"How is a man of property," old Jolyon asks June at one moment referring, of course, to the through and through Forsyte, Soames.
Although Episode 5, one of the very best episodes of the series, bears the same title as the novel by John Galsworthy, it does not so much resemble the focus on one character but appears to put in contrast two men: one is the man of property for whom money has the ultimate value - Soames; the other is the man of liberty not bound to any 'convenient cases' but rather living the principle of simplicity and regularity - Bossiney. The former, called by June a 'brick' can recognize brains in the latter, called by many a 'wild Bucaneer' and, to make things more dramatic, the 'brick' employs 'the wild Bucaneer' as an architect of a new house...
It is a Sunday, they are on the way to Robin Hill; yet it is not 'any Sunday' but, as Jo points out in his narrative, 'the most fateful day in both their lives,' a day which will not only influence the financial decisions but, primarily, the condition of a marriage. Stingy with money and doubtful of any 'unnecessary additions' will he take up this 'risky business?' Moreover, will Soames be able to face the events to come with patience and restraint? Initially, the information about building of the house remains in secret. But, a social gossip does not hide for long...Everything is being heard and said at uncle Timothy's. The news comes to deteriorating aunt Anne. It does not appear to cheer her up (more perhaps the expression 'cheer up') yet, she gives a wise advice to be followed by Soames - be very very careful. But there is another elderly person who gives advice....
The advice of patience is given by old Jolyon to young June, his granddaughter. Who would expect that the elderly gentleman, who prefers oil lamps and listens to the gramophone instead of attending to a concert now does not only grow in reconciliation plan but also premonitions. 'Don't rush' to marry Bossiney because his eye rests on the beauty he admires and he does it all so openly, without any reservations or hidden meanings.
Before I move to the character of Bossiney, his rapport with Soames and, naturally, a woman in between them, let me first refer to the outcast, Jo, the character we sympathize with quite easily from the start. He goes on living in the idyll of the country with his wife Helene (Lana Morris) and two children, Jolly and Holly. As he is notorious for refusing to attend to family festivals, he will make up his mind and attend to family funeral. But before that "show of tenacious unity" (Galsworthy), he has a visitor at his lovely garden. That is his father much to the dismay of his wife and a positive shock of his children who meet their grandfather at last. Joseph O'Conor delivers a dignified scene of reconciliation. We see his back first (great camera-work standing for slight psychological reserve) and then delight in a great moment of absorbing and versatile emotions. How cute is the dog Balthazar that the children introduce to their granddad, a dog who will play a decisive role in future... But now, the 'wild Bucaneer...'
A key point of the episode, however, appears to be Bossiney's growing admiration (rather than lust) towards Irene. The wild Bucaneer recognizes beauty in her face, in her piano skills, in her manners, in anything she does say or do. He is an energetic, dynamic, 'magnetic' (as June points out) character who does not easily give up. Their visit at Robin Hill and the first kiss, the silent eavesdropping by the 'four-in-hand' Forsyte uncle Swithin and the sounds of a cuckoo are all a symphony of senses. While there is something 'positively dangerous' about his appearance (with reference to Jo's narrative), there is something 'positively unfair' about Irene... Towards whom?
June, engaged to be married to Bossiney and Soames, her husband. 'Oil lamps shed gentler light,' as old Jolyon once observes, occurs to be a statement of immense value for June... One of the best scenes, except the Robin Hill sequence with Irene, of course where Bossiney reveals himself as quite a 'Monte Cristo' with champagne and romantic atmosphere, is the moment of DANDY DICK performance at the theater. There, June's true doubts really emerge. Meanwhile, Soames grows suspicious, too. And who spills the beans about what is going on? "I don't care if I never get home" Irene says to uncle Swithin on their way back from Robin Hill. While he was the host in the previous episode, he is an undesired guest now. And...what is there that is not heard or said at uncle Timothy's?
The –four-in hand' Forsyte spreads those rumors to the elderly ladies. But this drama yet to be revealed and felt deep down is interrupted by the passing of the link with the century...
"There came a morning at the end of September when Aunt Ann was unable to take from Smither's hands the insignia of personal dignity..." Galsworthy begins his chapter on aunt Anne's death.
In Constance Cox's dramatization, however, these are the events that close the episode. No festival, this time, but a funeral and the family of property meeting together to "triumph over all this, to give a, to illustrate gloriously the law of property underlying the growth of their tree" (Galsworthy). The 'prodigal son' Jo also joins the gloomy celebration.
Unity? Some reconciliation? Perhaps yes but the final moment when Anne's coffin is being carried out of the chapel surely inspires to rest an eye on passing generation and instills nostalgia for the past already gone...
