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Archive for the ‘Sanditon’ Category


Esther Denham (Charlotte Spencer) and Lord Babbington (Mark Stanley) enthusiastically tie the knot (Sanditon Episode 8)


Mary Parker (Kate Ashcroft) and Charlotte’s adieu (Episode 8) — they had a real friendship

Mary: Despite everything, I do hope you don’t regret coming to Sanditon.
Charlotte: How could I? It’s been the greatest adventure of my life

Pleased and exasperated readers,

I follow on from my first blog-review of this series.

Since Esther and Lord Babbington do marry and we see them making love in bed, it’s not quite true that Episode 5 through 8 take us through a series of ratcheted up climaxes as the character zig first this way to no purpose.  There is a slender skein of satire and sensible human feeling spun through the second half, with again an attempt at showing us, the viewers, a joyous time in the natural and romantic worlds:

Episode 5 gives us yet another repeat of Georgiana Lambe (Crystal Clarke) defying Sidney (Theo James) and her governess, Mrs Griffiths (Elizabeth Berrington), with the help of Charlotte (Rose Williams) and a decoy novel, Mary Brunto’s Self Control, more crises over money, ending in all down to the beach for a rousing game of cricket, with Charlotte taking Tom Parker’s [Kris Marshall] place as he characteristically lets everyone down and then tries to cover up and lie, demanding the referee take back a decision


Tom Parker as sore loser demanding a re-decision (Episode 5)

(5)


With good-natured Charlotte taking over and ever compromising decent James Stringer (Leo Suter) accepting the injust recall (Episode 5)

Episode 6 is zag again as Georgiana flees to London, with Sidney and Charlotte hastening after (in hot pursuit? arguing all the way, he Sherlock, she Girl Friday); they rescue Georgiana in a wild high speed chase of coaches from a brothel where she was improbably captured by a unscrupulous man to whom Georgiana’s gambling suitor, Otis, (Jyuddah Jaymes) was in debt and to whom Otis seems to have sold Georgiana! After which all who count return to Sanditon (Otis is out), where again we have a repeat of near bankruptcy (the now utterly disillusioned embittered Mr Stringer still trying to get Tom to pay him and his men), staved off this time by Charlotte’s idea “let’s have a regatta!” to make money, with time out along the way for Babbington and Esther to take a water by a waterfall, and finally a ball so we can watch Sidney and Charlotte enacting falling in love through elegant dancing:


During the coach chase, Sidney swings his body from one coach to another (Episode 6)


Dancing falling in love — another extravaganza of a ball, the 2nd of the series (Episode 6)

Then Zag in the divagating circles of Episode 7 as we begin move into various water antics, while the subplot of the fierce competition between Edward Denham (Jack Fox) and Clara Brereton (Lily Sacofsky) over who will inherit Lady Denham’s (Anne Reid) wealth as she seems truly to be on the edge of death, becomes absurdly melodramatic: the two fuck on the floor, they frantically seek the will and bargain and burn it. All to no avail, as Lady Denham suddenly gets better, after which she is seen in her usual nagging way commanding Esther to please (and this time marry) Lord Babbington. I have been omitting various walks and drives on the beach for Esther and Babbington (among others), and Sidney and Charlotte’s growing friendship, suddenly cut off by the appearance of Mrs Eliza Campion, now widow, once engaged to Sidney and come to fetch him back …


One appealing scene has Arthur (Turlough Convery) once again being kind to (talking sensibly as no one else does) to Georgiana (Episode 7)


From the water race (Episode 7)

I will not attempt to follow the zigzagging of the great crises of Episode 8, which include yet another extravagant ball, interrupted by a vast fire destroying all Tom Parker’s buildings, the death of old Stringer (caught in said fire), Sidney rushing once again to London for money, only to return to say he got some in the one way left – he has engaged himself again to Eliza. Vic Sanborn’s blog covers this episode step-by-hurried step.


Sidney now adding to all his hero’s deeds, frantic fire-fighting (Episode 8)


Stringer looking up at the fire and realizing his father has died beyond one of the upper windows(8)


Charlotte facing going home, trying to accept that Sidney now cannot marry her

As to the content of the stories, the only thing I regret is the sense Tom has he’ll be all right. He does not deserve to be all right. As written it seems Charlotte may after all marry Mr Stringer, and he will be her reward as Esther’s is the Babbington as good husband material (she is rescued from the pit of incest and seething envy of Clara) and maybe Sidney will marry Eliza — all pragmatic. Diana Parker is for a moment desolate as all Arthur’s kindness to Georgiana begins in her mind to add up to love, until Arthur reassures her he has no desires for women (is homosexual) so will not marry Miss Lambe, but with his money go home with her, so the comic spinster too will now not be alone — as she feared.


Diana and Arthur: she to him: “Home’s best. You’re so right, Arthur!” —

I dislike happy endings unless I am made to believe in them. Most of the time Austen qualifies her happy ending by ironies and other astringent comments or a downright melancholy possibility in the future (as in Persuasion‘s final paragraph). Sentimentality such as in the scene between Tom and his wife, and then Sidney and Charlotte on the cliff grates on me by its untruthfulness. You might say I so long for joy that meretricious substitutes depress me. In life this ending seems to me just what might happen. I can hope that after all Charlotte marries Mr Stringer and., like Esther, learns to love her worthy kind consistent tender hard-working husband (Stringer can still take up the offer of an apprenticeship to an architect in London once he recovers from his grief over his father’s death).

I wouldn’t mind if there was another season, but would be very unhappy if Charlotte did not marry Stringer as I find Sidney has shown himself to be a volatile, difficult and often tyrannizing violent man. As I feel that at no point did the writers make me truly believe in Georgiana or Otis (they were not created as portraits of African people as they really might have been snatched from their environment, given little security, disdained for their race), I don’t know what I want for her. I’m glad Edward is ejected (poetic justice there). I would hope Clara comes back and is reconciled with her aunt (though who would want to live with such a harsh bully?), but if we are to be treated again to these seething melodramatic absurdities I’d just as soon skip her doing more handjobs.

