"Some obligations can't be passed on": Watching A Place To Call Home

[Mel O'Drama]

Episodes Nine and Ten... continued​

These ten episode seasons are a curate’s egg for me. By necessity, a lot happens in each episode and the end result is that the series can feel overly condensed. I’m able to work the timelines out in my head and rationalise that ten weeks for us (five or six days at my average viewing rate) is a year’s worth of episodes, and perhaps six months for the characters. The Eighties Prime time series had three times longer to tell their story per year. Sons and Daughters had perhaps nine or ten times the screen length of PCH per year, and even that could get quite fast-moving sometimes. All things considered, PCH uses its time extremely well to balance character and event.

As things get soapier, the lack of hours per season is perhaps more noticeable. It’s exciting at times, and the seasons are too short to fatigue. So it’s not necessarily A Bad Thing. But some of the “twists” - which are coming thick and fast - are starting to feel a little too predictable and familiar and this risks certain storylines becoming a soap trope box-ticking exercise rather than a genuinely creative one.

This is particularly true of anything involving Regina, where all subtlety is pushed aside in favour of cliché after cliché. Rare is the Reggie scene in which she does something original. The character’s raison d’être would seem to be to pay homage to the acts of earlier soap divas - Alexis Carrington, most notably; but also Pat The Rat; Katherine Wentworth and Abby Ewing. It’s as fun as it sounds. And it works, of a fashion. But she has no USP. Nothing that makes her unique or fascinating.

I do feel Regina’s increasingly permanent presence is to the detriment of the series. While her actions may be interesting and even consequential, the character herself is flat and vapid because she herself brings very little that we haven’t seen done before (and usually better). It’s soapy karaoke.

I can understand that the reasons I struggle with the character are the very same reasons other viewers may love her. Indeed, I’m sure there are some who tuned in to see what classic soap bitch moment Regina would cover that week.

I do enjoy the character and the occasional moments of arch bitchery, but when they become so central to the series that it edges out “weeds round the doormat” moments that allow me to feel and connect with characters in a way that’s subjective and special it becomes a cause of resentment. Especially now it’s no longer balanced out with Polsens, Polettis; Walkers and Goldbergs.

In general, I think I’m experiencing the law of diminishing returns with this series. Fortunately, it’s incremental, and the series overall is retaining original cast members and an overall sense of creative focus and cohesion. So long as that remains, so will my interest.

 

[Mel O'Drama]

Season Four



Episodes One to Four





Bevan Lee’s presence was sorely missed during the Third Season. But redemption has come in this first third of the Fourth Season, with Bevan writing every moment. Already, it feels rich, exciting and positively moreish.

The weight of the series feels nicely balanced; from dark drama to light humorous touches; and from clever nuances to rousing moments that make the audience want to stand up and cheer. Each episode feels carefully structured, and with a confident sense of direction.

The art of the cliffhanger is generally about hoaxing the audience into believing that something terrible could happen to one of its lead characters: if not sudden death, then certainly life-changing repercussions no matter what. The opening scene deals with the aftermath of the cliffhanger in a playful way by having Roy, Doris and Jack watching a coffin loaded onto a train, talking about the terrible tragedy that’s happened to her, and how sad it is that she would take her own life. Doris says a little prayer. The men join in, and then Sarah walks up behind them and says “Amen”.

Now, seeing the coffin confirmed my switched bottles theory (or, as it has been revealed in numerous flashbacks, a wayward label after Regina knocked the labels to the floor and hurriedly put them back in wrong place). And I was fairly sure Sarah was going to materialise as a “surprise” reveal. And I’m happy to let the series have its little playful moment, since it fairly quickly caught up to confirm the inevitable. I can’t imagine many viewers were shocked by seeing Sarah (particularly since, as someone reminded me afterwards, Sarah can’t die since we’ve seen her alive and well at Ash Park in 2013).

However, it does raise more pertinent questions: who is in the coffin (dialogue has already told us it’s a young teacher); and - crucially - will Regina get away with her murder attempt. Incidentally, this raises another question: since Regina intended to murder someone other than the person who died, does this make her accidental victim a case of manslaughter rather than murder? Perhaps it matters not, since a young woman is dead.

The teacher, we learn, was Milly Davies. And she was apparently despondent because her long-distance engagement was called off. And so her death is widely accepted to be suicide. Sarah somehow ends up teaching at the school to cover until a replacement teacher may be found. And her spider-sense is quickly tingling about the suicide. Through reading what the young pupils wrote about Miss Davies’s love for them she deduces that it didn’t ring true that Milly would kill herself in the classroom where her body was likely to be seen by her pupils. Then she learns from a pupil that Milly seemed very happy after reading an airmail letter. On reading it, she realises that the engagement was back on, which removes her motive for suicide.

From then, it only takes a throwaway comment from Doris Collins about Regina’s visit for the pieces to fall into place. This leads to the season’s first example of the episode’s tension coming to an exciting head with a confrontation on the cards. Sarah asks Roy if she can borrow the truck, and she speeds towards Ash Park in the dark as Michael Yezerski’s tense underscore reaches a stirring high.

As the episode draws to a close, she is announced to Regina and the two are left alone to glare knowingly at one another in the lamplight:

To what do I owe this displeasure?

I’m curious. How does it feel to be a murderer?

Naturally, as the next episode commences Regina is on the attack as a means of defence. Though not before Sarah saw the flicker of fear in her eyes which confirmed what she knows to be true.

