teasing, they could have used more of the sharp back and forth. This Rochester is pretty good--you're right, he is light, but they probably wanted to make him more accessible, less hammy-melodramatic-Heathcliff knock-off. Besides, on those occassions when he has to brood, he can pull it off. Jane is pretty good herself, because without constant voiceovers she still conveys nicely. Adele is a bit out of whack, exposition-wise, but the little grl does the part. I almost let myself stay up for the 2 AM repeat, but was a good little student and made myself go to bed. But I got it on tape for later! Minor hyphenated get-a-grip gripe: Why do they always cast Blanche as a blonde? The book says she was a very dark-complexioned, exotic-ish beauty, "like a Spaniard". Oh well, the name "Blanche" lends itself to the pale, and I guess they want some visual contrast with Jane. I understand that the childhood gets rushed through, which makes sense because it's either internal fear or talky "be good" from Helen. When I re-read the book I skipped through; people don't read it for Lowood morality, they want the good bits with Jane and Rochester. But the film zipped a little too quickly, because we didn't realize who Bessie was, much less that she was a sympathetic almost-friend to Jane. When she popped up at Thornfield with the bad news Jane was all excited and huggy with someone who the audience would see as a stranger, or "Why is she so affectionate to this person from the bad old days?" (But if only I had The Eyre Affair with me at school! All I could think of was "I want Jane Eyre." "So does Mr. Rochester, but he doesn't even kiss her until page one-hundred eightyseven." Hee!) I wouldn't have expected the trip back to the Reeds as a cliff-hanger spot, but it worked! I was on the edge of the bed going "Nooo! Aaack!" Can't wait for next Sunday! --Catbird
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Post by janetcatbird on Jan 29, 2007 12:37:44 GMT -5
Well, huh. Janethyland, I see what you meant on the other thread about getting crass. And you're right, they did make the lead a kinder, gentler Rochester, although I think Toby Stephens certainly nailed what they were aiming for. I don't think it was quite fluffy, but my roommate was amused with my fussing at the TV screen. - Amnesia? Was Jane really delirious and disoriented or was she just faking to get the Rivers to ease up? I was sitting there thinking out loud: "OK, dream sequence, that works, Charlotte Bronte did that--wait, I'm lost--what? They just skipped fifteen chapters! Oh god, they are NOT doing the amnesia plot!" However, I lurk at Television Without Pity and somebody made the comment that flashbacks to Rochester helped the scenes with St. John make sense and seem relative, as opposed to a big fat digression that doesn't go anywhere and wastes time. (I personally don't think it is, but it is a very abrupt change to a slow pace.)
- Jane and Mr. Rochester never got horizontal!!!!! During the flashbacks to the bedroom I was whining at the TV: "They were never prostrate! What? Oh, no!" And then of course all that talk of the villa and living like platonic brother and sister: "Bull! He certainly didn't want that, never even pretended to!" (By this point my roomate had been laughing at me and finally sat down to watch.) Is it sad that during a Bronte adaptation on Masterpiece Theatre all I could think was "Get your tongue out of my mouth cause I'm kissin' you goodbye"?
OK, Rochester did get all passionate and tried to kiss her in the aftermath, but I don't think Jane let him get a full lip-lock, much less long-term swapping slobber, and lying down together on the bed with him on top! I definitely didn't like her sneaking out with a "We'll talk in the morning"--Jane was very up-front, honest, and direct that she couldn't stay, and she gave him a Good-bye kiss on his forehead. While they certainly felt all hot and heavy, and had sexual chemistry/tension/attraction to spare, they did NOT go that far. I'm not saying the sentiments weren't there, lord knows they certainly wanted to, but they didn't.
- They left out my favorite line in the reunion! I was living for Rochester's "Damn him!" in the midst of all the St. John teasing, argh! She should have been sitting in his lap through all that, not quiet at his side. Still, they definitely caught the mood and spirit of the happy teasing. (Even if Rochester did get a bit heavy handed with the whole "I want a wife to share my bed, not a nursemaid". Yeah he did, but you don't say stuff like that in the 1830s.) Surprisingly, I felt OK about the grassy field and locked ankles in that scene--I thought that was a cute shot-- because at that point it felt right for the characters. (It couldn't go any farther than intense tonsil hockey because they wouldn't have been able to get past his trousers and her skirts and petticoats. At least that's what I keep telling myself.)