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This remains the best edition for the money — the editor is Margaret Drabble


This edition has a long full introduction (history, interpretation, text)

Again, the important questions to ask are, is this a good movie series? how does it relate to Austen’s Sanditon, its source (with or without continuations). To take the questions in reverse order: as opposed to the first four episodes (and perhaps some of what was planned) just about nothing from these 4 episodes comes from any Sanditon. All that could be taken was taken and now they are trying for further character development, changes and story matter. Much that is developed is melodramatic, cliched, and when written with some attempt at human truth, not given enough time for development. Continuity and smoothness of transition were ignored. The scenes between Sidney and Charlotte as they begin to try to get to know one another and seem to be much attracted needed much more time and words. Charlotte Spencer’s acting of Esther a difficult role was effective, and, given the number of swiftly juxtaposed scenes she was in, there was enough for the actress to convey a miserably abused young woman. Rose Williams’s Charlotte made sense and if more quiet time had been granted to Theo James as Sidney, not so much rapid switching back and forth, he might have conveyed a man whose masculinity and self-respect was threatened as he watches his family go broke. Tom suggests Sidney was jilted by Eliza; Sidney hints at remorse over his life in Antigua. But so little time was given for any development or nuanced dialogue.


Two of four shots of Charlotte walking along grieving … (Episode 8)

One sign of haste is the Deus ex machina of Lady Susan. She is suddenly there, is never explained.  Why should a high society woman, or (if she) a prince’s mistress take an interest in the obscure Charlotte and help her?


A shot from Chris Brindle’s Sanditon material


A dull fairy tale shot from this series

Perhaps the film-makers (writers, directors) didn’t trust their viewing audience for a moment not to be bored. Its dramaturgy reminded me of the new Poldark. I find the Outlander series vastly superior: why? they will sometimes spend (really) 10 minutes on a interlude; they give time to dialogues to develop and we get real thought from the characters. Not enough time or money was spent on the Sanditon sets: the buildings were uninteresting, shot from afar, with the same stills used over and over again. It was clear a minimum of what was suggestively needed inside was created; the best “sets” were the beaches and water.

It’s a shame since it did seem to me that the conception of the series suggested experimentation. Could they build another kind of Austen adaptation, one which took in contemporary attitudes towards family life, sex, money, and new film-making techniques and audience acceptance of lives not lived according to some narrow set of norms? They did not manage it because the series is not the careful work of art it needed to be – and I have seen many a Jane Austen adaptation have. There is a companion volume. It does not say much about the movie series. Why break a butterfly upon a wheel?

Ellen

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Charlotte (Rose Williams) as she comes out into the sunshine and her first full look at


the sea …. followed by


downright frolicking ….

You and I, you and I, oh how happy we’ll be
When we go a-rolling in
We will duck and swim ….
Over and over, and under again
Pa is rich, Ma is rich, oh I do love to be beside the sea
I love to be beside your side, by the sea,
by the beautiful sea …

Friends and readers,

This experimental or innovative Jane Austen is not an appropriation: this is heritage all right. All the people in costume. If you attend carefully to the twelve chapter untitled fragment, the last piece of writing Austen got down (1817), known in her family as Sanditon, and then equally carefully into the continuation added by her niece Anna Austen Lefroy (probably after 1830), you will find that a remarkable number of the details and slightest hints have been transferred and elaborated from both texts (plus possibly a third, Marie Dobbs’s continuation) into this eight part series. Davies and his team (there are several writers, and several directors, though Davies is credited throughout as the creator, and has written a good deal of what we hear), the team have also availed themselves of Davies’ previous film adaptations from Austen: so the angry hardly-contained violence of Mark Strong’s Mr Knightley (1996 BBC Emma) has become the angry hard-contained violence of Theo James’s Sidney Parker:


This strident Sidney is one on whom apologies have no effect: he returns sarcasm and rejection: “I have no interest in your approval or disapproval”

The rude intrusive domineering insults of all Lady Catherine de Boughs and Davies’s Mrs Ferrars have become part of Anne Reid’s Lady Denham; the clown buffoonery of minor-major characters in Davies 2009 Sense and Sensibility just poured into Turlough Covery’s Arthur Parker &c.

And they have scoured all Austen’s texts (letters too) for precedents: female friendships and frenemys everywhere, game-playing (including cricket), piano playing where fit in, wild and heavy beat dancing, balls, show-off luncheons, water therapy — though they have nonetheless switched from the single feminocentric perspective of Charlotte of Austen’s present Sanditon (all is seen through her eyes, with the emphasis throughout on the women) to a double story where Sidney and Tom’s (Kris Marshall) two stories run in tandem with, and shape, Charlotte’s


Here Sidney and Tom are standing over Charlotte coming out from underneath the desk, discussing what they are to do next, the men call the shots, stride by seemingly purposefully — though except for Stringer they seem to have nothing much to do …

Charlotte’s story in this movie itself is continually interwoven with, shot through by, the on-going separate highly transgressive sexualized stories of 1) the incestuous Edward and Esther Denham (Jack Fox and Charlotte Spencer), 2) sexual abuse from childhood by men and now Edward and social abuse from her aunt seen literally in Clara Brereton’s (Lily Saroksky) doings (which seem from afar to include forced fellatio or jerking Edward off), and 3) young Stringer (Leo Sluter)’s aspirations in conflict with his loyalty to his entrenched-in-the-past father.


Charlotte glimpsing, shocked, Clara and Edward (in the book she sees them from afar compromised on a bench), a few minutes later the upset Charlotte is given no pity by her aunt

If you add in Charlotte’s pro-activity on behalf of getting Miss Georgiana Lambe (Crystal Clarke as “half-mulatto” — Austen’s phrase) out of trouble, out of her room, and unexpectedly into flirting with an appropriate African-born suitor, now freed and working for the abolition of slavery (Jyuddah Jaymes as Otis Molyneux), you have a helluva lot of lot going on.