Fortunately for Regina, she has the new local copper - Sergeant Brian Taylor - in her pocket. One gets the sense that Taylor is, in fact, Season Three’s Sergeant Eddie Franklin in all but name. He certainly shares his outlook towards Jewish people and communists, which Regina is once again happy to exploit (she even loans him her complete dossier on Sarah). Bevan Lee has already fleshed out Taylor’s character with a backstory that’s seen him transferred to Inverness after an incident in which he beat a suspected communist half to death.

So Sarah’s accusation gets reframed as a communist plot, designed to destroy George’s campaign. It’s all terribly convenient. But at the same time, it satisfies as an explanation for why Regina - for now at least - might get away with murder. Better yet, Bevan has taken it a step further. With Regina’s suggestion that Sarah might have poisoned Milly to frame Regina, Sarah re-enters the role of the persecuted. And Taylor’s digging into other recent mysterious events has invoked a ghost which seemed to have been laid to rest, when Taylor asks her about her involvement in Bert Ford’s disappearance.

continued...​

 

[Mel O'Drama]

Episodes One to Four... continued

​

With Bert Ford a hot topic once again, it’s pleasing that Bevan Lee has written two members of an absent family back into the series.

First, Sarah and Roy pay a visit to Eve Walker. They find the police have beaten them to it, but Eve assures Sarah she told them their accusations were “bullshite” and sent them backing. Taylor - not knowing of Sarah’s visit - later tells her that Eve warned the police about Sarah. It’s great to see Eve in her new life, albeit for one short scene. The street of tiny terraced houses that she now calls home is very humble, but full of atmosphere. I particularly liked the older man in the next house sitting outside in the sun on what looked like an orange box and enjoying his tobacco. He was only shown in a long shot and didn’t speak or interact with anyone, but you can be sure he knows everything that goes on around there. I wonder if it will lead to anything?

Eve mentions her family shame to Sarah, leading Sarah to visit Harry Polsen in hospital. He’s been beaten to within an inch of his life over his sexuality and it’s clear that Eve has disowned him. With Amy “in service” (as we learn in a throwaway line of dialogue from Sarah) and the hospital staff treating him terribly because of the stigma attached to being the victim of such a hate crime, he has nobody.

All of which leads Sarah to arrange his transfer to Inverness. An action which, she’s reminded more than once, is likely to make Sarah unpopular with George and Elizabeth. I’m sure there are long-term plans for Harry with gay triangles and whatnot. None of which, at this moment in time, seems as interesting as Harry’s current relationship with Sarah, in which her rescuing of him is influenced by René being stuck in a hospital for eight years with similar injuries and nobody to care for him.

Since Harry's staying with them, Sarah has told Roy about Harry being gay. And if that didn’t shock him enough, she’s also told him about Harry’s relationship with James.

Bevan Lee has also wasted no time in getting back to basics with James and Olivia. With George requesting Olivia lives at Ash Park for the duration of the election (and beyond, should he be successful), Lloyd has been despatched to London, leeching money from Olivia in order to do so, as quickly as he returned. While James’s billing and cooing with Henry has been mercifully minimised. There was already trouble in paradise when Henry introduced James to his gay friends whose friendship is based on leaping on top of one another while wearing very little (in response to James’s doubts about the situation, Henry said he wouldn’t have had to frolic with his ex-lover if James had “deigned” to join them).

Elizabeth has worked out about James and Henry’s relationship, and discussed the matter from her hospital bed with Henry then James. In a great example of Bevan Lee’s writing efficiency, another throwaway line of dialogue revealed that Elizabeth’s life was saved after her heart attack when she managed to pull the phone down.

George, meanwhile, is newly assertive this season, his family-mindedness more focussed and more forceful. He demanded that James develop a backbone in order to fight for George because he’s “blood”.

With a potential custody battle for Baby George, Olivia has reflected on the meaning of truth:

We’d all buckle under the weight of that.

But has decided she owes the family the truth. And in this short space of time the truth is out about Baby George. Actually, with pretty minimal damage. James is incredibly sad about the situation, but loves George as much as ever. Which has won Big George over.

Despite her poor health, Elizabeth has been nicely busy. She’s also given me the biggest belly laugh of the season so far with a little quip on her return to Carolyn’s contemporary apartment after leaving hospital:

Be it ever so garish...

Despite Carolyn’s reservations, Elizabeth has helped Anna speak to Sir Richard to help with advice about publishing (the publishers who had expressed an interest weren’t interested in the “dago” aspect of her book). But, sensing Carolyn’s increasing unhappiness, Elizabeth eventually pulls the truth from her.

So armed, and having watched Regina and Richard manipulate George into inviting PM Menzies and his wife to Ash Park, Elizabeth decides the night of the PM’s visit will be the night she returns home. And she must arrive at Ash Park at 18:30 in order for her return to have the maximum effect.

continued...​

 

[Mel O'Drama]

Episodes One to Four... continued​

The fears of communist plots and the PM’s visit to Inverness have come together in a most satisfying way.

When Sarah was driven out of the school due to a petition by parents, Jack and Doris organised a counter petition, which has been held by Brian Taylor as a list of potential communist agitators. This puts Jack, Doris and Roy in his target:

You backed the wrong horse

Better than a bob each way on a mongrel.

Regina asks Taylor to ensure left wingers are kept away from the grounds during the visit. Doris is shaken when - being first to arrive at the gates of Ash Park to wave her flag - she is intimidated into moving by Taylor. And she’s horrified by the implications of her being on such a list:

Me? A pawn of Moscow?

