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Inquiring readers,

Kevin Lindsey, who frequently comments to posts on this blog, forwarded the link to this 5-minute YouTube video. He writes:

As a long time subscriber to your blog, I thought you might be interested in this. It’s from a British group called Crows Eye Production. They create excellent, tasteful, and informative videos on historical clothing. They released this one on Jane & Cassandra Austen today. I thought it really well done, and thought I would share it with you, in case you wanted to pass it along. Below is a link. If you would prefer not to use that just got to YouTube and look up “CrowsEyeProductions”

Enjoy!

More on Regency Fashions: Jane Austen’s World category on fashions

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…my reviews of

Emma. “Handsome, clever, and rich.”

Emma

Emma. 2020 publicity still. Focus Features.

Visuality-VolzVisuality in the Novels of Austen, Radcliffe, Edgeworth and Burney by Jessica A. Voltz. Preview book by clicking on the link.

 

Stay Safe, Everyone!!

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Inquiring readers, 

Last April Brenda Cox shared a thought-provoking post about  a Jane Austen Sampler. Click here to read the article. Mrs. Cox writes that Deirdre Le Faye, an expert on Jane Austen, believes that the stitcher was another Jane Austen, probably a second cousin of the author of ‘Pride and Prejudice.’

Picture 1 Austen Sampler

Mrs. Cox has continued her research into this fascinating topic, and writes:

A few years ago, I bought a printed copy of the “Jane Austen sampler” at the Jane Austen Centre in Bath. In 2018 I posted thoughts on my blog about that “Jane Austen Sampler.” However, I had no idea whether “our” Jane Austen had stitched it or not.

Then Deirdre Le Faye saw that post and directed me to her article for the Jane Austen Society. She speculated, for various reasons, that the sampler may have been done by a cousin of Jane Austen’s. In 2019 I wrote about her ideas in Jane Austen’s World. At the end of that article I asked if some genealogist might try to track down the history of the sampler.

Now the plot continues to thicken. Months later, Alden O’Brien, curator of the DAR Museum in Washington, D.C. saw those posts and wrote to me for details. She then did extensive research based on her specialties: the history of needlework and genealogical research. Exactly what we needed!

Ms. O’Brien posted her conclusions which I highly recommend you read: “Is This Jane Austen’s Sampler?

Sampler purportedly embroidered by Jane Austen

In summary:

For it to be “our” Jane Austen’s sampler, we need to assume that it originally said 1787 and stitches were pulled out to make it say 1797. Deirdre Le Faye thought this was highly unlikely. Alden O’Brien thinks it even more unlikely. From the photos we have (which admittedly are not great), there is no evidence in the fabric that stitches were removed. And O’Brien compared it to Cassandra Austen’s sampler which includes all the numbers. Presumably the sisters would have been using the same style of numbers. The “9” in the “Jane Austen sampler” looks much like Cassandra’s 9, but not completed. Cassandra’s 8 is a different shape, so it’s unlikely that the original said 1787.

Even more conclusively, O’Brien was able to trace the provenance given for the sampler. She found clear records from the sampler’s previous owners back to a Jane Austen who would have been about 12-14 in 1797, the right age for making such a sampler. It appears that this Jane grew up to marry the owner of a pub. One of her sons was a servant, and her daughter married an oyster fisherman. So she was from a lower social class than the author Jane Austen. O’Brien points out that even young women of this class often went to schools where they might produce samplers like this one.

The Mr. Frederick Nicholls of Whitstable who once owned the sampler is claimed to be “a grandson of a cousin of Jane Austen.” However, from this evidence, it appears he actually was a grandson of this (alternate) Jane Austen.

So, the bad news is that the sampler almost certainly was not sewn by the author Jane Austen. Still, it did come from her time period. And unraveling the mystery has been a story in itself!

 

 

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Inquiring Readers,

After experiencing years of an Austen drought on the large and small screen, we are treated to two adaptations within a half year–Sanditon and the newly released Emma.

Emma film poster on a London bus. Photo courtesy of Tony Grant

Emma film poster on a London bus. Photo courtesy of Tony Grant

Emma, the film will air in theaters in my region on March 6th. Sadly, I won’t see the film until late next week, but my British friend Tony Grant has reviewed it. He writes in part:

My thoughts were, will Autumn de Wilde’s Emma get Austen’s subtleties concerning the different relationships right? Will the actors be any good? All is lost if they can’t cut the mustard. What might we get out of this Emma that speaks to us in 2020? Will the film tell Jane Austen’s story well?

The film begins, focusing in from an expansive bucolic scene of green pastures and wooded areas to an iconic 18thcentury mansion, Hartfield. We hone down to a gothic styled greenhouse and enter to a scene of peace and calm and meditative background music as Emma, played by Anya Taylor Joy, slowly, carefully moves, almost like floating in a dream, examining her blooming red roses while servant girls hover, secateurs poised ready to snip the stem of any flower Emma thinks fit. Anya Taylor’s eyes look and roam and pierce us to our souls. Oh! those eyes. She pauses, she considers, she moves on and decides, “That one.” And the flower is cut. This opening scene is very clever and says in this silent dreamlike ballet of a scene all that Austen says in the opening words of her novel.

Emma Woodhouse, handsome, clever and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty one years in the world with very little to distress or vex her.” 

