Our Mutual Friend (BBC, 1958/59) – Simply Media DVD Review

mutual.jpg

Following the death of a rich miser, his substantial fortune is willed to his estranged son, John Harmon (Paul Daneman), on one condition – that he marries, sight unseen, Miss Bella Wilfer (Zena Walker).  But when Harmon is believed drowned on his journey home to England, the inheritance passes to Mr and Mrs Boffin (Richard Pearson & Marda Vanne), the loyal and faithful former employees of Harmon Snr.

The Boffins are good-hearted people, happy to share their new-found wealth with others.  To this end they adopt Bella as their daughter and employ the one-legged pedler Silas Wegg (Esmond Knight) to read to them in the evenings.  They also engage a mysterious young man now going under the name of John Rokesmith (who in reality is John Harmon) as their secretary.

Our Mutual Friend was Charles Dickens’ final completed novel and was originally published in nineteen monthly instalments between May 1864 and November 1865.  The thorny topic of inheritance, a familiar Dickens theme, is a major feature of the story as is the notion that wealth can have a corrosive effect on those it touches.

Film or television adaptations of Our Mutual Friend have been fairly thin on the ground with this 1958/59 BBC adaptation by Freda Lingstrom marking the first time the novel was tackled (two further television adaptations, in 1976 and 1998, would follow).

Things begin a rather arch way, as the Wilfer family consider their lack of money. George Howe as Reginald Wifer, the nominal head of the family, has a nice henpecked comic touch but Daphne Newton, as Reginald’s domineering wife, does declaim in a somewhat stagey fashion.

The Wilfer Family

The first episode also allows us an early insight into Bella’s character. She tells her father that she’s “nether reasonable nor honest. One of the consequences of being poor and of thoroughly hating and detesting it”. She then goes on to describe herself as a horrid, mercenary little wretch.

Compare and contrast her attitude with that of John Harmon. On his way back home to England via a sea journey (the onboard sequences are effectively mounted, despite the confines of the studio) he explains to a fellow traveller that his inheritance is dependent on his marrying Bella. The fact he’s returning to England suggests that he’s considering acceding to his late father’s request, but he then explains this is dependent on Bella’s character. If she turns out to be an objectionable person then he’d be happy for his old friends, the Boffins, to receive the money instead.

This might suggest that John is a wiser and more noble person than Bella, but since he has the choice of returning to his vineyard in South Africa it’s plain that he has options, whilst she doesn’t.

Both Paul Daneman and Zena Walker make strong early impressions whilst Bruce Gordon, as George Sampson, gives a nice turn as Bella’s devoted suitor. When Bella breaks the bad news that she’s planning to marry for money, he’s a picture of angst (sucking his walking stick as a child might suck his thumb!).  George contributes little to the story, but can be guaranteed to pop up from time to time in order to provide a spot of comic relief.

Richard Leech casts a menacing shadow as ‘Rogue’ Riderhood, a waterman who was part of a conspiracy to murder John (another of the conspirators – Radfoot – planned to take John’s place, marry Bella and claim the inheritance). Leech gives a performance that’s somewhat on the ripe side but after a few episodes either he settles down a little or I just became more accustomed to it.

But if there’s ripeness from some, there’s subtler playing from others. Peggy Thorpe-Bates makes an immediate impression as Miss Abbey, the innkeeper of a raucous riverside tavern. Miss Abbey may be physically slight but she’s more than capable of dealing with her customers, even the intimidating Riderhood.

The first meeting between Bella and John isn’t auspicious. She later confesses that there were few people she disliked more at first sight. It might not be a surprise to learn that her feelings change as the serial wears on ….

As the episodes progress we’re introduced to all of the main characters. Richard Pearson is very agreeable as the generous and good-natured Nicodemus Boffin whilst Esmond Knight has delightful comic timing as Silas Wegg, an untrustworthy wooden-legged vagrant with a veneer of literary education.  Malcom Keen (whose career began in silent movies, Hitchcock’s The Lodger amongst them) also impresses as the sympathetic Jewish moneylender Riah.

Esmond Knight

David McCallum (whom the credits inform us was appearing courtesy of the Rank Organisation) plays Eugene Wrayburn, a well-educated barrister who falls in love with Lizzie Hexam (Rachel Roberts). Eugene is a somewhat arrogant person to begin with but, as with Bella, over time he grows and develops. It can’t be a coincidence that, like John, he is nearly drowned in the river (his near-death experience seems to trigger something of a rebirth in him, just as it did with John).

Eugene’s pursuit of Lizzie is complicated by Bradley Headstone (Alex Scott), who is also besotted with her (although she has little time for him). This love triangle, along with John’s continuing close observation of Bella, are major main plot-threads whilst other subplots (the machinations of ‘Rogue’ Riderhood and Silas Wegg amongst others) also simmer away nicely.

Although John Harmon might be the nominal central character, the conflict between Eugene Wrayburn and Bradley Headstone for Lizzie’s hand in marriage is another highlight of the serial (both McCallum – even though he’s sporting a silly beard – and Scott provide standout performances).

Considering the limitations of this era of television, Our Mutual Friend is a polished production. If it wasn’t broadcast live, then it would have been recorded as-live (with only limited opportunities for retakes and editing). But across the twelve episodes there’s few obvious production stumbles (fluffled lines, miscued shots, etc) which is impressive.

