The following is commentary on Episode No. 48 ("Coming Home") 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

Three distinct story lines, each continued from previous episodes, coexist to good effect in this nicely crafted script by John Wiles.

The title, “Coming Home,” refers to the return to Liverpool of Peter and Janet, children of David and Sheila Ashton, following the sudden death in Wales of Mrs. Thomas. As it happens, the timing of their move could hardly have been worse, for Trevor Howells has informed David that his services as a commissioned salesman no longer will be needed. When David finally works up the courage to tell his wife the bad news, Sheila lets it be known that it was she who secured that job for him in the first place. His confidence shattered, David irresponsibly decides to “try his luck” in London, leaving Sheila alone with the children in the new house—with no visible means of support.

A dilemma of quite a different sort confronts poor Doris Jackson, left pregnant and abandoned by her latest American boyfriend. Freda is determined to come to her friend’s aid, naïvely believing that good intentions are all that are needed. Doris’s father is inhospitable to the uninvited visitor, alleging that it is her kind that led to his daughter’s problem. As for Doris herself, Mr. Jackson hatefully snarls, “She’s gonna drop somebody’s pig. That’s what she is, a bloody sow.” Initially, Doris appreciates Freda’s concern, but then she too rebels against her friend’s well-intentioned but patronising attitude, spitefully contending that the Ashtons are not so “la-di-da.”

Still bristling from Tony’s apparent betrayal, Edwin resolves to quit his position as manager of the works division of Briggs & Son. He is tired of being told what to do for the past thirty-five years, and he resents the precious little recognition that he has received from Sefton. He enters the office of his new boss, Eric Fraser, with a letter of resignation in hand. That is when Fraser deftly convinces him to remain with the firm. There are to be exciting changes in the printing business, future projects that will require the services of an experienced manager.

Some random comments about “Coming Home”…

Again, as in Episode No. 46 (“The Sensible Thing”), a noble portrayal by Donald Pickering inspires trust in and admiration for the character of Eric Fraser.

In stark contrast, businessman Trevor Howells is eerily reptilian in his dealings with David. Leonard Sachs delivers a memorable performance in an unsavory role.

I have always liked the character of Ian Mackenzie, who is blessed with both practicality and civility. Here he gives the idealistic Freda his judicious perspective on offering assistance to others: you must have a positive solution to do any good. It is his view that pity, much worse than charity, “makes the giver feel good and does nothing at all for the victim.” Though initially skeptical, Freda soon comes to realise that her consultant husband knows whereof he speaks. Freda, of course, has many admirable qualities of her own, not the least of which is her determination to help Doris, even at the risk of appearing to be a condescending busybody.

I feel sorry for the well-meaning Freda when her expectant friend berates her in the café, but Mrs. Ian Mackenzie really cannot begin to fathom the depths of deprivation in which Doris finds herself on a daily basis. Once, this pair could accept each other as virtual equals, but now, with Freda’s marriage, the social gulf between them is too great to surmount.

What a lonely existence it must have been for Mrs. Jackson, who tells Freda, “Friends is for children. We know better.” She confirms that life is nothing more than being born, growing up, and dying. This servile woman, while rather sympathetic to Freda’s efforts, clearly is afraid to challenge her husband’s despotic control of the household.

Tony Briggs continues to have some of the funniest lines in "A Family at War." Here he sarcastically explains to Fraser that the liquor in his flask came from “the ever-flowing spring behind Father’s bookcase.”

Colin Campbell gives an especially strong performance in this episode. Notice his subtle response of hurt when Janet says, “It doesn’t look much like home.”

One of my favourite scenes of the entire series is when Edwin tears up his letter of resignation after hearing Fraser's plans for the printing works. This dramatic moment is superbly acted, and I want to stand up an cheer for these two men of high character and integrity.