- St. John Rivers was too warm in some parts. I was glad that they actually stayed with him and Rosamond and Diana and Mary, because that's one section that really gets glossed over. They did a good job of showing that St. John and Jane did have a degree of chemistry and understanding with each other, but he was almost too friendly and open and smiley. They also left out all the scenes where he turns into a manipulative bastard and Jane's final triumph of self-exertion, but I guess they wanted to keep him sympathetic.
- Too much stuff with the Ingrahams and society people. Really didn't need to see the cuts to them at Thornfield during Jane's visit to the aunts, and the Ouija board. Good grief, I didn't want so much of Eshton (who shouldn't have been had the understanding of Jane and Rochester that he did) and the twins--and the fact that they kept beating us over the head with refrences to them! Stop taking me out of the story and let me stay swoony with Jane and Rochester, darn it!
Overall, the film certainly felt true to the spirit of the book--except for those two big "Whah?!?!?" factors in Part 2. I understand that they're gonna tweak some stuff to make a more visually compelling film; it certainly does get still and talky in sections. It left me feeling all giddy and happy at the end, so that's good. I dunno, I was so glad that they kept lots of little bits--Georgiana and Eliza--but was disappointed at a couple of stylistic choices. Sigh. Not awful, but now I have to go back and read the full novel! --Catbird ETA (one day later): On re-reading this post, I realized I used the phrase "lord knows" what felt like fifteen times. For those who saw it, sorry for the redundancy, since there weren't any replie syet I tried to even it out. Bad writer! No cookie! Honestly, go to Television Without Pity and read the replies, starting on page 1 which has responses from the initial UK airing and the recent pages from the US showings this weekend. Some great links and viewer replies, with some nice snark to lighten the tone! I personally like the moniker "Pantene Bertha" (they certainly did retain her glamour and attractiveness), and although it wasn't what Bronte wrote I thought it led to some nicely disconcerting visual results. Shutting up now...
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Post by janetcatbird on Mar 5, 2007 19:45:57 GMT -5
The Best of 'Masterpiece Theatre' aired last night. Curse the stupid beg-a-thons for Public Television! I take that back, because I will send in support as soon as I get some money, but why must they interrupt and cut such good shows? Can't they spread the good stuff out all year long and not just hoard for fundraising? I'm afraid they snipped some of the commentary and Sir Derek Jacobi's sigh conclusion to make room for "Please send money!". Any DVDs coming out?
(Apologies to those in the British Isles, most our imports come on PBS here in the states, programming made possible by "viewers like you". Which means you stop/start the recorder during March to get the good bits and have more than enough time to use the bathroom or make yourself a snack.)
I remember all the series they listed, though I'm fuzzy on some numbers. Sadly, the only one I've actually seen is I, Claudius, since I was either A) not born B) young or C) oblivious. (I've only recently gotten into the show.) Now I'm forced to rely on library collections potluck and my appetite is whetted.
12: Jeeves and Wooster We like Hugh Laurie on "House", so it was neat to see these clips. Haven't seen any episodes
11: Wives and Daughters Heard it was good.
10: Reckless Never heard of it.
9: Moll Flanders Read reviews/promos saying that it was saucy and rowdy and well-done fun. (I may have switched 9/10 ranks, but those were the shows.)
8: House of Cards I don't even like political intrigue, and that looks great. Love the infamous quote: "You may think that if you like; I could not possibly comment." Must work that into conversation somehow.
7: Poldark I'd never heard of this, but Daddy let out a groaning retch. "Oh, God! The Other One"--a girlfriend before Mama--"used to love this show. She'd sit there and watch, and I thought I was gonna throw up." It did look rather soapy, but love the scenery.
6: Jewel in the Crown Again, I heard this was a biggy.
5: Prime Suspect Mama--and to a lesser extent Daddy--are big fans. Gotta laugh at the quote "Don't call me 'marm', I'm not the bloody queen!"
4: Bleak House Recent heavy-hitter
3: I, Claudius Woo-hoo! They showed Livia with the gladiators! (Not nearly enough, but it demosntrated the character.) And Caligula's Venus outfit! Derek Jacobi commented that John Hurt was terrific, but it was very hard to film some scenes because they laughed too much.
2: Forsyte Saga (recent adaptation) Looks intense, I didn't realize it was such a big deal.
1: Upstairs, Downstairs Daddy called it as #1 during the first segment. No reruns during my lifetime, but apparently it was a terrific show; one of my Granddaddy's favorites. (He died when I was three months old, so I'm curious if for no other reason than I love to hear of little connections and bits like that.)