Although Episode 5, one of the very best episodes of the series, bears the same title as the novel by John Galsworthy, it does not so much resemble the focus on one character but appears to put in contrast two men: one is the man of property for whom money has the ultimate value - Soames; the other is the man of liberty not bound to any 'convenient cases' but rather living the principle of simplicity and regularity - Bossiney. The former, called by June a 'brick' can recognize brains in the latter, called by many a 'wild Bucaneer' and, to make things more dramatic, the 'brick' employs 'the wild Bucaneer' as an architect of a new house...
It is a Sunday, they are on the way to Robin Hill; yet it is not 'any Sunday' but, as Jo points out in his narrative, 'the most fateful day in both their lives,' a day which will not only influence the financial decisions but, primarily, the condition of a marriage. Stingy with money and doubtful of any 'unnecessary additions' will he take up this 'risky business?' Moreover, will Soames be able to face the events to come with patience and restraint? Initially, the information about building of the house remains in secret. But, a social gossip does not hide for long...Everything is being heard and said at uncle Timothy's. The news comes to deteriorating aunt Anne. It does not appear to cheer her up (more perhaps the expression 'cheer up') yet, she gives a wise advice to be followed by Soames - be very very careful. But there is another elderly person who gives advice....
The advice of patience is given by old Jolyon to young June, his granddaughter. Who would expect that the elderly gentleman, who prefers oil lamps and listens to the gramophone instead of attending to a concert now does not only grow in reconciliation plan but also premonitions. 'Don't rush' to marry Bossiney because his eye rests on the beauty he admires and he does it all so openly, without any reservations or hidden meanings.
Before I move to the character of Bossiney, his rapport with Soames and, naturally, a woman in between them, let me first refer to the outcast, Jo, the character we sympathize with quite easily from the start. He goes on living in the idyll of the country with his wife Helene (Lana Morris) and two children, Jolly and Holly. As he is notorious for refusing to attend to family festivals, he will make up his mind and attend to family funeral. But before that "show of tenacious unity" (Galsworthy), he has a visitor at his lovely garden. That is his father much to the dismay of his wife and a positive shock of his children who meet their grandfather at last. Joseph O'Conor delivers a dignified scene of reconciliation. We see his back first (great camera-work standing for slight psychological reserve) and then delight in a great moment of absorbing and versatile emotions. How cute is the dog Balthazar that the children introduce to their granddad, a dog who will play a decisive role in future... But now, the 'wild Bucaneer...'
A key point of the episode, however, appears to be Bossiney's growing admiration (rather than lust) towards Irene. The wild Bucaneer recognizes beauty in her face, in her piano skills, in her manners, in anything she does say or do. He is an energetic, dynamic, 'magnetic' (as June points out) character who does not easily give up. Their visit at Robin Hill and the first kiss, the silent eavesdropping by the 'four-in-hand' Forsyte uncle Swithin and the sounds of a cuckoo are all a symphony of senses. While there is something 'positively dangerous' about his appearance (with reference to Jo's narrative), there is something 'positively unfair' about Irene... Towards whom?
June, engaged to be married to Bossiney and Soames, her husband. 'Oil lamps shed gentler light,' as old Jolyon once observes, occurs to be a statement of immense value for June... One of the best scenes, except the Robin Hill sequence with Irene, of course where Bossiney reveals himself as quite a 'Monte Cristo' with champagne and romantic atmosphere, is the moment of DANDY DICK performance at the theater. There, June's true doubts really emerge. Meanwhile, Soames grows suspicious, too. And who spills the beans about what is going on? "I don't care if I never get home" Irene says to uncle Swithin on their way back from Robin Hill. While he was the host in the previous episode, he is an undesired guest now. And...what is there that is not heard or said at uncle Timothy's?
The –four-in hand' Forsyte spreads those rumors to the elderly ladies. But this drama yet to be revealed and felt deep down is interrupted by the passing of the link with the century...
"There came a morning at the end of September when Aunt Ann was unable to take from Smither's hands the insignia of personal dignity..." Galsworthy begins his chapter on aunt Anne's death.
In Constance Cox's dramatization, however, these are the events that close the episode. No festival, this time, but a funeral and the family of property meeting together to "triumph over all this, to give a, to illustrate gloriously the law of property underlying the growth of their tree" (Galsworthy). The 'prodigal son' Jo also joins the gloomy celebration.
Unity? Some reconciliation? Perhaps yes but the final moment when Anne's coffin is being carried out of the chapel surely inspires to rest an eye on passing generation and instills nostalgia for the past already gone...