This is the busiest and most the most frolick-filled Austen adaptation I’ve seen (perhaps with the exception of the violent-action-packed Pride and Prejudice and Zombies) with an upbeat lyrical music that turns into a sharp beat rhythm now and again. Episode 1 after frolicking on the beach and in the water (twice) ends in a long gay dance-sequence. Episode 2 after more bathing (Charlotte rising from the sea), a super-luxurious dressed-up luncheon, with some excoriating wit and a rotten pineapple (talked about as an erotic object, seemingly phallic), and attempts to flee to London inside a mocking crowd, ends in several walks into the cliffs, with a apparently near suicide by Miss Lambe (rescued, just, by Charlotte), and a sexualized water clash (Sidney has tried to escape by diving in, only to discover in front of him as he emerges naked, Charlotte). Episode 3, a wild water therapy machine sequence by the latest of mountebanks or doctor-quacks, Dr Fuchs (Adrian Scarborough), followed by a serious accident inflicted on Stringer’s father, mostly the fault of Tom Parker for not paying them enough so they can have more workmen, but one which brings together Sidney and Charlotte for their first understanding (like other recent film heroines she is a born nurse) and walk on the wet beach.


Again amid the first love romance, Otis jumps off the boat to show his despair and they frolick over the splashing

And Episode 4, back again to scenes on the beach with varying couples (e.g., the genuinely amusing pair of Diana [Alexandra Roach] and Arthur, this time on donkeys), an escape to a woodland and canoeing up river (Charlotte with the uncontrollable Georgiana and compliant Otis), ending in a return to ferocious quarreling between Sidney and Charlotte after he witnesses Rose Williams’s funny parody of his own (Theo James’s) physical quirks in performance.


Rose Williams has caught the way he holds his elegant cigarette holder, his voce tones and the emphatic aristocratic (?) rocking of his body

The series does what it sets out to do: provide the pleasures of the place. The beach, the sea, the sands, the waters and landscape form another character, an alive setting. The series is fun to watch — from the bathing to (for next blog) the cricket playing. But is this series any good? you’ll ask. Yes, I think it is. Charlotte does not own the story, it’s not so centrally hers (as it feels in the book), no, but Davies has created through her a character who is a cross between the joy of life and longing for experience we see in his and Austen’s Catherine Morland (Felicity Jones), with the keen intelligence and wit of Elinor Dashwood (Hattie Morahan) and querying of Elizabeth Bennet (Jennifer Ehle) combined. Charlotte is (to me) so appealing, given wonderful perception lines and before our eyes is growing up. I feel I have a new heroine out of Austen.


And our heroine has a new friend, in a new whose mother was enslaved: Charlotte and Georgiana walking back from the cliff

The series also elaborates a theme about money: about our obligations to others, our responsibilities and how they tie us to one another. While the overt sexuality will leap at most viewers, including a sadomasochistic courting of Esther by the gallant Babbington (Mark Stanley is as effective as Charlotte Spencer — she is remarkable throughout), the drum-beat theme is money, finance, as it is in Austen’s Sanditon — and also the other film adaptation to come from Austen’s book with Lefroy’s as part of the frame (Chris Brindle’s).

Tom Parker is attempting to make a fortune by developing a property he owns, but has no capital for and he is doing it off money originally earned by Sidney (it seems, ominously, in Antigua, when he may have known Miss Lambe’s late father who would be the person who left her under Sidney’s guardianship) and now secured by loans. He has built a second house, he hires men he doesn’t pay, takes advantage of securing on credit tools and materials he has not bought; at the same time he goes out and buys an expensive necklace for his wife, the “gentle, amiable” (as in Austen’s book), Mrs Mary Parker (Kate Ashfield), who complacently accepts his lies. Critics and scholars have suggested the background for this is Henry Austen’s bankruptcy and what Austen saw of finances through that (see EJClery, the Banker’s Sister).

At the close of Brindle’s play, Sidney comes forward to maneuver humane deals out of the corrupt practices of Mr Tracy (a character found in Lefroy) with Miss Lambe’s money; in contrast, at the close of Davies’s eighth episode, we see Sidney agree to marry a very wealthy woman whom he dislikes very much but has a hold on him from his past (unexplained). Lady Denham is the boss of this place because she has a fortune; her nephew and niece are at her beck and call because they hope for an inheritance. Clara is similarly subjected to her; the hatred of Esther for Clara and Clara’s fear and detestation of Esther comes from money fears. Mr Stringer will die of his accident: exhausted, he sets the room on fire when his son has gone out for some minimal enjoyment. Not land, not rank, not estates but fluid money.

What Davies shows us is Tom continually pressuring Sidney to borrow more, Sidney resisting, then giving in and coming back with money, and then Tom wanting more. As the first season ends, Sidney has had to say to Tom the banks will give him no more and he does not think he can borrow more and ever get out of the hole they are in.


Mary asking Tom if Sidney has given him hope (and money to come)


and Tom lies, handing her a necklace he has just bought which he cannot begin to afford …

I am not sure that Austen’s fragment has centered on this power of banks by the time her fragment ends. Her book’s central theme is either marginalized, or erased in the film, at closest (in the assertion of feebleness in Arthur and Diana) immeasurably lightened: Austen wrote the fragment while dying and probably in great pain, and she is, as she does throughout her life, exorcizing her demons through self-mockery by inventing characters with imaginary illnesses. She certain does in the fragment write about breezes, and light, and sun and the sea with longing, but it’s not the longing of joyful youth, but the ache of the older woman remembering what she has been told about the sea and air as

healing, softening, relaxing — fortifying, bracing, — seemingly just as was wanted — sometimes one, sometimes the other, If he sea breeze failed , the seabath was certainly the corrective; — and where bathing disagreed,the sea breeze alone was evidently designed by nature for the cure (Ch 2. p 163)