Doris continues to be a gem. In another conversation we learnt her cat’s name when she commented how she feared for her Tiddles.

In a nicely satisfying twist, George had earlier seen and spoken to Doris at the gate. He is surprised she’s gone, and none too pleased to learn that Taylor had driven them away at Regina’s command. In addition, he learns about the petition, and so about Sarah’s harassment. So the new, assertive George first puts Taylor in his place, and then speaks to Regina:

Play the role we agreed. But do not presume to play me.

Regina was one of the weakest aspects of Season Three for me because of her arch scheming which lacked substance and - worse - consequences for the schemer. It’s of importance that the audience sees the soft, vulnerable underbelly from time to time. Otherwise it’s just a silly bitch doing nasty things. Bevan Lee gets this and embraces both sides. Regina’s been scheming for all she’s worth this season, and she’s still suffocatingly clingy with George. But now she’s surrounded by people who are intelligent enough to see at least some of what’s going on.

This has been reinforced by the extended Bligh family in particular. Gino, Carolyn and Anna have seen through her scheme to suggest Gino’s infidelity by sending Rose for Italian lessons with him while Anna was away. Gino paid a visit to tell her it wasn’t working, while Carolyn simply called her a “bitch”. Regina later summoned Anna and Gino to remind them she’s now mistress of Ash Park and has influence with George, and threatened to oust Anna from his affections. On the evening of the PM’s visit, Anna commented:

If you weren’t so pathetic you’d be laughable.

This got Anna a rather nasty looking slap and a faceful of screaming Regina.

Just as Regina is leading her guests in to dinner, Elizabeth arrives home. Right on time. An extra place is set, but Elizabeth simply sits at the head of the table, opposite George. What’s more, she suggests that Olivia should sit next to the PM, thus relegating the livid Regina to the centre of the table.

She further undermines Regina by poo-pooing her suggestion of segregating genders for after-dinner chat, insisting everyone should stay together. Though she does take a few moments alone with Sir Richard. When he leaned in and smirked, I expected another face slap. But Elizabeth pleasantly surprised me and stabbed his hand with a fruit knife, giving him a trip to hospital. Later on, there’s a lovely moment where Carolyn realises what has happened, clearly appreciative of Elizabeth’s support. Elizabeth cries, feeling bad about the time she and Carolyn missed, but they hug and all’s well.

Back at Ash Park, Regina - having taken a few too many sips of George’s morphine - slips out to him that she knows about his and Sarah’s “bastard”. Again, it’s incredibly cathartic as a viewer to see all the aces she holds begin to fall from her sleeve. This prompts George to instruct everyone to attend a family meeting at 8am (8am!!?!) the next day.

The family summit is very Christiesque, as George addresses the key issues one-by-one. Anna and Gino get his financial support for their vineyard. Carolyn gets his blessing on her new engagement to Jack. He speaks about the upcoming divorce - the first ever in the Bligh family - and hopes James and Olivia can remain friends.

Naturally, it’s Elizabeth and Regina that get the big guns.

He reminds Elizabeth she is welcome at Ash Park, but she is not its mistress and if she tries to resume that role the resentment between them may reoccur.

But he also tells Regina in front of everyone that she is not mistress of Ash Park and they are married in name only. And he banishes her from the main house to the guest cottage which he feels will make his home more harmonious.

And if that’s not enough, after turning to leave he pauses and then announces to the entire family that he is the father of Sarah’s baby, and anyone who interferes will pay the price.

The fourth episode of the season is essentially about big changes in the status quo. Payback and truth. And it hits all the right notes.

 

[JamesF]

I do feel Regina’s increasingly permanent presence is to the detriment of the series. While her actions may be interesting and even consequential, the character herself is flat and vapid because she herself brings very little that we haven’t seen done before (and usually better). It’s soapy karaoke.

I can understand that the reasons I struggle with the character are the very same reasons other viewers may love her. Indeed, I’m sure there are some who tuned in to see what classic soap bitch moment Regina would cover that week.

I'm certainly somebody who fell into this camp (pun intended) and have been really interested in the fact that you've been quite ambivalent about the character from very early on (though don't want to put words in your mouth!). This is a flip example of René where a rewatch may make me see her in a different, less interesting light. Going back to when I saw these seasons, I think I was shocked by her absolutely revolting belief system while also being determined to see how/if she would get any form of comeuppance. I think it was also peoples' reactions to her as opposed to the character herself that drew me in. I certainly didn't enjoy her in the way I did Patricia Hamilton - there was no obvious vulnerability.

She further undermines Regina by poo-pooing her suggestion of segregating genders for after-dinner chat, insisting everyone should stay together. Though she does take a few moments alone with Sir Richard. When he leaned in and smirked, I expected another face slap. But Elizabeth pleasantly surprised me and stabbed his hand with a fruit knife, giving him a trip to hospital.

One of my absolute favourite moments of the entire series. Again, it's been years since I saw it but I recall finding it shocking in the best possible way.

 

[Mel O'Drama]

I'm certainly somebody who fell into this camp (pun intended) and have been really interested in the fact that you've been quite ambivalent about the character from very early on (though don't want to put words in your mouth!)

Yes. Regina's first episode was stunning. I loved the way her true nature was revealed to the audience. But nothing she's done since has had the same impact as her anti-Semitic comment to Sarah during their first meeting.