The film is lit  brightly and the colours, not just of the costumes, but of the scenery too has a pale pastel sheen, which can only be achieved through the cinematography.–-To read the rest of Tony Grant’s review, click this link to London Calling, his blog.

In anticipation of seeing the film, I’ve been reading Robert Rodi’s take on Emma in Bitch in a Bonnet: Reclaiming Jane Austen from the stiffs, the snobs, the simps and the saps. (Yes, he’s that sarcastic, but witty, wise, and fun.) I particularly liked this passage, which shows Emma’s animus towards Augusta Elton shortly after she paid Mr. Elton and his new missus a visit:

Eventually Mrs. Elton return the visit, and Emma has plenty of time for her options to coalesce. And she really, really, really does not like this chick. Not. One. Little. Bit.

Rodi then goes on to quote this Austen passage:

“The quarter of an hour quite convinced her that Mrs. Elton was a vain woman, extremely well satisfied with herself, and thinking much of her own importance; that she want to shine and be very superior…”

Rodi does not stop there, but I paused at these words for a long moment. The qualities Emma dislikes about Mrs. Elton are the same qualities she possesses. Augusta, of course is different from Emma. She’s coarse, grasping, and aggressively power hungry, whereas Emma is the well-bred young lady described in the movie’s publicity: a well meaning but selfish young woman [who] meddles in the love lives of her friends.

The comic characters in Emma are among Austen’s finest, and I look forward in revisiting them in this film, especially in the forms of Miranda Hart as Miss Bates and Bill Nighy as Mr. Woodhouse.

 

 

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Although I won’t see the film for some time, please feel free to leave your opinions if you have them.

Meanwhile, enjoy Tony Grant’s review at the top of this blog!

 

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Inquiring Readers:

Chris Brindle, who lives in Colchester, England, is a prolific writer of music and books, and also a producer. Chris has written the following post (a compilation of information on his website and from the emails & materials he sent me.) He postulates that as Austen was dying in 1817, she deliberately wrote ‘Sanditon’ as a challenge and inspiration for other people in her family to finish, particularly her niece Anna (Lefroy) and nephew James-Edward (Austen-Leigh). Here, then, is Chris’s article.

Steventon Rectory. Image Wikimedia Commons

Steventon Rectory. Image Wikimedia Commons

Sanditon was Jane Austen’s last, partially completed, novel of around 24,000 words, written in 1817 between January 27th and March 18th. Jane’s niece Anna, the daughter of Jane’s eldest brother James, had been brought up in her youngest years at Steventon where her aunt, who was 18 years older, also lived. Anna remained at Steventon with her father until she married Ben Lefroy at 21. After a brief interlude, Anna moved back to Hampshire to live two miles away from Jane, then living at Chawton.

Jane Lefroy's biography pages by Chris Brindle in his book Hampshire, Vol 2, pp. 72-73. Image courtesy of Chris Brindle. His book is available via Amazon.

Jane Lefroy’s biography pages by Chris Brindle in his book Hampshire, Vol 2, pp. 72-73. Image courtesy of Chris Brindle. His book is available via Amazon.

Anna was surely the first ‘Janeite’ and harboured a life-long ambition to emulate and honour her aunt. In March 1845 she inherited Jane’s manuscript in the will of Jane’s sister Cassandra, and set about writing her continuation [of the unfinished novel], which is of similar length and is similarly unfinished.

By the time Austen put down her pen and finally her pencil, she had introduced all the characters that the story needed—apart maybe for a good villain, as Lefroy realised in her continuation, when she invented Mr Tracy as one of Sidney Parker’s friends (friends Austen told us would join Sidney at the Hotel). I don’t believe Austen intended Sir Edward Denham to be a villain, rather just a sexually frustrated character answering to Lady Denham’s will, who, as dowager, controlled Sir Edward’s estate.

When Austen realised she was dying, I believe she worked out a way in which her books and letters would not die with her, but would live on as the next generation took up the baton as her literary heirs. Her book and letters were her children and she wanted them to live forever.

This is the lyric in my ‘Song For Jane Austen’–YouTube link

When did you realise that your life would soon come to its end ?

Did you always know your life would be so short ?

What is a life, what is it worth ?

Is it what you leave behind you at the end ?

Your books and letters were your children

Left to others to inspire, and maybe carry on your work

Do you die if a little bit of you will live in others ?

Or memories of you will still remain ?

How do you spend your last few moments on this earth

When your journey has to come to its end

One last display of brilliance in three tiny booklets

Your sketches on a canvas for others to fill in

Your gift to God and to the world

And those you leave behind you at the end

In your pain you left us biting satire

A town built on sand in need of hope

But you left us characters who could save it

If in our imagination we could see how they would cope

May the Lord look on you with grace and favour

For this was the world you created

Reaching out for your future

A century or more away

When your pain was most intense

And your time was running out”

Anna Lefroy, whose mother died when she was two, was largely brought up with Jane at Steventon in her early years.  Thus she most probably earns the right to be known as Austen’s first fan. Anna’s life was devoted to an effort to emulate her aunt. We know most about Jane’s approach to writing from the exchange of letters between her and Anna, as Anna sent the latest piece of dialogue to Jane for her comments.  From the letters it was clear that Anna had no idea how to plot a novel, or to start with a strong enough idea to drive an interesting story, so Sanditon was most probably written as a starting place for Anna to complete the novel.

