The following is commentary on Episode No. 41 ("This Year, Next Year") 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

Four intertwined story lines dominate this episode, but clearly the courtship of Ian and Freda takes centre-stage. Ian returns to Liverpool after a three-week-long working assignment out of town, during which time he never went so far as to drop Freda a postcard. Sensitive young woman that she is, Freda naturally resents this neglect and determines to allow their relationship to languish, something the uncomplicated Doris simply cannot fathom.

This spiteful apathy is short-lived, however, for already by Freda’s second appearance on camera, we find her at the Mackenzie home, seeking counsel from Ian’s mother. Mrs. Mackenzie assures her that Ian’s first wife, Mary Ramsden, is out of the picture for good: “Freda, you’re jealous of a ghost. She’s lost him.” An interlude in the park begins idyllically enough, but soon Freda becomes despondent again, disparaging the “delights of exotic Liverpool” that the Holidays at Home campaign offers and wishing that she were far away. When Ian insists that the gulf between consultant and nurse can be bridged, she responds sarcastically, “Do I look like an engineer?”

Later, as they await the long overdue Ian, Mrs. Mackenzie maintains that Freda is suffering from “acute indecision” (cold feet), and that her son has a case of it too. This would be a good opportunity, she suggests, for them to drown their sorrows in some sherry. Their tongues lubricated, Mrs. Mackenzie proceeds to enumerate her son’s character flaws, which Freda says somehow make him seem nicer and more human.

Ian finally does return home, and Freda is quick to confront him for being so inconsiderate. But he will have none of this, declaring in no uncertain terms, “Freda, I am a doctor, not a tram. I do not and cannot run to a timetable. I do what I can, when I am called, where I am needed. Is that quite clear?”

Ian Mackenzie’s proposal of marriage is nicely handled by all involved in the production. Writer Robert Furnival’s dialogue is well calculated to show Ian’s shortcomings as a communicator, even going so far as to have him stop in mid-sentence, complaining that everything he had planned to say is coming out all wrong. Director Gerry Mill effectively positions Barbara Flynn (Freda) with her head on the lap of John Nettles (Ian), thus allowing us to see both of their facial expressions throughout this important scene. Then, at the climactic moment when Ian asks, “Freda, would you…” she sits upright and affirms, “Yes, Ian. Yes.” This is a very moving scene, as well it should be for all that it portends.

Three other story lines, while significant, fall beneath the shadow of Freda Ashton’s marital future. Margaret has learned that her pregnancy was misdiagnosed, and she must tell her husband the disappointing news that there never may be another baby. Ian Thompson (John) is at his best in such emotionally charged scenes, and he comes through in convincing fashion once again. We feel his sorrow and sympathise with his vain struggle to choose the right thing to say. Meanwhile, at the Ashton home, a drama of quite a different sort is unfolding before us. Harry Porter tells Edwin that he has abandoned all prospects of ever being able to pay back the hundred pounds he has borrowed. He explains that he was “hoping against hope” when he accepted the loan, and Edwin exhibits his kindness by affirming that such a hopeful attitude sometimes is the only thing that makes life bearable. In stark contrast, when Sefton comes calling, he shows a selfish disregard for Harry and John, as, one by one, he makes them feel inconsequential and unworthy of finding true success. Ironically, it is just such times that make us realise that Harry Porter and John Porter—in their small, unassuming ways—are far more successful in life than Sefton Briggs can ever hope to be.

Some random comments about “This Year, Next Year”…

I enjoy watching that sweet couple in the park, who look up, startled, when Ian shouts, “I love Freda Ashton!” For them, sharing this intimate time together, all seems right with the world.

I have said many times before that Lesley Nunnerley (Margaret) is the source of myriad delights to this particular viewer, and “This Year, Next Year” brings yet another bit of stage action that deserves mention, if for no other reason than, left unstated, it easily could be missed. She is so cute when she walks through the crowded pub with John, giggles, and tells a service woman, “I’m sorry. Was that your toe?” There is a naturalness to her delivery of that trivial line that is disarming and endearing.

Much the same can be said of Barbara Flynn (Freda) when, a bit tiddly, she laughs as Mrs. Mackenzie describes for her Ian’s weakness for other women—hundreds of them at any given moment. Again, it is an utterly genuine laugh, quite infectious!

I feel sorry for Harry when he hears Sefton’s voice at the front door. Looking around in desperation, he can see no means of escape, so he knows that he must endure the unpleasant (and ultimately degrading) encounter that is sure to come. Sefton, of course, does not make the awkward situation any easier by his superior attitude. I think Patrick Troughton (Harry) is absolutely marvelous in this role.

Ian exhibits some surprising humour when he announces to his mother and Freda the shocking news that Mary Ramsden is coming for a visit. This amusing bit of dialogue adds another dimension to Ian’s essentially serious character, and we sense that Freda will be in good hands.

I cannot close without mentioning that warm moment when Freda comes home and informs her father, “Yes, I’m getting married soon, Daddy.” The way that he gently puts his arm around her, as if she were still his little girl, brings a tear to the eye.