I must stress I enjoy the character. She's fun to watch, and Jenni Baird looks absolutely perfect for the role, even though I find the character a little cartoony and feel the tone of the series changed with her arrival (very much like with Alexis on Dynasty, which I suspect was the intention). But I liked the tone during the pre-Regina episodes, and I haven't felt quite the same connection since.

I think it was also peoples' reactions to her as opposed to the character herself that drew me in. I certainly didn't enjoy her in the way I did Patricia Hamilton - there was no obvious vulnerability.

Agreed. The responses to the situations she creates are what makes the character worthwhile to the series. There have been a couple of nice meltdowns in Season Four, where it's apparent she loves George (or thinks she does). And she's now morphine-addicted, which I'm hoping may show some much needed vulnerability, or at least some new facet to the character.

One of my absolute favourite moments of the entire series. Again, it's been years since I saw it but I recall finding it shocking in the best possible way.

I had to double-take. It all happened so quickly, which is quite real, I suppose. It wasn't until I saw the blood gushing that I was certain what had happened.

 

[Mel O'Drama]

Season Four
Episodes Four to Eight



Well, Season Four is in many ways the most watchable yet. I’ve watched two thirds of the entire season in the course of a weekend, which is as close as I’ve got to binge-watching this series (something I generally make a determined effort not to do, as it can dilute the impact of each individual episode). As I said last time, Season Four is moreish, and seems designed to be just light enough that overindulging doesn’t spoil one’s enjoyment.

Perhaps it’s this pace that’s made Carolyn and Jack’s wedding come round incredibly quickly. To the point that I was taken aback to find we were at the church door with Carolyn in her wedding dress.

The rape storyline has seen the onscreen violence escalate. First with Elizabeth’s old testament retribution-by-blade, and now with Jack giving Sir Richard a sound beating, with both spitting blood. Best of all, it was preceded by another Elizabeth/Richard scene which was full of tension. And with the plan hatched ahead of time, the whole time was spent waiting for Elizabeth to ring the bell for reinforcements.

Douglas’s return was a delight. It’s good to see Elizabeth get some happiness, despite her reluctance to contact him over her fear that she’ll hurt him since she might die at any time. I loved the little scene in which she mumbled to Carolyn that it would be up to Carolyn if she wished to invite Douglas to the wedding. It was done in such a prideful Elizabeth way. And the scene where he announced his return by playing the piano was beautiful (it was a nicer surprise for me, since I thought at first glance it was going to be Sir Richard taunting her).

Bevan Lee writing seven of the eight episodes so far has very much helped to feel a sense of cohesion to the stories. Episode Four of the season was up there with the very best of the 40+ episodes so far. Sometimes it’s far more difficult to “recover” from a great episode than a poor one. Expectations are raised, natural peaks have been hit. There’s the risk of things feeling flat. Not so here. There’s some resonance from the fallout and the changes, but also a nice sense of a series going about its business. It’s neither resting on laurels nor trying to outdo itself, but simply continuing to move forwards organically.

Regina and Taylor have now called in Flying Officer Gordon Walsh - Milly’s fiancé and a member of the armed forces - to exact “justice” on Sarah. Again, it’s showing Regina’s ruthless side. In enlisting Taylor’s support, she spoke to him of Milly’s agonising death, which - of course - she herself had caused. Oh, and she also gave herself to Taylor in her hotel room - the banging headboard intercut with scenes of Carolyn’s wedding.

Walsh was stopped from shooting Sarah, first by Doris Collins’s interruption and then with his realisation that Sarah was pregnant. Another aspect which shows how sick Regina and Taylor are.

Sarah and George are now more openly moving towards romance. Not even the reveal of Harry Polsen living with her has spoilt things, though it did mean a temporary setback in Sarah and Elizabeth’s relationship when the latter wanted Harry gone. There was also a blindingly good Olivia scene in which she raced by horseback to try and shout Harry from Inverness, which makes perfect sense given how protective she is towards James.

Harry’s emerged as an interesting character. Perhaps in large part due to the fact that most of his interactions are now with Sarah and Roy. Marta Dusseldorp has a way of drawing rich new energy from those with whom she interacts closely, and that’s definitely the case here.

Harry’s pain at seeing James so happy with Henry - exacerbated by James having blocked him completely from his memory - is touching. As was his willingness to consider leaving town for James, and his bravery at facing George, Elizabeth and Olivia together to make his feelings and intentions clear. There’s a great nobility to the character, which is far beyond what we saw during Season One.

There is a fly in the ointment (or technically, a frog in the throat): Henry Fox. On paper there’s lots to like. Facially he has the right look for the series, and as I’ve said before I like that his face has that “lived in” look that makes him look accessible, wise and older than his years. When he’s in period dress and says very little he’s perfect. He’s also addressed an earlier criticism of mine that nobody smoked in the show. He smokes a great deal, in fact (as now does James, thanks to Henry’s influence).

But, I’m struggling with this character, which I think is largely down to the actor. I suppose with him looking so right for the series, it’s all the more disappointing that he has too many distracting foibles. There’s the physique, of course. I can’t believe a doctor in 1950s Australia would be so ridiculously, self-obsessively toned (and as previously mentioned, Henry’s not alone in that). Then there’s the speech. The delivery is frequently too rapid, and there’s usually Kardashianesque vocal fry which is beyond irritating (would a grown, professional man really have spoken this way).