Paul Daneman

That studio space was at a premium can be surmised by the fact that each episode restricts itself to a handful of locations. A sprinkling of filmed material helps to open the production up a little, although a number of backdrops, used in the studio to create the illusion of scale and depth, aren’t always terribly convincing. But that’s hardly a problem unique to this serial and after a while it ceases to be an issue.

There are many fine performances scattered throughout the twelve episodes. Paul Daneman had a fairly thankless task, since John Harmon/Rokesmith is a very colourless sort of fellow (often a fate suffered by Dickens’ heroes) but he still manages to make something out of the role. David McCallum has more to work with, as Eugene is a complex, dissolute character who eventually finds redemption and love.  Esmond Knight is simply a treat, meaning that whenever Silas Wegg shuffles onto the screen you know that something entertaining is going to happen.

Many strong character actors – Rachel Gurney, Basil Henson and William Mervyn, amongst others – pop up from time to time. Another brief but vivid performance comes from Wilfred Brambell as Mr “Dolls”, the alcoholic father of Jenny Wren (Helena Hughes). Hughes herself is also noteworthy as the young, crippled dolls-clothes maker who has reversed roles with her father (she calls him a “bad child” and bosses him about without mercy).

The picture quality is pretty good throughout. The telerecording might show the limitations of the original 405 line transmission, but it’s still perfectly clear (some blurring on the bottom of the frame in the penultimate episode is probably the most visible fault). The soundtrack, apart from the odd crackle, is quite audible.

Freda Lingstrom’s adaptation manages to retain the flavour of Dickens’ dense novel and the generous running time (twelve half-hour episodes) is more than sufficient to ensure that all the characters are dealt with sympathetically. The serial-like nature of the original novel is kept intact, meaning that some characters may feature heavily in one episode but then not appear in the next as others take their place.  It’s true that everything gets wrapped up rather too neatly at the end, but that’s a criticism that needs to be laid at Dickens’ door rather than Lingstrom’s.

Lingstrom was a fascinating character. She created the BBC Radio strand Listen with Mother in 1950 and shortly afterwards became Head of BBC Children’s Television. Watch with Mother was a logical development for television and Lingstrom, in partnership with Maria Bird, would devise two of the most enduring of all pre-school children’s programmes – Andy Pandy and The Flower Pot Men.  This adaptation was therefore an unusual entry on her CV (and also her final television writing credit).

It’s fascinating to observe how the production battled to transcend its limited production values (most notably the lack of studio space) and whilst it may feature a few broad performances from the minor players there’s little else to find fault with here.  With so little 1950’s BBC drama available, it’s very pleasing to see Our Mutual Friend released and despite the six-hours running time the story rarely seems to flag.  Highly recommended.

Our Mutual Friend is released by Simply Media on the 3rd of July 2017.  RRP £19.99. It can be ordered directly from Simply here.

Marda Vanne & Richard Pearson
Advertisements

H.G. Wells’ Invisible Man – Flight into Darkness

flight 01

On the eve of demonstrating the results of his groundbreaking research into electromagnetism, Dr Steve Stephens (Geoffrey Keen) disappears.  Brady, a close colleague, attempts to locate him before his work is appropriated by foreign agents ….

The first scene makes it plain that all is not well with Stephens – although Brady tells him how important his work is, Stephens seems subdued and non-committal.  And after Stephens is left alone he smashes up his lab and destroys his papers.  It has to be said that Keen does this in a rather half-hearted way – rather than acting in a mad frenzy, there’s almost an apologetic air as Stephens destroys various instruments and eventually manages to set fire to his papers.  Stephen’s fake-looking beard is a touch distracting (although this is addressed in a few scenes time after we see him clean-shaven, no doubt because he’s attempting to go incognito).

When Stephens doesn’t show up the following day, Brady steps in to demonstrate his work.  It’s certainly eye-opening – you’ll believe a guinea pig could fly – and the men from the ministry can quickly see the possibilities.  Eh?  The ability to levitate guinea pigs isn’t something which has many practical advantages, unless it could also be applied to men ….

And this is the crux of the story.  Stephens is a scientist interested only in pure research – the thought of his work being used in any sort of military or offensive context disgusts him (although it’s odd that he’s never considered this before – after all he’s been working in this area for five years).

Stephens’ research would naturally be of great interest to unfriendly powers, which means that foreign agents such as Wilson (Esmond Knight) are doing their best to obtain it.  Wilson, posing as a member of a peace organisation, attempts to convince Stephens that it would be better if his invention was shared with the entire world.  This is a familiar theme – if a scientist can’t be bought with money, then appealing to his peace-loving nature might just work instead.  To his credit, Stephens sees right through Wilson and even the attentions of Sewell (Colin Douglas) who’s armed with a nasty-looking cosh doesn’t change his mind.

Flight into Darkness raises some interesting points, such as the moral dilemma faced by scientists who risk having their discoveries misused, but there’s simply not the time to develop this in any detail.  The reason for Stephens’ sudden breakdown isn’t at all clear (it’s suggested at one point that Wilson’s earlier arguments had turned his head, but since we later see him reject Wilson’s request for the formula this can’t be so).

Wilson isn’t the most nuanced of characters and by the end of the episode he’s become a frantic, gun-waving heavy.  Stephens’ daughter Pat (Joanna Dunham) adds a touch of glamour as the damsel-in-distress who inevitably falls into the clutches of the baddies, but it’s not long before Brady turns up to rescue her, so only minimal tension is created.

The cast, as so often, can’t be faulted but this is pretty thin stuff.  A trip to Covent Garden market is one highlight from a pretty average episode.

flight 02