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“Welcome to Summer Bay”: Rewatching the early years.
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<blockquote data-quote="Spells &amp; Karma" data-source="post: 204129" data-attributes="member: 23"><p><u><span style="font-size: 22px">Episode 275</span></u> <em> (...continued)</em></p><p></p><p></p><p></p><p>This episode features a flashback scene in which Bobby walks around outdoors while we see flashes of various scenes from her relationship with Donald - most of them their clashes at school. Some are so short as to be subliminal, others a little more sustained and with dialogue. From Donald giving Bobby a 0% exam score to him awarding her Student Of The Year. The progress of their relationship is charted in a few soundbites. And its volatile nature could just as easily chart the ups and downs in Roo and Alf’s relationship. All of which serves to make Bobby and Donald a feasible father and daughter. Their relationship has already hit many of the right notes. We just didn’t realise it. As an aside, Bobby’s Season Two haircut pays off here. Even though most of the clips are from the last year, the haircut and school uniform serve to make them look vintage. Which helps give the relationship a visual sense of history.</p><p><img src="https://i.vgy.me/y9ZwAT.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>I must give a mention to Mike Perjanik’s beautiful piano score. This episode features some of his most painfully beautiful music. The scene between Bobby and Ailsa at the Simpsons is one that springs to mind as an example of the score taking it somewhere incredibly special. As is the final scene, where the score is again paired with Ysabelle Dean’s beautifully truthful dialogue (incidentally, I always “see” Charlie Bartlett when I think of Ysabelle Dean. I think her name frequently appeared over Sarah Kemp’s photo in the <em>Sons and Daughters</em> opening credits).</p><p></p><p>Perhaps for the first time in the entire series, Donald Fisher’s house is the key location for the episode. Specifically the ivory bricked exterior (we don’t actually set foot inside at all). The final scene completes the location-meets-story hat-trick in this episode. First there’s the scene with Ailsa where Donald becomes emotional over Bobby. Next there’s the scene where Bobby finds the bloody glass and responds with instinctive care for Donald. And we return to the brick for the final scene. After walking round, Bobby has ended up outside Donald’s. Rather than vitriolic blame, she seems at peace when Donald arrives home to find her there. The first time they’ve interacted since Bobby discovered the truth.</p><p><img src="https://i.vgy.me/aBJuIW.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/HIbuHH.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/5eI57j.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/SkU0sU.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/ByRGY7.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p>Both are weary. Donald bears the dressing that is testament to his earlier depth of feeling. He still wears the suit he first put on the night before, for Morag’s housewarming. Bobby wears the jacket and Joan Armatrading t-shirt she threw on after the eventful party, before she went over to Summer Bay House to overhear life-changing news.</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p><img src="https://i.vgy.me/c3Bgg2.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/ay0ehh.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p></p><p></p><p>She stands up:</p><p></p><p></p><p></p><p></p><p>He stands up and faces her:</p><p></p><p></p><p><img src="https://i.vgy.me/eksYNC.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/mWMclp.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p></p><p></p><p>She walks past him and begins to walk away:</p><p></p><p><img src="https://i.vgy.me/2R41nD.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/YBLt4w.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/kMjSH8.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/6OQGEK.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/tydCQL.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/t6ivLf.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/smzhaq.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/XRVszv.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.vgy.me/Y7kFoQ.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" /></p><p></p><p></p><p></p><p>At ten seconds shy of four minutes, it’s a long scene by the standards of the series. Nicolle Dickson does her wonderful Nicolle Dickson thing of looking vulnerable and breaking down with power and fragility, creating a connection with the viewer based on pure empathy. while Norman Coburn allows lots of space and reaches deep as Donald tries to connect with Bobby. Even more notably, there is no dialogue at all for the final minute. Instead, those sixty seconds are devoted to two characters wordlessly connecting, both afraid. And it culminates in their first father/daughter hug. The readings of the actors paired with Perjanik’s score make it one of the most beautiful scenes in the series yet.</p><p></p><p></p><p>#275 is a near-perfect episode for this era. It lacks the feeling of event of the last two episodes, and features fewer main characters. But there is an intimacy that runs through it, and absolutely no filler (helped by the absence of Lance, Martin and Leanne). Every scene is watchable, and some take things to the next level by evoking an incredible feeling of connection to the characters on screen. I’m confident this would make a top ten of my favourite series episodes, and could well be a contender for the top spot in my favourite Season Two episodes. No small thing.</p></blockquote><p></p>