Austen’s fragment also gets caught up with literary satire as she characterizes Edward as a weak-minded reader of erotic romantic poetry and novels.  Perhaps as with the long travelogue-like passage of Anne Elliot staring out into the hills in Persuasion, Austen intended to cut some of this kind of detail. But with Lefroy’s continuation and (I suggest) Brindle’s extrapolations (see Mary Gaither Marshall’s paper summarized), we can see that Davies is on the right track too. Austen’s fragment is waiting for Sidney to come to Sanditon to fix things — each reference to him while suggesting his cleverness, irony, sense of humor (and of the ridiculous too) also presents him as intensely friendly, caring for his family, responsible, and as yet in good economic shape (see Drabble’s Penguin edition of Lady Susan, The Watsons, Sanditon, pp Ch 5, pp 171, 174, 176; Ch 9, p 197; Ch 12, p 210)


Young Mr Stringer and Charlotte confiding in one another

The series also brings home that outside this world of genteel people is another very hard one. The various people that Diana Parker and Tom want Mrs Mary Parker to apply to Lady Denham to relieve are made real in Austen’s Sanditon; in the workmen we see, the people on the streets doing tasks, our characters on the edge of homelessness we feel the world outside — as we rarely do in most of these costume dramas. Chris Brindle’s play makes much of the specifics of these vulnerable victims of finance and industrial and agricultural capitalism in the dialogue of the second half of his play — how when banks go under everyone can go under and the banker (Mr Tracy) hope to walk away much much richer.

So the latest Jane Austen adaptation is a mix of strong adherence to Austen and radical contemporary deviation and development.

Not that there are not flaws. Sidney is made too angry; it’s one thing to clash, misunderstand, and slowly grow to appreciate, but as played by Theo James he has so much to come down from, it’s not quite believable that our bright and self-confident Charlotte still wants him. He is unlikeable. The only explanation for her attraction to him is he is the hero and Stringer not a high enough rank, for the scenes between Stringer and Charlotte in Stringer’s house, & walking on the beach together, on the working site, are much more congenial, compatible. The writers have made too melodramatic Esther and Edward Denham’s lines.

On the transgressive sex (a linked issue):  I see nothing gained by having Theo James expose himself to Charlotte, except that the audience is shocked. This is worse than superfluous to their relationship; it is using the penis as a fetish. The incest motif functions to blacken Edward much in a modern way similar for the 18th century reader to his admiration for the cold mean pernicious rapist Lovelace (in the book he wants to emulate the villain of Clarissa). I grant Charlotte Spencer’s lingering glances of anguish and alienation, puzzled hurt, at what she is being driven to do (accept Babbington) are memorable.

In general, the series moves into too much caricature, exaggeration – the burlesque scene of the shower is even probable, including Clara in her bitter distress reaching for a mode of self-harm — burning her arm against the red-hot pipes bringing in the lovely warm shower water. But it feels jagged. Too much is piled in in too short a time. Space we have, but there needed to be more money spent on continuity and development of dialogues within scenes, in both the briefer plots and the central moments between Sidney and Charlotte. I felt the quiet friendship seen between Mary Parker and Charlotte, and again Stringer and Charlotte on the beach (at the close of Episode 4) in companionable silence were some of the best moments of the series — as well as the wonderful dancing.

We are half-way through the PBS airing. I look forward to the second half. I have seen this ending and do know how it ends, and to anticipate a bit, I do like the non-ending ending. When we get there ….


An unconventional hero and heroine would have an unconventional ending … walking quietly by the sea

Ellen

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This is my favorite of all the fictionalized iconic images of Austen — it’s found in the gardens of Chawton House I’m told, 20th century, the sculpture Adam Roud who says it “represents” Austen as “daughter and sister as she walked through town” (see commentary and video)

A windy wet day? her head held high

Jane Austen was very much aware of her birthday, probably each year it came round. On at least two of such days, she wrote a poem upon the occasion, remembering. The finest is the one remembering the death of Anne Lefroy, a nearby companion-friend (however older and however this friend was instrumental in preventing her developing a true love relationship with Tom Lefroy, causing Austen at the time and for several years after much grief). At the age of 55 Anne Lefroy died from a fall from a horse on December 16th, in 1804. Four years later, in the fiction of the poem, to the day, Jane Austen wrote this elegy:

To the Memory of Mrs. Lefroy who died Dec:r 16 — my Birthday

The day returns again, my natal day;
What mix’d emotions with the Thought arise!
Beloved friend, four years have pass’d away
Since thou wert snatch’d forever from our eyes.–
The day, commemorative of my birth
Bestowing Life and Light and Hope on me,
Brings back the hour which was thy last on Earth.
Oh! bitter pang of torturing Memory!–

Angelic Woman! past my power to praise
In Language meet, thy Talents, Temper, mind.
Thy solid Worth, thy captivating Grace!–
Thou friend and ornament of Humankind!–

At Johnson’s death by Hamilton t’was said,
‘Seek we a substitute–Ah! vain the plan,
No second best remains to Johnson dead–
None can remind us even of the Man.’

So we of thee–unequall’d in thy race
Unequall’d thou, as he the first of Men.
Vainly we search around the vacant place,
We ne’er may look upon thy like again.

Come then fond Fancy, thou indulgent Power,–
–Hope is desponding, chill, severe to thee!–
Bless thou, this little portion of an hour,
Let me behold her as she used to be.

I see her here, with all her smiles benign,
Her looks of eager Love, her accents sweet.
That voice and Countenance almost divine!–
Expression, Harmony, alike complete.–

I listen–’tis not sound alone–’tis sense,
‘Tis Genius, Taste and Tenderness of Soul.
‘Tis genuine warmth of heart without pretence
And purity of Mind that crowns the whole.

She speaks; ’tis Eloquence–that grace of Tongue
So rare, so lovely!–Never misapplied
By her to palliate Vice, or deck a Wrong,
She speaks and reasons but on Virtue’s side.