In 1817 Anna was starting a family and had no time to write. In any case, Anna would need to earn the right to be Austen’s literary heir by being a published author. Thus, after Jane’s death in 1817, all the letters and manuscripts went to her sister Cassandra. To keep Austen’s memory alive, it would be for Cassandra to decide who should get what. Anna Lefroy inherited the unfinished manuscript of Sanditon on Cassandra’s death in 1845.

I tell this story in my Documentary (YouTube link)  and how, although Anna failed to complete Sanditon (Click here to read her unfinished text), her half brother James Edward Austen-Leigh went one better and wrote the first biography of Austen. A Memoir of Jane Austen put the life of Austen together with her fiction and made her a mega-star. It was the competition that Austen created between her nieces and nephews that made the Memoir happen. (Click here to read the Memoir.)

I came to realise what Sanditon actually was when writing the illustrated story of the life of my great great great grandfather R.H.C. Ubsdell (1812-1887), the Portsmouth miniaturist, portrait painter and early photographer. Ubsdell had a studio and art gallery in Old Portsmouth opposite the theatre. He painted portraits of Jane Austen’s sailor brothers Charles and Francis (Frank) and the miniature of Anna Lefroy, delivered to her in the Autumn of 1845. He probably also drew the disputed portrait in graphite on vellum of Austen (the property of Paula Byrne) as an ‘identikit reconstruction’ for Anna Lefroy circa 1845 (probably to serve as a frontispiece for her intended completion of Sanditon together with her own portrait.)

'Unseen' Portrait of Jane Austen (Paula Byrne), Miniature of Charles Austen, and miniature of Anna Lefroy. Images courtesy of Chris Brinkle.

‘Unseen’ Portrait of Jane Austen (Paula Byrne), Miniature of Charles Austen, and miniature of Anna Lefroy. Images courtesy of Chris Brinkle.

These illustrated books, entitled Hampshire, are available on Amazon. Click on this link to view the books.

History of the Church and Rectory at Ashe

A page in Hampshire, a book by Chris Brindle. This one discusses the history of the church and Rectory at Ashe, a village close to Steventon. Image courtesy of Chris Brindle.

I think it is only when one puts the Lefroy continuation together with the Austen original that one truly understands why Austen wrote Sanditon. My conclusion comes from studying the life stories of Austen and Anna Lefroy, and Anna’s diary and life story that her daughters copied out. (One copy was kindly lent to me by descendant Helen Lefroy).  So perhaps one cannot complain if ITV chooses Andrew Davies to write a very modern ‘Love Island’ ‘take’ on the book.  Having invested our time in a couple of episodes, most people will probably want to know how it ends.

Sanditon, the ITV/PBS Masterpiece television mini-series

Davies does little more than take the names of some of the characters, however, whilst ignoring most of the content of Austen’s original fragment, niece Anna Lefroy’s continuation, and the financial relationships between the characters that Austen very clearly outlines, and which Lefroy clearly understood. Austen’s story should be about property speculation and money, inspired by her time in London with brother Henry, when the bank of which he was a partner, Austen, Maude & Tilson was collapsing because of their ill-considering loans.

Davies and the production studio also fail to present the main character properly–a South Coast English seaside resort in its earliest stages of speculative development. Trafalgar House (Tom and Mary Parker’s house) is not part of ‘New Sanditon’, a bold new development on the cliff, instead in the TV show it is stuck down in a very squalid looking village.

The other thing that is unsatisfactory about the ITV/PBS Masterpiece production is that it ignores the actual history and real-life detail of the development of the English seaside resorts such as Brighton, Worthing and Southsea. It wasn’t an accident that Austen chose the setting of an English Seaside Resort, because she saw that this was a character in its own right. From its infancy, Sanditon would grow up over time. Therefore, for any future ‘completer’ there would be so much actual historical detail of the financial machinations to draw upon.

Chris Brindle’s works and productions

I am very gratified that people looking for something more authentic have been viewing on YouTube my original solution to the completion clues that Austen and Lefroy left, my 2014 Play:

and my Documentary filmed in Hampshire in the same year that tells ‘The Story Behind Sanditon‘:

Austen left us so little of Sanditon that I think rather than rushing ahead and inventing new story lines I thought it might be better to look at Austen’s characters in more detail, using as many of her actual words as possible, and thus my idea for a musical was born. This built on the duet ‘Blue Briny Sea’ that I had written for the original stage show  (filmed at Chawton Great House) https://youtu.be/2gmrFrEdMBg

and  ‘Song For Jane Austen’ (filmed in Bath) that I had written for the 200th Anniversary of Jane’s death:

My first script for the musical was a grand stage musical with a cast of 19, which I then reduced to an actor musician musical performed by 11 players that I produced and filmed at ‘The Other Palace’ Theatre in London in July last year:-

In this musical the songwriter for a modern 21st Century Pop Band persuades the members of her band to take on Austen’s words, the characters in Austen’s novel, tell the story behind the novel, and reflect on what the novel means to them ‘200 Years Later’.  The carriage ride from Willingden to Sanditon then becomes this song as Tom & Mary Parker and Charlotte Heywood give their respective views on the resort:

Whilst an Austen story with modern popular music might seem a strange mix, another example of a musical doing very well on tour in the UK at the moment is “Pride & Prejudice” (Sort Of ), which features the Pride & Prejudice story told by the Bennet’s servants, but in broad Glaswegian with added karaoke songs!

