The following is commentary on Episode No. 36 ("The Things You Never Told Me") 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 fine, concise episode is among the most dramatically focused in the entire series. There are but five credited speaking roles, and the screenplay unfolds within only two settings—the Ashton home and the Liverpool train station’s lunch room.

That is not to say that little transpires. This a pivotal episode that examines four significant relationships in great detail. Foremost among them, of course, is the troubled marriage of John and Margaret. When Celia divulges to her son that Margaret was seeing a man and had his baby, we are left to wonder how he will react and whether there can be any forgiveness. But in doing so perhaps we are giving John too little credit, for he has matured considerably since his repatriation. He is, as Margaret tells her father-in-law, "much more confident, more sure of himself." The scenes that find John and Margaret alone are quite gripping, whether confrontational or, soon thereafter, in the spirit of reconciliation. This, we sense, is one marriage that will emerge stronger for all the tribulations through which it has suffered.

That complicated mother-son relationship (Celia-John) also receives substantial attention. It is intimated that the self-centred Celia may have revealed Margaret's transgression as a means of securing John's return to his mother and father in Chorley. She is hurt when John suggests this would mean a return to "the old hook and chain." Worse yet, her claim that he was always happy at home elicits his cynical response that he was "miserable as sin." But even more than these, what she cannot accept is his graphic description of how he contracted a "dose" while in Belgium. His attempt to comfort her is met with a disdainful "Don’t touch me!"

The hopelessly contentious relationship between Margaret and her mother-in-law finally reaches the breaking point. Celia scoffs at the notion that Margaret would ever have gotten around to informing John of her terrible secret. Margaret, in turn, accuses Celia of enjoying the rupture of her marriage to John, tearfully alleging, "It's your big day!"

More than anywhere else in the series, it is here that we learn of the irreversible failings that exist within the marital relationship of Harry and Celia. Irate at her scheming to retain John's affection, Harry declares to her that their marriage has amounted to "wasted years, wasted lives." Earlier, he explained to Margaret that he stays with his wife primarily out of pity—and that, he adds, is the ultimate degradation.

Some random comments about "The Things You Never Told Me"...

This is one of only two Liverpool episodes (those which primarily stay at home, not following Philip or David in their military exploits) in which patriarch Edwin Aston does not appear. The other is the previous installment in the series, "Happy Returns." His absence is explained by a visit to his cousin in Castleford.

That long sequence between John and his mother in the train station's lunch room has an underlying tension that keeps us captivated by what is being said, despite the fact that much of it (sandwich, soup, public display of affection) would be inconsequential in any other context. Paradoxically, the protracted dialogue serves to heighten the suspense, to make the viewer wait for the "pay off," which is sure to come. And it does not disappoint. What an intense moment that is when Celia informs her son that, while he was away in uniform, Margaret had a baby by another man. This is exceedingly well played by Ian Thompson, who never falls to the temptation of over-acting in tasteless, melodramatic fashion.

When Celia sings Vera Lynn's "The White Cliffs of Dover" to her son, she substitutes the name "Johnny" for "Jimmy."

There is a poignant voice-over flashback when Celia's mind wanders to what Harry said about his feelings toward her as he left for the trenches.

I always enjoy watching that scene-stealer Paul Brett as John George Porter. His antics before the camera are amusing, though I rather suspect that his unpredictable energy was worrisome for producer and director.