Her’s is the Energy of Soul sincere.
Her Christian Spirit ignorant to feign,
Seeks but to comfort, heal, enlighten, chear,
Confer a pleasure, or prevent a pain.–

Can ought enhance such Goodness?–Yes, to me,
Her partial favour from my earliest years
Consummates all.–Ah! Give me yet to see
Her smile of Love.–the Vision disappears.

‘Tis past and gone–We meet no more below.
Short is the Cheat of Fancy o’er the Tomb.
Oh! might I hope to equal Bliss to go!
To meet thee Angel! in thy future home!–

Fain would I feel an union in thy fate,
Fain would I seek to draw an Omen fair
From this connection in our Earthly date.
Indulge the harmless weakness–Reason, spare.

In the poem Jane says she has “mix’d emotions” on her “natal day” in 1808. On that day 4 years ago she knew she would never lay her eyes on Anne Lefroy again; her friend had been “snatch’d away.” An unexpected accident is a great blow. So now a day which gave her “Life & Light & Hope” is an occasion for feeling penetratingly a “bitter pang of torturing Memory.”

She then remembers her friend’s powers, what she valued her friend for: “Talents, Temper, mind . . . solid Worth . . . captivating Grace.” A friend to all, an ornament to the human race. This is going very high, but Austen likens Anne Lefroy to Samuel Johnson, and says that like him, when Anne Lefroy died, there was no substitute, “No second best . . . “None can remind us even of the Man.” (I read this phrase in Boswell’s Life of Johnson and that may be where Jane read it too.)

Vainly she searches. Not there, nowhere around her, only a “vacant space.” And so she says, she will conjure up a vision of her. “Fancy” is much kinder to us, an “indulgent power” — Austen’s idea of hope here is unlike Pope’s ironic witty utterance: “Hope springs eternal in the human breast/Man never is, but always to be blest.” Cool distance has become melancholy shivering: “Hope is desponding, chill, severe to thee!” Thee here can be Austen herself, probably is. So she turns to Fancy.

What does she remember. Not literal looks. Rather the woman’s psychological nature, their friendship, an asserted love for Jane herself, a voice harmonious I’m tempted to remember Emma Woodhouse who valued modulated voices unlike Mr Martin’s, but Austen knows better than to stay here: it’s what Anne would say, “sense . . . Genius, Taste & Tenderness of Soul . . . genuine warmth of heart without pretence,” and we cannot ignore the turn away from sensuality, sexuality, in that “purity of Mind.”

We are given a panegyric like Austen’s brother gave her: neither of them ever “misapplied” their Tongues, spoke and reasoned “on Virtue’s Side. In spoken words, Anne Lefroy sought “to comfort, heal, enlighten, chear,/Confer a pleasure, or prevent a pain — ” This is Popian poetic art: antitheses used for emotional instead of ironic reinforcement.

Can anything go beyond this? Yes. That she liked Jane, was “partial to her” from her “earliest years.” No small thing. Jane asks Fancy to allow her to see Anne Lefroy smiling with love at her. But no, “the Vision disappears:” “Tis past & gone — We meet no more more.” This “Cheat of Fancy” over a Tomb is short.

The poem ends with Austen hoping to be united to her friend once more after death, the dream many have had of death. There is a medieval picture in the Metropolitan Museum of Art (in a glass case) where we see pairs of friends clutching each other against a flowery flat green background; rows of these from top to bottom. Perhaps she says this terrible pain of having had her friend die, which creates a union of memory in her mind augurs a “connection” to be. She asks Fancy to “indulge this harmless weakness,” for that’s how she regards this idea.

“Reason, spare.” Reason, a deeply felt of reality from knowledge of experience tells her otherwise. Jane was not a religious woman.

This is almost a repeat of what I wrote on December 16th, 2011, when I was as yet unwidowed, and had not felt the true bereftness of grief. At the time I had not as yet visited Chawton House Library (as it used to be called), and only seen Chawton cottage once. Now I’ve been to Chawton cottage twice (once very thoroughly) and particated in a four day conference on Charlotte Smith at Chawton House Library.

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Romola Garai as Emma playing the piano after returning from a very ambiguous experience in an assembly ball (2009 BBC Emma, scripted by Sandy Welch), the most recent of the heritage-faithful type of adaptation (see list)

I have not yet found a way to blog regularly on Austen; my scheme to blog once a week on a book like Paula Byrne’s in the event turns out to be unworkable; I feel as if I’m using the book too invasively; one or two blog reviews a book is for most of them the ethical way to go about it. I had thought of collecting news items and did so this week:

1) the latest Emma movie, as written about most intelligently by Caroline Hallemann in a Town and Country article (followed by the latest Royal Scandal);

2) the latest “Jane Austen find” by Devoney Looser, as in fan fiction, really a letter possibly by Mary Russell Mitford. It’s behind a paywall at the newly semi-pop (trying for this) dumbing down TLS as “fan fiction or fan fact”, followed by some secrets hitherto unknown about Oliver Sacks. Mary Russell Mitford was a writer and neighbor, & is discussed perceptively in the most recent issue of Persuasion, ‘Jane Austen and Mary Mitford: A New Appraisal” by Azar Hussain (the essay not one of those online, alas). See also Oliphant on Mitford, Austen and their first biographers.

3) Janine Barchas at the Blarb for a Los Angeles publication, where she presents as a new find an essay on Arthur’s Miller’s (dreadful) radio adaptation of Pride and Prejudice. It is not quite a new find; several years now I heard a full paper by Sylvia Marks on this adaptation; here’s a summary from an earlier blog here:

Sylvia Kasey Marks’s paper was on the 20th century great playwright, Arthur Miller and the 18th century forger, Henry Ireland. She discussed them as both appropriating the work or understood persona and style of someone else. In the early phase of his career Miller wrote radio plays, and some of these are dramatizations of someone else’s novel. She demonstrated that in Miller’s case we see him consistently change his original to fit his own vision. Unlike Ireland, Miller was not trying to find a new space in which he could create something unlike what others were writing at the time. He was building his career and operating within a considerable group of constraints (which include pleasing the audience). Sylvia told the whole sad story of Ireland, including a conflict with his father, and how we may see popular attitudes towards Shakespeare in some of Ireland’s writing.