Everything I’ve done has been on a tiny budget driven by my fascination for the subject matter.  I’m currently working on plans to develop the big stage production in the amateur sector.  More details can be found on my website www.Sanditon.info, which I’ve updated.

On my website you will find the links to

  • The texts of both the Austen and Lefroy fragments of ‘Sanditon’ (An entirely different perspective opens up if one asks oneself line-by-line, why did the author include ‘that bit’?  (If you read the Austen fragment in this way, Austen clearly leaves so many plot openers and clues in her work for future ‘completers’ to solve.  This is probably what is most unsatisfactory about the Andrew Davies / ITV dramatisation in that Davies chooses not to solve any of Austen’s clues and just ‘does his own thing’.)
  • My 2014 Film of The Play of Jane Austen’s and Anna Lefroy’s Sanditon.
  • My 2014 Documentary filmed in Hampshire & Berkshire with piano music by American Composer and JASNA delegate Amanda Jacobs
  • My 2019 Musical  “200 Years Later”  Jane Austen’s ‘Sanditon’ The Pop/Rock Musical as premiered at ‘The Other Palace’, Victoria London on 26th July 2019

Additional information from other sources

Photo of Chris Brindle

Chris Brindle 

Chris is a writer (see www.Ubsdell.com) and in 2014 produced a play, short film and documentary that completed and told the story of Jane Austen’s last unfinished novel Sanditon. Read more of his biography at this link.

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Inquiring readers: This is a long recap. Eight episodes of a mini-series deserve a thorough discussion of the finale.

Spoiler Alert: We’ve invested many hours in Davies’ Sanditon on PBS Masterpiece and where did it get us? Before we rush to the comment section to share our opinions, let’s analyze the final show. At the end of my, er, analysis, we’ll finish with a poll to measure our collective satisfaction quotient.

Announcement: According to PBS and ITV, there are no plans to film a second season of Sanditon.

Dancing on a cloud

The episode opens with our lovely Miss Charlotte walking on air through the one intersection of the Sanditon set that viewers have seen repeatedly. Thoughts of Sidney’s sweet talk and proposal interruptus swirl in her head.

She knocks on Mrs. Griffith’s door to visit Georgiana and espies Sidney nearby talking to Tom. He sees her as well. They exchange smoldering looks. Charlotte’s heart beats as fast as mine.

The scene segues to Georgiana’s bedroom. For the first time in many episodes, Miss Lambe is dressed in a lovely gown. Her complexion glows. She and Charlotte chatter like close girlfriends are wont to do, giggling and exchanging highly personal information.

Then Charlotte drops a bombshell – “Sidney is a wonderful man. He’s kind. He’s so dreamy. I couldn’t sleep last night just thinking of him.”

Quelle horreur!

Georgiana is beside herself. “You aren’t (gag) in love with him!? Please say you are not.”

“Well, uh, maybe, perhaps. Recall that he trotted out Otis to say goodbye to you. Wasn’t that nice?”

“You cannot trust a word he says!”

Sanditon intersectionEnd of discussion. The viewer is immediately transported to the same intersection of the Sanditon set that they have seen repeatedly. This time a stagecoach takes center stage to deliver passengers and the mail. James Stringer receives a letter stating that he has received an offer of an apprenticeship in London. It’s everything he’s ever dreamed of. Now all he has to do is tell his Da.

Something jolly

The camera pans to Sanditon House. My head spins from the many scene changes and from my low blood sugar. I reach for crackers with sharp New Zealand cheddar cheese and a fine red Australian wine and watch Lady D and Esther playing cards. Esther’s bored and pays scant attention to the game, which prompts Lady D to complain,

“You are playing like a nincompoop. What is the matter with you?”

Esther is honest. She couldn’t care less about cards.

“Don’t give yourself airs,” says Lady D, “You haven’t got my money yet! Go over and play the piano. Play me something jolly.”

Esther resists, saying she can’t play or sing.

At that moment, Lord Babbington is announced and he enters smiling and smug, and asks Esther to accompany him for a ride.

Esther: “No”

Lord Babb: “Yes”

Lady D: “Go!”

babbington and estherIn the next scene we see Esther and Lord Babb sitting side by side in a curricle (a dandy’s vehicle, much like today’s ultra sleek sports car for the uber rich). The horses gallop along a beautiful stretch of beach. Esther feigns boredom, but Lord Babb urges the horses on. She basically calls him a wuss and says:

“You are the world’s worst carriage driver.”

“Do you want to take over the reins?”

“Why not?” As she drives the horses even faster we gain insight into their future relationship. Esther is the alpha of the two—a bitch in a bonnet. (Thanks, Robert Rodi for the title, which I borrowed from your book.)

The horses increase their speed, their manes and tails flying in the wind. Esther laughs joyously and for the first time viewers watch her blossom into a fun-loving young woman whose worries disappear with a man who loves her more than she loves him.

First kiss

Tom Parker is happy. The WHOLE WORLD wants to come to Sanditon (a slight exaggeration) just in time for the Midsummer’s Ball.