With Season Four, he seems to have a new “thing”: a loud, self-conscious hacking/throat-clearing/grunt sound that he does in most of his scenes. Usually just once. But it’s enough. I’m not sure if it’s something the actor is doing unconsciously (perhaps it’s a consequence of the chain-smoking and vocal creak) or if it’s done deliberately, either in an effort to convey some emotion, as an attempt to sound “natural” or even to mark his territory. Whatever the case, it’s certainly spoiling my viewing pleasure. And I can’t imagine it’s much fun for the sound department.

It’s all the more depressing because it seems the character’s here to stay. The Blighs all love Henry. I wish I could

Apart from his profession, I’m curious about why Henry has been welcomed so completely while Harry has been written off so quickly by the same people as someone who could genuinely be right for James. In terms of story, I can understand the Blighs viewing Henry as a better prospect, since he has some status and he knows the right things to say to impress them. It's the same reason why Andrew Swanson seemed a better prospect for Anna than Gino. But at the back of my mind is that Harry might well care more deeply for James than Henry does. And Harry just might make James happier.

 

[Mel O'Drama]

In more general comments, I just want to say that I'm very, very impressed with the ongoing quality of the series in terms of production value. When we entered Season Three, I knew the series had been dropped by Seven and moved to a channel that had one tenth of the viewership. And so I was prepared that it might be more cheaply produced. But - apart from the culled cast members - I've seen nothing to indicate this is the case in the look of the series. So I just wanted to share some love for that.

I've now invested in the Season 1-5 soundtrack CD and am thoroughly enjoying hearing Michael Yezerski's score. So far I've only listened to the first disc, since the second goes up to the end of Season Five and I'm wary of spoilers in the titles. But once I get to the end of S5 I fully intend to throw myself into listening and reading about those tracks, as well as filling in the gaps with some additional tracks which are available digitally.

 

[Willie Oleson]

Regina and Taylor have now called in Gordon Walsh - Milly’s brother and a member of the armed forces - to exact “justice” on Sarah. Again, it’s showing Regina’s ruthless side. In enlisting Taylor’s support, she spoke to him of Milly’s agonising death, which - of course - she herself had caused. Oh, and she also gave herself to Taylor in her hotel room - the banging headboard intercut with scenes of Carolyn’s wedding

So now she's also Ashton Main.

 

[Mel O'Drama]

So now she's also Ashton Main.

She's every woman. It's all in her.

Including Lucrezia Borgia.

 

[Mel O'Drama]

Season Four
Episodes Nine and Ten




Despite her pregnancy being revealed back at the beginning of Season Three, Sarah going into labour was something of a surprise. Perhaps because it was filmed in a surprising way: the different stages were shown in montage, to the ebullient sound of The Chordettes singing Mr Sandman.

It occurred to me that - assuming the outcome went well - Sarah’s would be the first successful pregnancy of the entire run. Both Anna and Olivia miscarried at different stages. The birth struck the right balance, looking (to my admittedly untrained eye) realistic, while stopping short of fatiguing or sickening the viewer. Marta Dusseldorp was as note-perfect as you’d expect, with not even a hint of vanity. I suppose the same could be said for Sarah herself, since Jack presided over the birth, which strikes me as just a tad awkward for these colleagues, friends and now potential in-laws.

Thanks to what appeared to be an animatronic baby, the drama was able to continue after the birth when the baby wasn’t breathing. The focus being on the baby’s absence after he was removed, and the lack of information coming her way, Marta was able to sell the anguish and fear of this story through Sarah’s weary eyes. With the baby her primary aim, she was able to go to obsession and anger. It was both ugly and heartbreaking to see her pushing concerned friends away - including George himself, whom she chastised for visiting and pointedly told that the baby would be Nordmann on the birth certificate.

Her anger towards “Ash Park Incorporated” highlighted her fears that her baby, should he survive, would be viewed as a rightful heir to the estate and all it entails. As she tells Roy, it’s the reason she’d hoped for a girl.

With this in mind, it was interesting to watch Elizabeth in genuine turmoil when hearing about the baby’s fragile condition. She frets over whether or not she should break her promise to Sarah to contact George who is in Canberra with Regina. It’s Carolyn who keeps her from the phone, reminding her that a promise is a promise. And it’s Douglas who helps distract her. Oh - I’m loving Douglas. He’s a wonderful addition to the ensemble. And hopefully a permanent one now that Elizabeth has just accepted his proposal of marriage.

Likewise, when George is eventually called, Elizabeth goes to the hospital herself to try and explain to Sarah. Not a good idea given Sarah’s state at that moment. And when George tells her that Sarah plans to name the baby Nordmann, Elizabeth fully understands that it will be better for the child not to be stigmatised as “a bastard”. She briefly balks at the idea of the baby being raised in the Jewish faith, but seems to accept even this quite quickly.

The baby turns a corner, and Sarah chooses the name David, after her brother whose death brought her back to Australia and into the lives of George and all at Inverness. And she eventually makes her choice about the surname. We see Jack look at what’s written on the certificate. And we later see George’s reaction to the certificate when Jack shows him. But we don’t see the all-important surname. And while it may not have been too surprising, it’s still a lovely moment when George comes to Sarah at golden hour, by misty water that - if I’m not mistaken - is the place they had their picnic on their first proper date.

David Bligh.

How could I love you and deny you that?

The baby's forenames, by the way are David Chaim. Which means "Beloved Life". It's so perfectly appropriate for both he and Sarah given events up to this point.