It seems to me there’s nothing for it but to take the time out periodically and read a good book on Austen or by one of her near contemporaries (or on such a contemporary) and write a good review. It comes down to picking a book.  I will be returning to view and write about Jane Austen’s Sanditon, Anna Lefroy’s continuation, once again Chris Brindle’s filmed play and at length,

4) soon to air on PBS, Andrew Davies’ interesting (if finally a failure) attempt at modernizing extending and yet keeping within the Austen canon, Sanditon

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Adelaide Labille-Guiard’s portrait of Marie-Gabrille Capet (1798) — L-G specialized in portraits, at which she was very good, and which paid — early on she married unhappily and quickly left her husband so had to support herself

Last I have been developing blogs on actresses once again and first up will be Susannah Maria Arne Cibber (1714-66) and then fast forward to Barbara Flynn. I’m reading an excellent concise artistic biographical study of Adelaide Labille-Guiard (1749-1803) for my first woman painter. Foremother poets are a intimidating cornucopia, but if I include prose-poets, maybe Virginia Woolf as seen in Night and Day (a very enjoyable insightful and underrated novel) will be my first — not that Woolf needs me to blog about her.

Ellen

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A photograph of the wall at Lyme from the water side (contemporary) — see my review of Lucy Worseley’s JA at Home, book & film

Dear friends and readers,

I finally unsubscribed from Janeites on this past Sunday night, and will no longer be putting any postings on Austen-l — after being on the first list for more than 20 years and the second some quarter of a century. A sad evening. I asked myself if I learn anything about Austen on Janeites, now at groups.io (after considerable trouble and work) and previously at yahoo; do I experience any pleasure in ideas about her, gain any perspective on her era, contemporaries, the books or authors or people or places she was influenced, and the sad answer was no. Often just the opposite. I faced up to the reality that the listserv space is one Arnie Perlstein’s playground for preposterous sexed-up and male-centered (he is ever finding famous white males like Milton or more modern males in Austen) theories and from others who support him semi fan-fiction postings (such as the idea that Mr Knightley wrote or dictated Mr Martin’s letter to Harriet). The latest very long thread was once again about how Jane Fairfax is pregnant in Emma (I’m not sure if Frank Churchill or John Knightley was the candidate this time) and the idea the full fantasia of Shakespeare’s Midsummer Night’s Dream is central to Austen’s Emma.

I felt bad about deserting the list-moderator but it seemed to me the latest series went beyond previous in a tone of triumph and enjoyment which suggested one motive was to show contempt for the purpose of the listserv (and mockery of the helpless membership), which disdain and exultation the moderator (in effect) replied to by writing (as she has so many times before) with the purpose of the list:  its terrain was to read Jane Austen’s actual texts, discuss them, her era, and her real life. She has said also repeatedly how she dislikes these sexed-up “shadow texts” and how what is said about Austen, their content ruins her enjoyment of the books. A couple of people then told me (through the message mechanism on face-book) how they laugh at such threads — that reminded me of the way people enjoyed Scottie Bowman on Austen-l years ago (he had a gift for needling malice). One person had the courage to onlist explain she stayed only for sentimental reasons — remembering what was. Maybe it was the latter sentiment that determined me to face up to the demoralization and aggravation this particular kind of debasement of Austen the money- and career-making cult leads to.

Lest my last phrase be misunderstood what I am referring to is that part of the reason Jane Austen (as a name, a picture, a set of titles) has spread so widely is the pair of words makes money for many people and has been used by many to further their careers — from getting tenure, to heritage businesses, to touring oneself, to selling objects, to setting up tours for others (at a price), from business as far apart as the hotel industry (JASNA is kept expensive in order to keep the meetings smaller), to toy and knick-knack manufacturers and (at one time) séance mediums, to running sites de memoire.

It matters that while the secondary literature on Austen has grown exponentially, her oeuvre remains tiny and easy to read through in say less than two weeks. Yet I’ve met people at these JASNAs who at best have read 2 of the novels. And yes many of these participants will say they “hate” Mansfield Park; lately participants I’ve met suggest Mr Knightley is “really” in love with Jane Fairfax; they get this from some of the Emma movies. JASNA having finally “allowed” in panels on sequels is now not just flooded with them — you see it in the shop — one of the years the very topic was in effect these sequels and movies. JASNA grew to its present size after the first of the contemporary Jane Austen movies in 1995/96.

Maybe now with so many vying to publish about her, it’s not so easy to be published in journals, and fan fiction is no longer a publisher dream of an easy sell, but an essay on her, an umpteenth film adaptation of Emma will get further than than any essay on a “minor” (obscure) woman writer? Who has heard of Margaret Oliphant? Charlotte Smith? The situation may be similar for Sherlock Holmes as a name and set of titles — as well as a literal place Holmes lived in — as if the character actually existed. Readers can invest whatever they want into these post-texts (or sequels).

I find very troubling how reputable scholars have argued in print that it’s okay to tell lies, it’s okay if the printed material or what is taught is all wrong, is the product of political censorship, or if what is on display is salacious, misogynistic, just plain stupid. I objected to this supposed neutrality in Devoney Looser’s latest book. She implied it’s elitist to insist on accuracy and truth and explicitly undervalued the difference between knowledge and illusion, credible evidence and lies.

