The following is commentary on Episode No. 32 ("A Separate Peace") from members of AFAMILYATWAR-LIST. If you wish to add your thoughts to what is being said on this page, become a part of our discussion group by clicking the "Join" button.

 

 


 

 

Richard Veit

This episode, the last of eight to be shot in black-and-white, centres upon the sad demise of Jean Briggs Ashton, whose health had been steadily deteriorating for the past year, ever since young Robert lost his life at sea. Again, as in "I Wanted to Be with You," Shelagh Fraser delivers a compelling performance -- aptly intense but controlled, never resorting to histrionics. Her discursive monologues at the site of her childhood home, spoken aloud at first but then with voice over, confirm our fears that poor Jean is losing her mental capacities. By now, clearly she is unable to distinguish between reality and her nostalgic past.

The entire cemetery sequence is captured brilliantly by director Gerry Mill. I marvel at how confidently his camera wanders among various pairs or trios of characters, imparting bits of information and yet, thanks to John Finch's remarkable dialogue, advancing the narrative with every step. It is in this sombre setting that we meet Ethel, who, in days gone by, served the Ashton household as cleaning lady and (we infer) much more than that, almost as a nanny to the children. One of the most subtle transformations in the series occurs when Ethel speaks for just a moment with David. "She thought the world of you," she says of his mother. Then she kisses his cheek and walks away, adding, "God bless you." David's forlorn expression shows the emptiness that lies inside, having squandered his life in the pursuit of foolish priorities.

Some random comments about "A Separate Peace"...

A cigarette plays a significant role in one of the early scenes. Sheila is shocked to see her mother-in-law smoking while Jean recalls her days as a politically active suffragette. Moments later, the cigarette drops to the floor when Jean falls asleep in the midst of a conversation. This alerts us (and Sheila) to the seriousness of Jean's ailment. For the first time, we begin to fear for her very life.

I feel sorry for Edwin in the pub, as he confesses to Philip that he does not wish to go home to his wife.

There is a powerful scene between Sefton Briggs and (the slightly sloshed) Edwin Ashton. To his constant shame, it is only when his tongue is freed by drink that Edwin dares to speak so openly to his brother-in-law.

It is interesting to hear from Jean that the Briggs home was called "My Star," so named after a Browning poem, which was her mother's favourite. This, I think, shows the social pretensions of the Briggs family, as the lower classes would be unlikely to name their homes.

Solicitor George Askew is very compassionate with Jean throughout their nighttime encounter. John Savident is always a joy to watch. (He has an unforgettable role in the wonderful 1988 film, "A Summer Story.)

After Jean suffers a major stroke, she is oblivious to the presence at her bedside of Sefton and Edwin. Her final words, "Can I have a peach, Father?" are directed toward neither man in the hospital room.

Again we witness David's selfish conduct, choosing to spend his leave in London (Grace) rather than facing up to his responsibilities in Liverpool (Sheila) and Wales (Peter and Janet).

Celia Porter is her annoying self as the extended families gather at the Ashton home to await the graveside service. After going to the kitchen in search of some tea, she returns to the living room and (in a funny sight gag) inconsiderately seats herself between Tony and his father, who are trying to have a conversation. That evening, in claiming to John that it will be her turn next, she threatens ominously to put into writing all the things she should have told him all along.

I notice that the closing credits roll over a shot of the Ashton home instead of the customary seashore landscape. Is this because "A Separate Peace" concludes the second season of programmes?