Any shows not on the list y'all would have liked? Were the results different in the UK than shown in the States? My parents have talked about Game Set Match (Mama's favorite) and Danger UXB (Daddy: "Oh God, that was a great series.")
Please jump in so I'm not a thread hog!
--Catbird
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Post by NikkiGreen on Mar 5, 2007 20:06:42 GMT -5
I've only seen three on that list.
"Upstairs, Downstairs" was fabulous. I remember most of "Jewel in the Crown" which was really good. I've only seen a couple of the "Prime Suspect"s. "Don't call me 'marm', I'm not the bloody queen!" He! Aren't you?! ;D
I've been tempted on more than a few occasions to purchase the "Jeeves & Wooster" DVD set. I think that both Stephen Fry and Hugh Laurie are terrific.
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Post by Sirenna on Mar 5, 2007 20:14:28 GMT -5
Moll Flanders - fun, bawdy
Poldark: intense and kind of like an old fashioned harlequin romance (a babara cartland one)
Upstairs, Downstairs: terrific, well-written, well acted, great ambience, an early soap-opera
Forsythe Saga: the book's better than the series
Jeeves and Wooster: the book's ok (not a huge fan) and the series just ok for me, nothing special, not always funny when the punchlines hit. Hugh Laurie plays the bufoon really well.
Bleak House is on here in Canada at the moment. Too long-winded for me. I've missed most of the installments.
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Post by janetcatbird on Mar 25, 2007 1:46:45 GMT -5
Our school library has Jewel in the Crown so I'm working my way through that. I'm not quite as giddy and excited about this as I was for I, Claudius, but I am hooked and want to see what happens next. I'm only through the first three episodes (Daphne is dead, Sarah just visited Lady Manners, Merrick is at the base with Teddy whats-his-face the fiancee and somebody left a broken bicycle on the veranda). My thoughts so far:
At first I was feeling sorry for Daphne--between an angry bitter Kumar and red-alert disturbing Merrick, those were her only choices? Kumar gradually grew on me, I don't know if I could fall in love with him, but I can see the intrigue and attraction. Their parting after the Bhigibar incident was so sad and desperate.
I try not to cuss, but Ronald "Scum-Sucking-Sack-of-Shit!" Merrick is incredible. (And yes, I did yell that at the TV.) I'm amazed that the Masterpiece Theatre survey didn't have him as best villain. He doesn't even have the finesse or humor or smoothness that made us love Livia so much, he's just pure nasty. I suppose it's a compliment to Tim Pigott-Smith and the writers that we can despise him so much--and he is complex, I almost felt sorry for him when Daphne first turned him down. But the torture scenes between him and Hari? Ugh. They didn't need explicit, what they showed/implied was terrifying, especially in light of modern events. I hope Piggett-Smith played the good guy in something, cause it'd be a pity if I went straight for obscenity every time I saw the poor man.
Scenery is amazing. Sarah's mother is a catty witch. Baby Parvati is absolutely adorable.
Just as well the library does have these, since UNC-TV is all screwed up. We're missing Kidnapped, although since we're starting Bleak House in a couple weeks I guess that'll be my chance to see what all the fuss is. And yes, I did make my pledge early this week. Disappointed that they didn't ask me which shows I liked, but I figure I can email with questions next month when they're not so busy.
Later all, jump in!
--Catbird
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Post by janetcatbird on Apr 4, 2007 23:38:56 GMT -5
Oh shoot, double post. If it's a problem let me know, but I tried to wait until a decent period had passed.
I'm through part 11 now. Barbie is dead, Guy Perron is with Merrick, not liking it (and the guys at the hospital are dropping all sorts of double-entendre harassment), Nigel can't tell Sarah what he knows. Col. Layton just informed Sarah that Merrick wants to marry Susan, Sarah got the lace from Barbie.
Tim Pigott-Smith is just amazing. The good thing about videotapes is you can repeat viewings to catch nuances. With him you can really see the fear/apprehension when people ask "Weren't you in that Manners business?" You see him examining the men (well, checking them out under guise of professional review), and you can tell when Merrick is putting on an act for people. God, what an evil monster--complex, with flashes of pity, but still someone to despise. I have to admit, the scene that sticks with me is the wedding party: Aunt Fenny had just sent him out to get the hat box (because lower-class people shouldn't mind fetching and carrying for the upper-crust), and he comes back in the house, and looks into the room where the guests are gathered. From behind you see his back and shoulders slump, and he just can't steel himself to face their condescension and arrogance--so he goes to the steps and has a cigarette to pull himself together. Then he's joined by Count Bronovsky, and you can see the count feeling him out, or Merrick desperately trying to keep up his persona. Even the way Merrick smokes, with slight trembles of the hand, tight and tense raised jaw, or a fierce rubbing out of the cigarette, shows that something's going on underneath.