Sidney visits Tom in the drawing room and catches Charlotte going out to adjust the final finishes to her ball gown. Sidney expresses interest in joining her in her perambulations. She says, coyly, “Sure why not?” And off they go—in the exact opposite direction of her destination. There is no urgency to her dressmaking, she says. Hah!

charlotte SidneyThe couple meanders along the Downs, lost in tender emotions and lust. Then they kiss.

Heartstrings tug. Violins violin. The music climaxes in volume. We viewers KNOW this maiden has won the final rose from her very eligible bachelor and that all is right in Austenland.

*Sigh.*

At the Midsummer’s ball

I give the third ball in this series a rating of 2. (#1 goes to the London ball, and #3 to the assembly ball at the beginning of the series.) The midsummer decorations are more than adequate and the beau monde & villagers look smashing—kudos to the costume and prop departments.

Our main protagonists and characters are assembled, beautifully dressed and ready to party, except for Georgiana, who confronts Sidney. “What are you up to with Charlotte?

Arthur interrupts to ask Miss Lambe to dance. Sidney quickly answers, “She’d be delighted.”

Off they go.

Then Sidney is way laid by Tom. James Stringer takes this moment to ask Charlotte for a dance. Across the ball room, Charlotte and Sidney exchange glances of frustration, but she can’t refuse Stringer, for she was not engaged to dance with another gentleman. Regency manners require her to accept this invitation or bow out from dancing for the rest of the evening. Unfortunately, a dance in formation can take up a considerable amount of time and Sidney will have to bide his time before he can talk to his sweet Charlotte.

As James and Charlotte dance, he tells her he’s found an excellent situation in London as an apprentice. She’s so delighted with the news—so pleased for him—so gushing—that he must be disappointed with that overenthusiastic reaction.

Lord Babb talks to Sidney as they eye the dancers. He leaves his friend as soon as he sees Lady D and Esther enter the ball room, fashionably late as great ladies were wont to do.

The dancing continues, with Lord Babb and Esther, Arthur and Georgiana, and the rest of the assembled guests having great fun.  After what seems to be an age, Charlotte’s dance with Stringer finally ends.

Balcony scene

We now have a Romeo and Juliet moment in reverse, with Sidney looking down at Charlotte on the ballroom floor. They finally meet and greet. In their scene together he says all the words that a hero would say at the VERY END of a romance, but we are only halfway into the story!

And so, Sidney says, “What a brute I was.”

Charlotte, who, once upon a time was a feisty opinionated woman, says, “I deserved it.”

He then confesses he’s the same man. She ripostes, “But much improved.” Really, Charlotte, really? I reach for more wine and learn to my surprise that one can gulp 3 ounces in one fell swoop.

Then comes the piece de resistance in romance dialogues—“If I’ve changed at all it is in no small part down to you. I’ve never waited to put myself in someone else’s power before.”

Violins violin. Hearts flutter.

I think: *WTDFJH?* (What the Dr. Fuchs just happened?) This denouement is occurring too soon!

I forgot about deux ex machina, a literary device used to derail the reader or viewer, and that is discouraged by professors who teach Writing Romance Novels 101.

Ashes to ashes

For some reason, the elder Stringer, instead of attending the ball, works late by candlelight on a stepladder to complete the Crescent all by his lonesome. James Stringer sought him out before the ball to tell him about his acceptance letter in the apprenticeship program

Dad is not pleased. “It’s for Charlotte and (eyeing his ball attire), you look like one of THEM! Well, off you go, then.”

James, such a sweet and likable character, stomps out, calling his father a miserable old man.

The night is dark and only candles light up the space when Old Stringer touches his chest, then his left arm. Uh, oh. My knowledge of medicine, learned in lifeguard training classes in college, kicks in. This is not looking good. Plus, why is the elder Stringer working for a gentleman when he hasn’t been paid in an age?

The next thing we know, someone yells, “Fire!” Poor Mr. Stringer is toast. Scant resources existed in the early 19th century to fight fires in buildings made largely of wood, and the structure is swiftly destroyed.  James Stringer is aghast at the loss of his father, and he recalls his angry last words with profound regret.

Tom, who was riding high a few hours ago with visions of profits dancing in his head, is utterly destroyed financially. He has no idea of how to save his dream for a seaside resort. Worse, how could he face his Mary?  His stupidity and naiveté are revealed when Sidney uncovers his true crime—not investing in insurance to save a few quid.

Lady D swoops down upon the hapless brothers and sister, saying she wants her investment back or else they’ll all be put in the poor house. The Parkers’ combined resources cannot cover the disastrous cost of  ‎£80,000, or £6,323,574.23 in today’s money. Is there no hope?

Yes! Deus ex machina.

Everything has changed. Sidney rides off in the sunset to London to find funds. In ancient Greek theatre, this DEM device came in the form of an angel or god of sorts lowered onto a stage who would save the protagonists. A chorus echoes in my head with the refrain, “Lady Campion, she’s the champion, richest widow in the land.”

Before Sidney leaves, he visits Charlotte and holds her hand: “When I return, we’ll finally have a chance to finish our conversation. I’ll be back in a week.”

Is that so, kemo sabe? We’ll see.

Old Stringer is buried. We learn his name was Isaac. James is beside himself with grief and regret.