It looks like Baby George will have both his parents around for a while. With Olivia’s discovery that Lloyd is “a roué”, she’s now staying in the country.


The baby news isn’t so good for Anna and Gino. As she told Carolyn at the wedding, Anna may not be able to carry children, which is something she’s kept to herself since being informed after her miscarriage of three seasons ago. A visit to the city confirms this. And Gino - from a faith in which large families are the norm - is finding it very difficult. He eventually blows a fuse and highlights the dysfunction of the family he’s married into:

I’ve had it. It’s always something, Anna. Some plot. Some scheme. Some lie. Use Rose - who cares? A baby dies? You buy a new one. Someone’s poisoned? Forget the cops - let’s do it ourselves. Your family is sick. Now you can’t even give me a son, what’s the point?

You don’t mean that.

Yeah. I do. What is the point?

It’s always refreshing to see a character suddenly highlight the dysfunctional nature of the necessarily dramatic world they inhabit. Somehow acknowledging it it makes it more truthful. And when Bevan Lee does it, it’s exciting.

continued...​

 

[Mel O'Drama]

Episodes Nine and Ten... continued​

Gino’s not wrong about the collusion in the family. Something that’s been tremendous fun this season has been the excitement of seeing the family work together, hatching schemes to set right that which they feel is wrong. This has resulted in three memorable and explosive sequences, each taking place at Ash Park.

The first, of course, was the PM’s dinner party in Episode Four which saw Regina firmly upstaged and Sir Richard stabbed. The second was Sir Richard being lured to face vigilante justice, orchestrated by Douglas, Jack and Elizabeth.

The third comes at the end of Episode Ten, appropriately named And The Blind Shall See. Once again it’s penned by Bevan Lee, and it sees the fruition of a scheme hatched by Elizabeth and Sarah for which they enlisted Anna’s help. With Anna’s first book rejected, Elizabeth and Sarah persuaded her to write another roman à clef, House Of Lies: a story about a woman who poisons a tonic intended for a pregnant woman, but which ends up being drunk by a librarian.

The intent is to force Regina’s hand. They know they can’t go to the local police, so their argument is that if the book creates a scandal and results in legal action, not only would the truth about Regina be out, but higher authorities would become involved in investigating. Whatever the outcome, Regina’s reputation would be ruined. Particularly since Elizabeth intends to put the right words in Prudence Swanson’s ear.

On George and Regina’s return from Canberra, Elizabeth welcomes her and insists she’s moved into the grey room in the main house so they can start afresh. Regina knows something is being planned, but not what.

Next, dashing Douglas persuades Regina to go out riding with him. Again, she knows there’s something behind it, but decides to go - presumably so she can attempt to manipulate him into thinking she’s the innocent. While this is going on, Elizabeth insists that George reads key passages from the manuscript. He’s furious. But not at Regina:

This is a vicious exercise in character assassination. You’re telling me that Regina killed the young Davies woman in trying to poison Sarah. And you’ve said nothing until now.

We had no proof to offer. And that is exactly why we waited: to be able to bring you that proof.. We have spent months preparing this. “We” very much includes Sarah.

We’re not privy to what’s said after this. But the plan moves on to the next stage. Anna and Carolyn make sure Rose overhears them discussing the manuscript and saying how it could destroy Regina. As predicted, Regina goes to Elizabeth’s room and starts reading it. After a while, Elizabeth times it so that she “discovers” Regina in her room:

This explains your welcome, you hypocritical old hag. This is what that little bitch was doing in Italy. Penning a catalogue of lies… It’s a filthy, scurrilous slander. And I will sue Anna and any publisher who touches it.

Oh, please do… The stronger your reaction, the greater the conjecture. You may have Sergeant Taylor under the thumb, but sufficient fuss could see an investigation at levels well above his.

Has George seen this?

He will. Soon enough.

Regina grabs the seated Elizabeth and starts screaming.

If he reads this - if anyone does beyond your malicious inner cabal - I will reveal every sordid truth I know. Your grandson and his sodomite surgeon. Olivia, the adulterous whore. And George’s bastard. Speaking of which, infant mortality rates are such a concern. If you’ve killed once, you can kill again.

Not even you would hurt a child.

The Jew’s brat? With pleasure.

Regina demands every copy is handed to her and leaves Elizabeth “alone”. It’s not the most surprising moment when the shaken George appears from his pre-arranged post in Elizabeth’s en suite. All the same, it’s hugely satisfying because of how completely she had managed to hide this side of her persona from him. The writing was intelligent enough to play out on two levels: some may watch and be surprised by the “twist” of George appearing, while the rest of the audience would enjoy the thrill of anticipation and revel in the fact that George might well be listening. There’s even a degree of suspense, because it’s not an absolute certainty. It’s the only way to play it, but a lesser series might have made more of a big deal of him appearing, or even shown him listening throughout. Neither of which would have grabbed the audience in the same way.

The plan, of course, involved a great deal of contrivance. It involved prediction of people’s behaviour and responses to the nth degree. Something could have gone wrong at any point: What if Rose hadn’t told Regina until some time later? Or at all? What if Regina hadn’t sneaked into Elizabeth’s room straight away? What if she’d chosen to take the manuscript away to read? Oh - and there's the small matter of Anna completing the hefty manuscript in what seems like weeks. It’s all very convenient. But I can forgive anything when it’s this headily exciting and cathartic. The plot may have stretched it, but the dialogue was everything.