I love watching him and Sarah interact. From the scene at the hospital, when she's trying to make nice out of pity and guilt, to parts now when he's being all slimy laying on the charm, and trapping her into this cozy "friendship". There is such a Marian/Count Fosco thing going on (Woman in White is a fantastic novel). Each of them has a facade, playing a role to try to one-up the other, and they each know the other is doing the same thing, so they watch for each other's reactions. Maybe the sexual chemistry/attraction isn't quite at Marian/Fosco loevels, but man it's intense when the two of them are together. I have to admit I was hoping to see them dance at the Maharanee's party, just to watch them at close quarters. Unfortunately no dice, but Ronald's imperiousness, taking control in conversations, and when he kissed her cheek (with Sarah's momentary look to the side of Oh no fear) was quite something. While marrying Susan doesn't make a lot of sense at first--you have to think about it to remember that she's his ticket to the society, and it makes him look all gallant to take care of the poor fragile widow--I'm convinced he wants to be near Sarah. He knows she won't take him, but this way she has to be with him, and there's got to be something compelling in someone who has that intuition and even vague understanding of who you really are.
Why was Peggy Ashcroft as Barbie such the highlight for this? Personally I thought Barbie was a nuisance--she was fine with Sarah, but as soon as Mabel came into the picture she got all breathy and high-pitched and clingy. Was it really a close friendship, or Merrick-type repression (without the sadism) the way the club gossipped? I am normally oblivious to Hoyay, but even I had to raise my eyebrows at some of Barbie and Mildred's interactions. Not to slight Peggy Ashcroft, who does an excellent job with the part, but the countdown talked about "Peggy Ashcroft on the rickshaw was so amazing" or voting her as a scene stealer, and all I could think was "This is it?".
Judy Parfitt, as Mildred Layton, is incredible as the fragile facade, alcoholic harpy of a mother. I can't stand that woman--kudos to the actress for keeping it real and painfully believable when the part could so easily have been a melodramatic stereotype.
Perhaps he gets better in parts, but I really don't see the appeal in Guy Perron. Sure he's on the right side, but he's so arrogant and full of himself. Personally I think Nigel is much more compelling, in the awkward geeky not-sure-of-himself-but-trying-to-do-what's-right sort of way.
Lord I'm babbling. Anybody who's seen it--or even read the books, which I've reserved at the library back home--please jump in and offer feedback/clarification/response.
--Catbird
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Post by Patcat on Apr 5, 2007 8:54:54 GMT -5
Tim Piggot-Smith, who was so amazing as Merrick, said he had to stop going out in public for a while when the series was aired because people would get so angry at him. And Charles Dance, who played Perron, said that people kept coming up to him and saying, "Why aren't you doing anything?"
Patcat
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Post by janetcatbird on Apr 10, 2007 11:54:35 GMT -5
Patcat, I'd believe it! Somebody on another board mentioned that one woman even spat on him in the street! I personally have never gone for the pretty boys, so Guy Perron doesn't do much for me, but at least Charles Dance seems to have a good head on his shoulders in interviews and such. Still, despite Perron being such an obvious knight in shining armor figure (his given name was Percival for crying out loud!), he was good-humored, quick to catch on, and generally decent if a bit full of himself. He did well with the little boy, slumping over to play dead and such, when I would ahve gotten real irritated with the brat quickly. Guy and Sarah were a good match I must admit.
Finished the series last night. Oh god, the train ambush in the final episode, I was whimpering. (Only slightly better than the cobra in the bathtub, since I am deathly afraid of snakes.) Ahmed, sniffle. (Can I take this moment to say Kudos to the director/writers for not feeling the need to show outright violence throughout the entire series? Yeah, some parts were bloody--the bodies on the train, Merrick and Teddy in the ambush--but generally they made the right cuts and let the sounds and actors' reactions fill us in, in an even more horrifying way. Good work.)
Again, Tim Pigott-Smith was just amazing, even if there were some awkward editing/cuts for the arm. I wish we had actually seen him with Susan and Edward since we kept hearing how good he was with the little boy, and how "understanding" he was of Susan, so it would have been great to watch for ourselves. Whether it was some redeeming element of decency or just further cause for hatred with his manipulation, that could have been something. And he and Sarah should have faced off more, whether at the wedding ceremony or in-laws life. I did feel a twinge of pity for Merrick when he barged in on Sarah and Ahmed's rides; he reminded me of those poor elementary school classmates who everybody hates so they latch on to the only people who are even coldly polite.