[QUOTE="Spells & Karma, post: 204129, member: 23"] [U][SIZE=6]Episode 275[/SIZE][/U] [I] (...continued)[/I] This episode features a flashback scene in which Bobby walks around outdoors while we see flashes of various scenes from her relationship with Donald - most of them their clashes at school. Some are so short as to be subliminal, others a little more sustained and with dialogue. From Donald giving Bobby a 0% exam score to him awarding her Student Of The Year. The progress of their relationship is charted in a few soundbites. And its volatile nature could just as easily chart the ups and downs in Roo and Alf’s relationship. All of which serves to make Bobby and Donald a feasible father and daughter. Their relationship has already hit many of the right notes. We just didn’t realise it. As an aside, Bobby’s Season Two haircut pays off here. Even though most of the clips are from the last year, the haircut and school uniform serve to make them look vintage. Which helps give the relationship a visual sense of history. [IMG]https://i.vgy.me/y9ZwAT.jpg[/IMG] I must give a mention to Mike Perjanik’s beautiful piano score. This episode features some of his most painfully beautiful music. The scene between Bobby and Ailsa at the Simpsons is one that springs to mind as an example of the score taking it somewhere incredibly special. As is the final scene, where the score is again paired with Ysabelle Dean’s beautifully truthful dialogue (incidentally, I always “see” Charlie Bartlett when I think of Ysabelle Dean. I think her name frequently appeared over Sarah Kemp’s photo in the [I]Sons and Daughters[/I] opening credits). Perhaps for the first time in the entire series, Donald Fisher’s house is the key location for the episode. Specifically the ivory bricked exterior (we don’t actually set foot inside at all). The final scene completes the location-meets-story hat-trick in this episode. First there’s the scene with Ailsa where Donald becomes emotional over Bobby. Next there’s the scene where Bobby finds the bloody glass and responds with instinctive care for Donald. And we return to the brick for the final scene. After walking round, Bobby has ended up outside Donald’s. Rather than vitriolic blame, she seems at peace when Donald arrives home to find her there. The first time they’ve interacted since Bobby discovered the truth. [IMG]https://i.vgy.me/aBJuIW.jpg[/IMG][IMG]https://i.vgy.me/HIbuHH.jpg[/IMG][IMG]https://i.vgy.me/5eI57j.jpg[/IMG][IMG]https://i.vgy.me/SkU0sU.jpg[/IMG][IMG]https://i.vgy.me/ByRGY7.jpg[/IMG] Both are weary. Donald bears the dressing that is testament to his earlier depth of feeling. He still wears the suit he first put on the night before, for Morag’s housewarming. Bobby wears the jacket and Joan Armatrading t-shirt she threw on after the eventful party, before she went over to Summer Bay House to overhear life-changing news. [IMG]https://i.vgy.me/c3Bgg2.jpg[/IMG][IMG]https://i.vgy.me/ay0ehh.jpg[/IMG] She stands up: He stands up and faces her: [IMG]https://i.vgy.me/eksYNC.jpg[/IMG][IMG]https://i.vgy.me/mWMclp.jpg[/IMG] She walks past him and begins to walk away: [IMG]https://i.vgy.me/2R41nD.jpg[/IMG][IMG]https://i.vgy.me/YBLt4w.jpg[/IMG][IMG]https://i.vgy.me/kMjSH8.jpg[/IMG][IMG]https://i.vgy.me/6OQGEK.jpg[/IMG][IMG]https://i.vgy.me/tydCQL.jpg[/IMG][IMG]https://i.vgy.me/t6ivLf.jpg[/IMG][IMG]https://i.vgy.me/smzhaq.jpg[/IMG][IMG]https://i.vgy.me/XRVszv.jpg[/IMG][IMG]https://i.vgy.me/Y7kFoQ.jpg[/IMG] At ten seconds shy of four minutes, it’s a long scene by the standards of the series. Nicolle Dickson does her wonderful Nicolle Dickson thing of looking vulnerable and breaking down with power and fragility, creating a connection with the viewer based on pure empathy. while Norman Coburn allows lots of space and reaches deep as Donald tries to connect with Bobby. Even more notably, there is no dialogue at all for the final minute. Instead, those sixty seconds are devoted to two characters wordlessly connecting, both afraid. And it culminates in their first father/daughter hug. The readings of the actors paired with Perjanik’s score make it one of the most beautiful scenes in the series yet. #275 is a near-perfect episode for this era. It lacks the feeling of event of the last two episodes, and features fewer main characters. But there is an intimacy that runs through it, and absolutely no filler (helped by the absence of Lance, Martin and Leanne). Every scene is watchable, and some take things to the next level by evoking an incredible feeling of connection to the characters on screen. I’m confident this would make a top ten of my favourite series episodes, and could well be a contender for the top spot in my favourite Season Two episodes. No small thing. [/QUOTE]
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“Welcome to Summer Bay”: Rewatching the early years.
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