In another scene, Tom grovels in front of Mary and she, milquetoast, er, loving wife, that she is, forgives him.

Charlotte writes a letter to her sister saying that it’s been weeks since Sidney left in an attempt to save Sanditon…and so the plot goes on.

The wedding is celebrated by … the wrong couple, or the right couple, or half the couples who are eligible to marry. Take your pick.

I must confess my happiness when Lord Babb and his Esther marry. It’s the same feeling I had when Lady Edith married her Bertie in Downton Abbey, making her a marchioness.

I love it when Story B makes it to the A list and emerges front and center. In this instance, the viewer is treated to the morning after the wedding night, when we see that Esther is not disappointed. In fact, she anticipates a happy future with her Lord, who unleashed emotions in her and feelings of pleasure that Sir Ed would never have liberated.

Well done you, Lord Babb. I love rich, huggy-bear types who adore their headstrong women.

Good news, bad news: the hero returns to save the day but sacrifices his lovely damsel and his own happiness.

The Parkers’ financial future lies in Sidney’s quick return, and they gnash their teeth as they await news of his success. He hies back to Sanditon several weeks after his departure, causing ulcers and sleepless nights for kith and kin. It turns out, he has saved them all—except for he, himself and Charlotte.

Their meeting stinks, in my humble opinion. At least he’s gutsy enough to tell her in person of his actions.

Saint Sidney takes her hand in his.

“Charlotte, my dear Charlotte…I had hoped that upon my return I’d be able to make you a proposal of marriage, but it cannot be…the fact is I have been obliged to engage myself to Mrs. Eliza Campion.”

*Yeah, whatev,* I think. Charlotte is stunned, however.

“Please believe me there was no other way to resolve Tom’s situation”

Sidney’s words turn Charlotte into a boneless mass of compliance.

“I understand. I wish you every happiness,” she says like an automaton.

Adding salt to the wound of rejection

Lady DenhamAfter Lord Babb’s weddng to Esther, Lady D turns to Charlotte. “Well Miss Heywood? Are you still proclaiming your independence? Or is it that none of our young men have taken your fancy?” She turns to Sidney: “What do you say, Mr. Parker?”

Lady D is called away, before he can formulate an answer.

Charlotte and Sidney soldier on, exchanging polite conversation. “How are your wedding preparations?” she asks, her face immobile, as if injected by botox

“Elaborate.”

Lady Campion, all noxious graciousness, insinuates herself into the conversation.

“Perhaps we should plan a simple country wedding. Although I don’t think it would be our sort of thing.”

At this point I’ve eaten all my crackers and cheese, texted my Janeite friends with my observances, and poured another glass of an outstanding 94-point Fox in the Hen House wine. I take care not to throw that precious liquid at the screen whenever Lady C smirks.

Charlotte folds in on herself like a wet noodle

Charlotte visits James Stringer. Feeling the weight of guilt for his last angry words to his father, he now lives in his Da’s cottage.

“I gather Mr. Sidney Parker is engaged,” he says.

“Yes, I wish for his happiness.”

“She’s not half the woman you are…if he doesn’t see that he doesn’t deserve you.”

“Thank you, Mr. Stringer.” Charlotte obviously has no desire to flirt with James or embark on a relationship with him. More fool she.

We then see her saying goodbye to the Palmer family and leaving Sanditon in a lovely carriage pulled by four magnificent horses. Once again, the scenery of the Downs is sublime.

The camera pans to Sidney chasing after Charlotte on his powerful steed.

“Whoa, whoa,” says the coachman, prompting Charlotte to peer out the window.

The viewers instantly know why Sidney needs to see her when he says, “Tell me you don’t think badly of me.

Screen Shot 2020-02-23 at 1.49.20 PMCharlotte says without inflection, “I don’t think badly of you.”

He then says, “I don’t love her, you know… I’m just fulfilling my side of the bargain.”

This is the UNFAIREST cut of them all. “Sir,” I shout at the screen, “You are no gentleman!”

Charlotte meekly steps inside the carriage and Sidney watches until it disappears over the horizon

I splutter. THAT’S IT?! What did I just invest my time in?

Davies and his team have an obligation to viewers to end this mini-series without a cliff hanger. He was hoping for but was not assured a second season.  His attitude towards us is disrespectful.

My plea to the powers that be is to think of your audience and order up at least one more episode to tie up loose ends and provide Charlotte with the logical ending she deserves.

Now, gentle reader,  it’s your turn to vent, either in the comment section or in this poll.

Thank you for visiting this blog. It’s been a pleasure reading your thoughts, pro, con, or indifferent.

Viewer satisfaction poll of Sanditon

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Episode 7: At the regatta: Diana, Lady Campion, Charlotte, and Mrs. Parker

At the regatta: Diana, Lady Campion, Charlotte, and Mrs. Parker

As popular television fare goes, Davies’ Sanditon is quite entertaining. In the first 16 minutes of Episode Seven, so many dizzying plot developments are introduced, that they left this viewer’s head spinning. By the end of the episode, everything but the kitchen sink had been thrown into the mix to keep viewers hungering for more. (The last episode is a doozy, but we’ll get to it next week.)

 

Davies’ sledge -hammer approach felt so heavy handed at times, that (honestly) I ran to my bookshelf to retrieve Pride and Prejudice. Reading Austen’s delightful, familiar words gave me a sense of calm. I put down the book and continued to watch the episode.