At the cottage, Regina burns every copy she’s given while supping the morphine to which she’s now addicted. But it’s too late. Rose read a little of one of the copies left on Regina’s bed, pointed out by Elizabeth as containing Regina’s true nature. And Elizabeth didn’t mince her words in addressing Rose’s collusion, which is now an open secret:

You should be out on your ear with no reference.

Rose now looks afraid of Regina who is working hard to keep her on side.



Meanwhile, George is pretending to be fooled to protect his family while lulling Regina into a false sense of security:

She’s played me. I need to stare that truth in the face. And see her where she belongs.

With just two episodes left of the season, I’m expecting Very Big Things. I have a few ideas of where it might go. But I hope for a surprise or two along the way.

 

[James from London]

Just received my box set! Now I just have to figure out when to watch it ...

 

[Mel O'Drama]

Just received my box set! Now I just have to figure out when to watch it ...

How exciting.

As Elizabeth said: I'm aglow with anticipation.

 

[James from London]

As Elizabeth said: I'm aglow with anticipation.

To think that one day, maybe very soon, I'll know what she meant ...

 

[Mel O'Drama]

To think that one day, maybe very soon, I'll know what she meant ...

...And who the heck she is.

 

[Mel O'Drama]

Season Four
Episodes Eleven and Twelve





The two extra episodes have been most welcome. Even flying through the season as I have, the extra space has given a little extra room for plots to breathe.

As with Season Two, the penultimate episode could very well have served as the season finale. I said I expected Very Big Things of these last two Season Four episodes, and it has mostly delivered.

In particular, I’ve enjoyed the writing around Gordon Walsh. The character at first seemed like a one-dimensional pawn in Regina’s game. Almost a MacGuffin. Even his first on-screen appearance seemed a little silly: he showed up in full regalia so we knew that he was a genuine Flying Officer. But he’s based in Malaya, so would he really have been required to wear his uniform in Sydney?

Anyway, he initially came, got drawn in, almost shot Sarah and left. Then he dramatically returned at the end of Episode Ten. My money was either on him accidentally shooting the wrong person or firing at the wrong moment and creating a hubbub which allowed something else to happen.

Or, I anticipated he may realise he’d been betrayed by Regina and end up a suspect in some kind of Who Shot (or Killed) Regina? cliffhanger. With her garnering so many enemies through the season, and reaching a natural peak in her arc, that kind of storyline seemed almost a shoo-in as it would leave most of the key characters in the firing line as suspects, and there were plenty of secondary characters who could turn out to be the actual gunman (or woman).

We’d only really seen Gordon through the eyes of others. Roy had earlier confronted him when Harry had seen Gordon stalking Sarah. And Gordon seemed none-too-friendly. It’s not difficult to envisage this organically escalating into a thrilling-but-slightly-cartoony Colonel Bainbridge type situation, with Gordon reaching breaking point and subjecting Sarah to a chase at gunpoint. Since Gordon’s fiancée was murdered, there’d be some justification to his actions.

However, I appreciate that he’s been shown to be conflicted, right-motived and complete as a character. His thought processes have been shown to be as logical as they can be, given his understandable initial bias. And he’s had limits where Regina and Sarah haven’t. He had to be convinced (through lies) that the judicial system had failed him and Milly. And that vigilantism was the only way to get true justice. He was wracked with guilt on realising he’d almost killed someone he hadn’t realised to be pregnant.

In the event, Gordon put the pieces together about Regina after staking out and watching Sarah’s activity for several days, and seeing only members of the respectable, non-communist Bligh family visiting. He even spoke to Sarah herself, which only served to make him more suspicious of Regina’s story. Which in turn led him to challenge Taylor with his evidence.

It’s Gordon’s heart that effectively defused Regina’s murderous scheme. In these last two episodes particularly, he’s become a living, breathing character who has found his own redemption not through violence but in making things right. When he began to realise his mistake, he took it upon himself to approach Sarah and Roy, telling them what he had almost done in the hope they could shed light on it.

Leigh Scully particularly shone in his final episode, during a scene in which Sarah gave him the children’s textbooks where they’d written about their love for Milly. I suspect it’s not easy to pull off overcome with emotion, particularly in the intimidating situation of working with established lead characters. But it was a truly beautiful scene. And Gordon’s willingness to testify, despite the risk to himself from telling the truth, solidifies him as a very noble character. It’s a shame his arc on the show has reached an end just as we fully got to know him.

After his conversation with Gordon, Taylor himself started to see that he, too, had been played by Regina (incidentally, the term “play”, meaning “to make a fool of” has been used this way a number of times this season. It sounds very contemporary to my British ears. But maybe it was used this way in 1950s Australia). And he has been. At one point, after Taylor had monitored the Post Office to keep tabs on Sarah's mail, Regina even supported his amusing theory that "Aunt Peg" was a code name used by Sarah's communist group in order to contact her, rather than Peg sending knitted toys for David.

All of which led to yet another cloak and dagger meeting between them in which Regina fell back on her feminine charms. Taylor ended up backing out of their deal and telling Regina they’d need to keep their distance and was on the verge of driving away and leaving her alone when she hopped into the passenger seat for a last drama with him. Perhaps unsurprisingly, she pointed the gun at her head to test his feeling for her, and then pointed it at him while telling him how boring his wife is. Somewhat more surprising was the Pulp Fiction moment when the gun went off mid-sentence as she waved it round, leaving the car windows - and Regina’s clothes - spattered in blood and Regina well and truly up the creek.

continued...​

 

[Mel O'Drama]

Episodes Eleven and Twelve... continued​

George’s tactic to deal with Regina is far simpler than I’d thought it would be. Quite simply, he calls the men in white coats to ferry her away. And they appear.