I still like Nigel, a decent guy in a messy situation, and you gotta love his deadpan responses. ("I take it you are not enamored," or, when Merrick mentioned he does better when not held strictly to the rulebook "Yes, I know.") Ahmed Kasim was also a nice man, and I'm bummed he and Sarah didn't hook up, but perhaps it's better that they were understanding friends without sexual complications. Sophie Dixon, the therapist with a wink and a nudge who explained poor Pinker's story, he was a good scene-stealer.
Unfortunately the library lost the only copy of the book. Everywhere I looked this weekend they had books 2,3,4 in the quartet, but not book 1 Jewel in the Crown itself. ARGH! However, I know there are copies floating around of a companion book The Making of "The Jewel in the Crown", and Tim Pigott-Smith put together an anthology of writings--his own diary, English writers, Indian poets--called Out of India, which I think could be quite fascinating. Fingers crossed!
--Catbird
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Post by janetcatbird on May 1, 2007 21:25:37 GMT -5
BUMP!!![/B]
I actually managed to get hold of Jewel in the Crown from the school library. Not quite streeam-of-consciousness, but shifting perspectives, a detached reflective tone, and lotsa details that don't make it into the films. Hopefully 2-4 will be at public library over the summer, harumph.
UNC-TV (the NC station) is airing Bleak House. Fairly strong cast, although Richard Carston (the possible heir) is obnoxious and Ada is a ninny. I like Esther though, and Mr. Jarndyce seems a good soul. Guppy is creepy, but a great actor. Love Charles Dance as a jerk--I'm not sure Tulkinghorn is quite at the profanity-spewing hatred Merrick was, but he is fun to dislike. So far we're through Part 3: Esther recovering from smallpox, Tulkinghorn and Smallweed force George to turn over Horden's letters.
Haven't actually read the book, but I will one of these days. Actually I'm glad I haven't, because now that I have a face and voice to match with names it might help clarify the cast when I read words on a page. The only Dickens I've really read was A Christmas Carol, which I'm not sure counts, and Great Expectations. Cool characters, but the plot twists/connections/relations are worse than Hugo, lord. Even the Great Illustrated Classics kiddy versions were confusing.
--Catbird
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Post by janetcatbird on May 14, 2007 11:12:25 GMT -5
NUDGE!!!
BLEAK HOUSE Last night was the conclusion. The story itself is not my favorite. (Despite my love of L&O I'm not crazy about legal thrillers, court cases, business deals, and general white-collar greediness.) But the actors were great, and they could work the cliff hangers. Of course, sap that I am every time I saw Jarndyce and Esther together I could only "Awwwww!!!" and clutch a pillow. Of course you want Esther and Woodcourt to be together because they love each other and they'd be happy the way married couples are supposed to be, but Jarndyce was such a good guy and so sweet and kind you hate to see him get hurt.
I prefer to take his comment about intending to marry Esther all along as nothing quite so skeezy. It certainly wasn't unheard of in the day, so he might have thought in the back of his mind when he first provided for her I suppose it could happen, but let's wait and see. Esther did turn out to be someone he loved, but he wasn't creepy or cruelly manipulative or anything nasty like he could have been.
Is it sad that my redneck comes out with stuff like Masterpiece Theatre? When Tulkinghorn was shot I shouted out at the TV screen "Plug that sumB***h! Yeah!" Later, I excused it all with "He needed killin'!" I'm so doomed.
JEWEL IN THE CROWN Working my way through the Raj Quartet. Just finished book 2, Day of the Scorpion, which is mainly Sarah's viewpoint and takes you up to Susan inthe hospital after trying to free her baby. The books are not feel-good, and truth be told the only reason I'm slogging through is my love/respect for the miniseries. Don't get me wrong, the characters are fascinating and Scott is a capable writer, if over-long and verbose at times, but the whole thing is so detached it's hard to feel engaged. Still, I can really respect the writers/directors/actors for their work and recognize just how much they nailed it. And it is nice to see words on a page confirming the thought processes and musings that just couldn't be stated explicitly on film. (Again, increasing my respect for the actors, because when reading Sarah's view in particular I thought That's exactly what Geraldine James got across! Man she's good!
--Catbird
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