 

As certain characters in Davies’ Sanditon reveal their distasteful ambitions, such as when Clara Brereton told Esther Denham about her sexual gymnastics with Sir Edward on the drawing room floor after burning Lady Denham’s will and divvying up her fortune (as that lady lay dying), I reached for my first glass of wine, but I am getting ahead of myself.

 

Let’s face it. Austen did not hesitate to create nasty characters. Think of Sense and Sensibility.  Fanny Dashwood, John’s wife, is a piece of work plotting to oust Mrs. Dashwood, John’s stepmother, and his stepsisters from Norland Park almost as soon as the elder Mr. Dashwood was buried. Her machinations were despicable, but under Austen’s skillful pen, Fanny’s method to drive them out was masterful, awesome, ruthless, and nuanced. John, her husband, is a manipulated fool and yet a willing conspirator in disregarding his father’s express desire for his stepsisters’ and stepmother’s future security.

 

We felt the Dashwood women’s pain and grief. We understood their pride and anger as they chose to leave an impossible situation as soon as possible. We felt for Marianne Dashwood when she fell for Willoughby, a flawed but smooth-talking and handsome character. Readers knew, along with Colonel Brandon, that he had gotten a virginal girl pregnant and then abandoned her to a life of shame.

 

Elinor Dashwood, a sensible character, at first had difficulty seeing through Lucy Steele, a conniving little witch. When Elinor finally figured her out, she was trapped into listening to information about Edward Ferrars that felt like knives stabbing her heart. More than once I wanted her to bitch slap that girl, but Elinor has more class than me.

 

Who can forget Fanny Dashwood’s mother? She was an outspoken battle-ax and manipulator of the worst sort, whose conversation provoked Marianne to defend her sister with a truthful artlessness that was bold and threw caution to the wind.

 

The difference between Austen’s villains and Davies’ is that Austen laid a careful groundwork for their motivations and behavior. The dark undertones of conflict between Willoughby and Colonel Brandon resonate with us. The secrets the two men withheld from Marianne, and the complexity of their love and longing for her add to the suspense of the plot—who will she choose? Which choice makes sense to the heart of a young girl? Which is the more mature, sensible choice? How do experience, suffering, and maturity add to a character’s growth and understanding?

 

In Davies’ Sanditon, secondary characters and villains tend to be one dimensional, almost cartoon-like. The main protagonists, Charlotte and Sidney, are given more complex motivations, which I appreciate, especially in this episode as they attempt to overcome their misunderstandings and grow closer. Their longing for each other is palpable, as Lady Susan and Young Stringer notice.

 

Now, let’s examine the salient plot lines in this second to the last episode.

 

Stupid is as stupid does

 

While Lucy Steele’s devised her trap for Elinor with evil genius, she kept her plans to herself until she approached Edward. Clara Brereton is just plain dumb. She lords it over Esther, who is unable to hide her emotions for her stepbrother. A gloating Clara reveals that she and Edward found the will, agreed to 50% of the cut, then burned it. Seeing Esther’s disbelief, she adds salt to the wound to reveal that she and Sir Ed sealed the deal with a quickie on the drawing room floor. Charlotte Spencer, the actress who plays Esther, stepped up her acting chops and gave a superb performance throughout this episode. We feel her pain, her horror, and then her understanding of the situation.

 

Most of all, we (I) cheered her hard slap to Clara’s face. Then, when Clara figures out that Esther is still a virgin, she says,”No wonder he was so keen to take his pleasure elsewhere.” We (I) wished that Esther had knocked her unconscious to the floor. (I’ve been watching too many Marvel movies.)

 

As for Clara, she’s no Jane Fairfax. Her situation as Lady D’s dependent companion is precarious. Falsely confident, she assumes the mantle of the victor prematurely. Jane Fairfax kept silent until all the dominoes fell safely in place before Frank Churchill revealed their romantic bond. Clara, who has just as much to lose, could not stop herself from gloating.

 

A vengeful phoenix arises from the ashes and swoops on her victims with talons outstretched

 

Esther, in her misery, pays a final visit to Lady Denham. Her confession to the comatose lady is revealing. She says:

 

You should know there’s not a single person alive who holds you in the least affection. Not Edward, Clara, not me…“You will die unloved, and Edward, my Edward—she holds Lady D’s hand—“Truth is, he’s betrayed us both. He betrayed us when he and Clara lay with each other on the drawing room floor. He betrayed us when he and Clara conspired to burn your will and share your fortune. I truly hope that you find happiness in heaven, because this earth has become a living hell.”

 

Hours or days later, Esther sits waiting in the hallway as Sir Ed awakens from a couch just outside of Lady D’s bedroom. He yawns and says,

I did not know it was going to be this drawn out [or] I would have been in bed.”

Esther replies sarcastically,

Perhaps you would have been more comfortable on the floor.”

He shoots her a curious look. Then, wonder of wonders, the unfortunately named Dr. Fuchs runs towards them.

Her fever broke!…She may yet recover altogether!”

While Clara blanches, as if the ghost of Northanger Abbey has come to attack her, Sir Ed’s collar grows three sizes too small.

