Before "Apple Tree Yard" premiered, media coverage and promotional materials seemed to be selling it as a drama looking at the (supposedly) under-explored theme of extramarital affairs resulting from the sexual frustrations of middle-aged, middle-class married life.
This topic is, thankfully, only the focus of the first episode of this four-parter; while the theme remains as an undercurrent in subsequent episodes, the main plot thread descends into standard thriller territory. Emily Watson is brilliantly understated as Dr. Yvonne Carmichael, the ordinary woman living a comfortable existence who is unexpectedly seduced by the mysterious Mark Costley. It is harder to evaluate Ben Chaplin's performance as the latter due to the mysterious nature of the character, but that nature is skillfully conveyed; one can understand why Yvonne would be curious about someone so enigmatic. The other actors are convincing in their roles, but the parts they are given are somewhat underwritten (even the vital character of rapist George Selway is denied any motivation other than Yvonne). This flaw is, however, not a major one; the focus of the series is Yvonne, with every scene taking place from her perspective. Yvonne is a character made fascinating by her normality and the questions her actions raise.
The show's makers seem to be asking the viewer "What would you do in this situation?" Some reviewers have dismissed the plot as laughable because it depends on Yvonne doing things that no so-called "rational" person would do. As observers, we are invited to ponder whether we could remain rational in times of extreme stress, fear and uncertainty. While most viewers would probably disagree with at least one of Yvonne's decisions, few of us could state with confidence that we would always act as we would wish to, regardless of circumstances.
In many ways, Yvonne (and, by extension, Watson) is the series saving grace. By focusing on her thoughts, desires, actions and reactions, the viewer is distracted from how generic and predictable the plot is, particularly in the later episodes. From the moment Costley neither affirms nor denies Yvonne's assumption that he is a spy, we know that he will be revealed as a fantasist. As soon as Yvonne decides not to tell the police about her affair with Costley, we know that it will be used as a bombshell revelation in the courtroom. The makers want us to be surprised as the twists and turns the story takes, but there is nothing truly unexpected in the series (with the exception of the rape, which I will come to shortly). Case in point: the final revelation that Costley only killed Selway because he believed Yvonne had told him to. Ending twists (as M. Night Shyamalan would agree) should impact the viewer and make them reassess everything they have just witnessed. This one is more of an "oh" moment; in no way does it subvert viewer expectations and assumptions. Instead, it merely reinforces what we know about Costley: he sees himself as a hero and his manslaughter as a heroic deed.
What is surprising (and revealing) about this series is how little it has to say about adultery. Considering how the BBC chose to promote it as a mature look at the topic, it would be reasonable for one to expect some sort of message. Strangely enough, despite the serious tone and lack of comedy the series presents, that message never comes. One might argue that adultery is implicitly condemned through the consequences of Yvonne's affair, but those consequences also hinge on her being raped and her lover having a personality disorder, while the affair between Yvonne's husband and one of his colleagues is merely a plot device to blind him to the true cause of Yvonne's distress. On the other hand, the series in no way encourages adultery or polygamy, nor does it criticise the institution of marriage. This on-the-fence approach reveals the makers' true intentions: any serious themes are mere window-dressing for a thriller whose purpose is ultimately to provide some escapism for viewers.
If this series will be remembered for anything, it will not be the generic plot, nor will it be Emily Watson's admittedly brilliant but far from unusual performance. What sticks in the mind the most (and prompted the most discussion after the first episode aired) is the depiction of rape. For this scene director Jessica Hobbs is to be commended; she strikes the perfect balance, avoiding the traps most rape scenes fall into. It is shocking without being needlessly explicit, it in no way feels romantic or erotic and it is treated as an earth-shattering event rather than a mere plot device. It feels perverse to talk about great rape scenes, but the one featured in "Apple Tree Yard" certainly falls into that category.
Overall, this series is not an instant classic, nor is it even as original as it would have you believe. However, it is still recommended for viewers looking for an thought-provoking but entertaining thriller.
P.S. On a frustrating note, we never do find out why Costley was rejected by MI5.
P.P.S LEGAL INACCURACY: It is suggested that at one point the police deliberately lied to Yvonne. In the UK, that is illegal. Furthermore, all interviews are recorded, so a policeman who did lie during an interview would be opening themselves up to facing disciplinary action.
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