Group and social dynamics in cyberspace work differently than in real space, so one or two people can take over and ruin a listserv, silence everyone else; scapegoating is easy. So one of the things some site-owners (face-book moderators, listserve owners and moderators) whose platforms survive do is early on or soon enough establish parameters on what is somehow pernicious nonsense — Hardy Cook had a hard time at first with his Shaksper-l and now just forbids all stupidity over the idea that Wm Shakespeare did not write his books; these kinds of ideas circulate among lots of (foolish snobbish) people; or (as I have seen many times now), you say this face-book page is for this author and no other authors; discussions about contemporary politics are out; this is not the space to talk of movies or your favorite star-actor. Today Shaksper-l is a sober discussion of Shakespeare’s plays, the productions, real cruxes in the scholarship &c Athurnet years ago is another place where setting boundaries on theories of where the Arthur matter came from finally worked. I’ve seen this on face-book fan pages — more than one determined moderator is sometimes needed. Most of these kinds of posters fall silent without an audience to triumph over.

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On the Janeites list I had been trying with the list moderator to agree on a book of literary criticism or history about Jane Austen where each chapter would bring us to the text or her life again. We would try to post weekly on Austen through such a text. I had tried posting on the essays in the most recent Persuasions (as a text many members might own) starting in summer but few people were interested in serious analysis or any discussion at all, in reading such writing.

I have been having a difficult time keeping this blog going — with all the literary and film and other study (for teaching and classes I go to) I do in the other parts of my life, and had proposed to go back to series: of actresses, fore-mother poets, women artists, serial dramas based on the 18th century or film adaptations of historical fiction based on the early modern to early 19th century European cultures. But I know this excludes Austen. So now I’ll have an alternative thread if I can manage this: once a week or so, blog on a chapter on a book genuinely engaged with Austen’s texts, life, era. I’ll begin with Paula Byrne’s The Real Jane Austen: A Life in Small Things. Long range I’d like also to try for one of the books on the relationship of Jane Austen’s texts to the plays or theater of her time.

Accordingly, I have changed my header picture to a picturesque illustration found in one of the older handbooks for Austen, F. B. Pinion’s A Jane Austen Companion. Pinion’s is a beautifully made book (sewn, heavy paper, a lot of rag content in the boards). It’s filled with various kind of pictures (plates, photos, vignettes) where the material is written as clear essays critically surveying Austen’s life, the early phases of her writing, a chapter each for the major novels, topics like influence, her reputation. Places, character studies. Dulce and utile is a phrase that is rightly applied to this book. Manydown house is now gone: it was the Bigg-Wither home where Austen bravely went back on a weak moment where she said yes to an unsuitable man for her as an individual; and it was the place where assembly-type balls were held in her time. Thus it seems to me appropriate.


Susan Herbert’s parody of Adelaide Labille-Guiard’s Self-portrait with Two Pupils (1785)

Ellen

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The view from the cliffs of Walton-On-The-Naze, Essex from 27.10, Brindle, Sanditon Film-Of-The-Play (thanks to Chris Brindle for supplying it [Olympus Digital Camera]


Joanna Harker and Jennifer Ehle as Jane and Elizabeth, the central pair of the novel brought out beautifully by so many scenes between the sisters in Davies’s 1995 P&P


Sidney Parker (Theo James) and Charlotte Heywood (Rose Williams) bypassing one another in Davies’s Sanditon (Part 2)

Dear friends and readers,

A blog on Austen herself is long overdue, so by way of getting back to her texts, I offer tonight two videos on or of film adaptations.


Miss Bingley claims a dance from Darcy at an assembly ball (1940 MGM P&P)


Elizabeth Garvie as Elizabeth (1979 P&P, Fay Weldon)

Over on Janeites@groups.io, Nancy Mayer sent the URL to this interesting (not overlong at all) video: “Book vs. Movie: Pride and Prejudice in Film & TV (1940, 1980, 1995, 2005)” or “Pride and Prejudice by the Book:”

I find it an an excellent video review. It’s not original in approach but each of the four perspectives, and the points made are accurate and as a composition, the whole makes sense. Comparing these four makes sense too because they are (as the narrators says) of the faithful (heritage it’s called sometimes) approach. What makes the video especially good, gives it some distinction is the choice of shots, the scenes and dialogues chosen, and how they are put together. The video-makers had to have watched all movies four over and over again, made very careful slices, and then spent a long time putting together juxtapositions and montages. The one drawback is many of the dialogues from the movies in the clips, are too shortened, not enough of the conversation cited. For example, in Joe Wright’s 2005 P&P, when Claudie Blakeley as Charlotte accusingly says to Elizabeth, before telling Elizabeth of her decision to marry Mr Collins, “don’t you judge” (a few words to this effect), the eloquent speech just afterwards would have brought out not just the quality of the modernization of the language of this one, but the in-depth interpretation offered by the script-writer Deborah Moggach, with some help from Emma Thompson


The incandescent Lawrentian erotic close of Joe Wright’s 2005 P&P, Keira Knightley and Matthew MacFayden as Elizabeth and Darcy (tacked onto the American version)

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Sanditon is now airing on ITV, will in January 2020 be shown on PBS, and the creator, script-writer, Andrew Davies, has a new and freer adaptation of Austen than he’s done before. After watching several of his adaptations over the 2 decades from 1990, we can see how far he has come (going with the era he’s developing a film for) from his first adaptation – he has now “done” P&P, Emma, S&S and Northanger Abbey — all of these very good in their Davies way, a re-vision partly from a male point of view. I note he has said no more and think to myself he is no fan of Mansfield Park and is avoiding the dark melancholy and unfinished state of Persuasion (captured very well in 2007, directed by Adrian Shergold, written by Simon Burke)


Two stills from Andrew Davies’ Sanditon, the first episode, the first glimpses of the place and beach; the second POV Charlotte Heywood (Rose Williams) and Tom Parker (Kris Marshall)

For some first impressions of the Part 1 Sanditon, and now Part 2

The second video, I offer by contrast: the cabaret style YouTube of the musical Sanditon as it played cabaret style in London this past late July.