 

Somewhat later, he and Clara simper up to Lady D, who’s still abed. Sir Ed says unctuously,

Words cannot express our belief. Dr. Fuchs has our eternal gratitude.”

Lady D, holding a glass with a milky substance, says,

Why? If anyone deserves credit, it is the ass who restored my strength.”

Austen created the running joke of Lady D’s milch asses, from whom that wealthy widow planned to make much money. Davies and his team hardly used that funny material, an opportunity missed.

 

Clara adds timidly,

We have kept constant vigil.”

A steely-eyed Lady D then gives the two of them her what for.

Mmmm. Well, you can dry your eyes. Dying is highly disagreeable…although it has to be said there is nothing like imminent death to focus the mind. I have under-estimated the boundless depth of your venality.”

The two blather and bluster, but Lady D waves them off.

Enough, you feeble parasites…Get out, and needless to say, I shall be laying a new floor in my drawing room, since the old one has been indelibly stained!”

Gentle readers, who’d have thunk a wood floor would become such an important character in a mini-series? Oh, the drama! Sir Ed is disinherited. Clara is banished to London post haste. And Esther appears to be the sole remaining heir to the Denham fortune. At this point, I poured my second glass of wine, a Cabernet Sauvignon, and munched copious amounts of Utz Party Mix, which contains not one wholly natural ingredient as far as I can tell.

 

Turbo recap of the rest of the story

 

Tom Parker is beside himself when he gushes that all the beau monde in London have traveled to Sanditon. He greets Lady Susan with an obsequiousness that is cringe worthy. When he tells her that Sanditon has the finest situation on the south coast, she pooh-poohs the idea,

 

Oh, shush. Never mind all that. If I gave a fig about the sea, I’d have gone to Brighton.” (A delicious cut.)

It turns out that she’s come to continue her conversation with Charlotte, which, to my mind, was nothing more than artless chatter at a fancy ball from a simple girl from a simple farm near an undeveloped town. One can never divine the whims of the rich and famous, so we’ll have to take Lady Susan’s word at face value.

 

She and Charlotte chatter, and the lady’s keen observation tells her that she’s in love. Her discernment also tells her that Lady Eliza Campion, one of the richest women in the country and an old connection to Sidney Parker, stands in the way of Charlotte’s happiness. Lady S, a kind busybody, will see to that. She’ll find a chink in Lady Campion’s armour and put a stop to her designs on Sidney Parker. Anything for a friend she’s known for all of two hours.

 

Charlotte, upset at seeing Lady C, turns away from the assembled company and encounters Young Stringer in the woods. We learn this late in the series that his first name is James. James Stringer. Had Davies and his team meant for Stringer to be a likely love interest for Charlotte, we would have learned this important fact earlier. In the course of their conversation, James realizes that while he yearns for Charlotte, she yearns for someone else. Like the stoic man he is, he holds his feelings to himself and lets her go. C’mon, James! Fight for your woman!

 

We then see the three Parker brothers strolling towards the regatta. As they converse, we learn that Sidney has loved Eliza Campion for a decade and that his broken heart drove him to the West Indies. (Another bit of news that comes late in the series.) Sidney only says that it’s a strange feeling to want something that is impossible and to find that it’s suddenly in your grasp. For once Arthur sounds intelligent and says that while he admires Sidney’s spirit of forgiveness, if it were him, he would never trust that lady again.

 

As a quick aside, Miss Lambe, who has been strangely delegated as a secondary character in the background, shows signs of deep depression. Arthur Parker visits her and insists that she join them in the festivities. She goes unwillingly, but it is obvious that he has a crush on her.

 

The regatta is a letdown. There’s a sandcastle competition, a fisherman’s boat race, and a gentleman’s rowing race that James Stringer and his crew win. Tents provide food and drink, but I see nothing that would attract the beau monde to return a second time.

 

Before the rowing competition, Sidney and Charlotte make goo goo eyes at each other on the boat as he practices his strokes and shows her how to row along with him. (I do so love symbolism.) Eliza Campion watches them from the banks, jealous and suspicious. After the race she makes a pitch, telling him she never lost hope and that fate is giving them a second chance. 

 

Sir Ed fails in his quest to woo Esther back and share her fortune. The once confident man is drunk and disheveled as he encounters Clara with her packed bags at the docks. He tells her off harshly and brags that he’s still a gentleman and titled. “Yes,” she says, “but I had nothing to lose…You’re alone and unloved.”

 

After a revealing conversation with Sir Ed, who spoke in derogatory terms about Esther, Lord Babbington hurries to see her. He tells her that he can’t forget her and that he has her back, always.

I feel I could spend a thousand years in your company and still not have enough.”

 

Esther begins to cry.

You…know nothing.”

 

He replies,

I think you’ve been his prisoner for too long.”

The background music swells in my head as he continues talking to her in this romantic vein.

 

In the last scene, Sidney approaches Charlotte.

I thought you and Mrs. Campion would be heading back for London,” she says.

 

She’s already left. I decided against joining her. On reflection, I realized I would rather be here…I believe I’m my best self—my truest self when I’m with you.”

 

The music crescendos. My heart’s a flutter. Perhaps from the wine, but it might be that all this romantic stuff is making me feel all puddly inside.

 

Next week: the conclusion. Or is it? (Gentle readers, those of you who binge watched this series, please include no spoilers in the comments. Thank you!)

 

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