Now, I know this is 1950s Australia, but I did wonder how feasible this would be, even for a powerful man like George. But then I recalled the conversation where Jack offered his help in tackling Regina and George said he’d need Jack’s signature on some forms, and suddenly it seemed like something that wouldn’t be too difficult, despite a lack of evidence of Regina’s insanity. Throw in that Henry has now confessed that Regina was blackmailing him to supply her with morphine and that’s the weight of two respectable doctors behind George.

Naturally, things didn’t go to plan. Regina was already on her guard, since she was returning home from blowing a policeman's brains out and working hard to make it look like suicide. Loyal, silly Rose tipped Regina off, and she was able to escape into the evening mist on horseback like a gothic Angel Of Death in wonderfully moody, blue-tinted shots that fall somewhere between Sleepy Hollow and Dick Turpin. And we all know where she’s heading.

With Sarah’s life once again in jeopardy on more than one front, I’m grateful that I once again forgot about the Sarah Can’t Die clause, established with Season Two’s wretched flash-forward.

David, however, has no such clause. And given this series’ - and Regina’s - track record with babies, Regina creeping into David’s room and picking him up created a genuine sense of “anything can happen” jeopardy. Even when Roy and Sarah discovered the situation, it was credible to me that Regina had all the power as long as David was in her arms.

Once he was safely handed over, it could only end well and a great deal of the tension evaporated. But there was still some electric back and forth between Sarah and Regina in which both were genuinely in the moment and quite terrifying, until Regina was taken out by Sarah and carted away for real, screaming all the way.

Once again, there was a degree of convenience to all this. As soon as people started discussing Regina’s insanity, her behaviour became insanely wild. It would have been perfectly feasible that Regina could have fooled professionals almost as easily as she did the Blighs. Though of course, that option would come with far less instant gratification.

The Regina arc has certainly been pushed to its limits in these episodes, which feels right. She’s been one of the bigger characters and it’s right that her downfall should be so full of drama. I may have been hesitant to get on the ride with the character, but I can’t deny she has been hugely fun and created some thrilling conflict. During this season, with other characters now showing less gullibility in dealing with her, she’s been written almost to perfection.

Now that she’s been exposed so completely, it’s hard to imagine how Regina will fit into the series effectively from this point on. The strength of the character has always been in seeing just how much she can conceal, but the characters would have to be idiots for her to fool them twice. Besides, she seems to have been given a pretty definitive exit. All the same, with Sir Richard backing her trial, I strongly suspect we haven’t seen the last of her.

I also like that there's still some mystery surrounding Regina. Not all questions have been answered. There's Charles's mysterious illness and death. And the real truth about what happened the day George was shot. The only first person point of view we've been given is Regina's. Which can only stimulate conjecture. Now that she's very possibly gone, I'm going to surprise a few people (and myself) and say I'm going to miss old Regina. But maybe I'll eat my words all over again next season.

With the episode being called All Good Things and coming with a good degree of closure for many characters, I can’t help wondering if there was a possibility that there wouldn’t be a Season Five when this was shot.

On the level of a thrilling cliffhanger, there’s little to excite. Certainly nothing as resonant and impactive as Bert Ford’s body; George being shot or Sarah drinking tonic while Regina revealed the rat poison.

There are little teasers, what with Gino running off with Rose; a pending trial for Regina and whatnot. But overall, this would be a satisfying series finale. Elizabeth has even now been happily married in the six month time lapse for the final scenes. And there was some appropriate reflection, with Olivia talking to Anna about their dip at the waterhole, and Elizabeth and Sarah talking about how far they’ve come in their relationship (it seems appropriate that these two fantastic lead actresses should have the final words). Even after this there was a perfect final shot of Sarah, George and David in the grounds of Ash Park, with the house in the background. Bevan Lee really knows how to provide a complete and satisfying story, right to the end.

 

[Willie Oleson]

Confession: I had already watched this season 4 scene on YouTube. I'm very proud that I have managed to keep this a secret.
(how Regina of me!)

 

[JamesF]

Somewhat more surprising was the Pulp Fiction moment when the gun went off mid-sentencee as she waved it round, leaving the car windows - and Regina’s clothes - spattered in blood and Regina well and truly up the creek.

This floored me on first watch. I don't know why but I just hadn't expected the show to go there. Perhaps it was due to Bevan Lee's return but I recall the show having an absolutely relentless intensity this season. It felt as though it was build to something awful (and yet as you referenced, ended rather beautifully).

Once he was safely handed over, it could only end well and a great deal of the tension evaporated. But there was still some electric back and forth between Sarah and Regina in which both were genuinely in the moment and quite terrifying, until Regina was taken out by Sarah and carted away for real, screaming all the way.

Another shining moment for Marta - the chance to play mother lioness and naturally she gave it her all. There's something about her acting style that she can fortunately pull off these huge, shouty, highly melodramatic moments and yet she's not doing camp.

On a separate note, I remembered your frustration about Harry's gym bunny physique - funnily enough the actor has popped up in Between Two Worlds. His first scene emerging from a dive into the ocean...in tiny wet swimwear naturally. I didn't recognise him at first (long hair and a beard) but when I did, it took me back to your fair cynicism about him fitting into rural 1950s Australia.

Still loving your take on the show!