I’ve written too many blog-reviews and commentaries on Chris Brindle’s filmed play of Sanditon (heritage style the faithful type), and a couple of the songs, so accompany this one just by a photograph of the English shoreline down south, here unspoilt (uncommercialized)

Here is a still I’ve not put up yet of Charlotte Heywood in comic anguish:


Act I of Brindle’s Sanditon — Amy Burrows as Charlotte Heywood


Part 2 of Davies’s Sanditon — Rose Williams as Charlotte emerging from bathing in English channel

A closing thought: it seems to me that a remarkable variety of types of films (genre, or heritage/appropriation), points of view, film techniques have been used across Austen’s corpus, testifying to how capable the books are of suggesting lines of approach for each era they have been read in.

Ellen

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Those who come to this blog regularly know I’ve written about Chris Brindle’s musical play of Jane Austen’s Sanditon completed by way of Anna Lefroy’s extension before, and of an available DVD. Well here is a reminder that the performance is now 11 days away (!) in London, at the “other place,” Victoria, in London, Friday, July 26th, 8 pm.

Once again the poster:

Just below (as prelude) the song “Dishonoured’ in rehearsal. In this version of events Mr Tracy manages to bring down the Bank of Eastbourne, from which Tom Parker is borrowing money to pay for the land he is buying from Lady Denham, and where Lady Denham has all her money on deposit. Because of this Lady Denham is outraged that she cannot afford to buy a new coach. Thus

A narrated concert version of a proposed full stage production. They are using a small stage in a cabaret like environment. Lovely and rousing songs, a remarkable contemporary story, intriguing colorful characters, some originally invented by Austen. See also for more information, pictures, music https://twitter.com/brindle_chris

I wish I could go …

Ellen

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The Poster

Dear friends,

You will have instantly recalled that a couple of years ago now I wrote a review in praise of Chris Brindle’s filmed play adaptation of Jane Austen’s Sanditon as continued by Anna Lefroy. At the time I watched a DVD of the play as available on-line, and linked into my review, the beautiful duet at its center, The Blue Briny Sea. I’ve since heard papers on Sanditon and its sequel history at JASNA, in one case confirming that Chris Brindle’s perspective on the novel is valid: the novel fragment exposes the commercial world, is innovative and takes Anna Lefroy’s perspective centrally into account. I also put on my blog another song he wrote, both lyrics and podcast, as sung by Clara Chevallerau, “When did you realise/That your life would soon come to an end:” the song re-imagines Austen’s deep grief at understanding she was going to die young, “A song for Jane.”

Now he’s taken that narrative as a backbone or storyline for a musical of Sanditon, and it’s going to play in London at Lloyd Webber’s seedbed theatre for new musicals, “The Other Palace” in Victoria, London. This is a narrated concert version of a proposed full stage production. They are using a small stage in a cabaret like environment.


Fern and Sam in concert, a sort of rehearsal


aAtor/musicians Hannah Siden (in green) and Emi Del Bene (in blue) in costume at Greyfriars Colchester (original hotel built in 1755)


Hanni and Emi again, now in modern dress

The six person actor/musicians narrate the story of Austen and Lefroy’s Sanditon and the story behind it. The actors identify with each of the characters in the book and reflect on their own experiences “200 Years Later”. The music is a kaleidoscope of pop/rock, Savoy Opera and musical theater styles reflecting the nature of the 19th and 21st Century characters. In this way the satirical and comedic nature of the original is preserved. So it’s post-text and mash-up put together.

Here are the songs:

SONGS TITLE SUNG BY

1) “In My Imagination” – ANNA the 21st Century singer/song writer in a girl band
2) “Song For Jane Austen” 21st Century ensemble
3) “Speculation” Tom Parker & Jack Heywood
4) “Opportunity” Charlotte Heywood
5) “Enough In This Place For Me?” Tom Parker, Mary Parker, Charlotte Heywood
6) “How Really Sick We Are” Diane, Arthur and Susan Parker
7) “Books” Members of the Sanditon Subscription Lending Library
8) “Shallow” Charlotte Heywood
9) “Rock Quadrille” Girls in Mrs Griffith’s Finishing School
10) “Isn’t It Obvious” Letitia Beaufort
11) “Blue Briny Sea” Charlotte Heywood & Sidney Parker
12) “Breaking Out” Clara Brereton
13) “Nouveau Riche & Parvenue” Lady Denham
14) “The Life We’re Born Into” Miss Lambe, Charlotte, Clara
15) “Addiction” Sidney Parker & Mr Tracy
16) “Dishonoured” Lady Denham, Sidney & Tom Parker
17) “I Can See The Future” 19th Century ensemble

You can find updates on the musical in rehearsals on http://www.Sanditon.info, and I have now listened to a few podcasts: a witty, fast-moving “How really sick we are,” a theme song, “Speculation,” and the beautiful finale, “I can see the future.” I would share these with you if I knew how to operate drop-box. Alas,  I do not.

Like all musicals, what one would go for includes the appealing music, so to try to convey some of this to you, I link in a YouTube video of a rehearsal of “In my imagination,” the opening idea:

Here are a few of his notes (his thoughts) on this first production:

I am hugely excited by doing this. I get the chance to tell young actor/musicians about Austen’s and Lefroy’s writing and see them take on Austen’s characters, and express their lives in words and music, and bring to the piece their understanding and commentary of the piece in their own lives “200 Years Later”.

It is so hard to put new work on somewhere where it will get noticed, so I am delighted to get this slot at “The Other Palace” which has possibly the youngest and most “happening” audience of any theatre in London and they obviously thought they were taking quite a risk with something as “old fashioned” sounding as something with “Jane Austen” in the title. Austen obviously knew that the English seaside resort would develop which was why she chose it as a setting, and why she chose property speculation and money and finance as her subject matter. These would be subjects that would always be with us. Looking back, the fascinating thing about a 21st Century Cast that acts out the 19th Century past, is how little they had in the 19th Century, and so thought wouldn’t it be great to have the 19th Century cast sing about all the things that they hoped might come true as their brand new seaside resort develops


Chris Brindle, March 2016

Ellen

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