"NOBLE HOUSE" (1988) Review

 

"NOBLE HOUSE" (1988) Review

Between 1962 and 1993, author James Clavell wrote and published a series of novels centered on Europeans living in Asia. Some of the novels featured a family founded by a Scottish-born sailor named Dirk Struan, who became a trader in early 19th century China. And one of those novels was "Noble House", published in 1981.

Clavell's novel centered around one of Struan's descendants, Ian Dunross, who struggled to save the family company from a precarious financial position left by the previous CEO or "tai-pan" in the British colony, Hong Kong. Dunross sought a partnership with an American billionaire named Linc Barlett of Par-Con Industries, in the hopes of rescuing Struan's from financial ruin and a possible takeover by his family's long-time rival, Quinlan Gornt of Rothwell-Gornt. However, matters grew worse for Dunross and the company when the oldest son of Struan's comprador, Philip Chen, sold both company secrets and "coin debt" in the form of one of four half-coins that was given to Dirk Struan 146 years ago, to Barlett. This enabled Barlett to seek a partnership with Gornt in the hopes of making a raid on Struan's. When Philip's son, John Chen, ended up kidnapped by a local street gang, the value of the "coin debt", which ended up in the hands of wealthy smuggler named Four Fingers Wu. And this left Dunross and Struan's vulnerable to another threat.

I first read "Noble House" in my early twenties. Looking back on it, I now realize it was a good thing I had read previously read Clavell's 1966 novel, "Tai-Pan" and saw the 1986 movie adaptation. If not, I would have found myself confused over the family feud that served as a backdrop to the Dunross-Gornt feud and the history of the "coin debt". This involved four half-coins given to Dirk Struan by a Chinese trader named Jinqua in "Tai-Pan", as repayment for the loan of silver. Any CEO or "tai-pan" of Struan's must fulfill the request, whether legal or illegal, to anyone who presents one of the half coins that Jinqua originally kept. I ended up enjoying the 1981 novel very much. But I had some issues with it. Issues that had thankfully failed to materialized in "NOBLE HOUSE", the 1988 miniseries.

One of the issues centered around secret intelligence documents that Dunross found himself in possession of, thanks to his MI-6 contact. These documents ended up being sought by various intelligence agencies, including the MI-6, the C.I.A. and the K.G.B. However, this story arc had nothing to do with Dunross's efforts to save Struan's, so screenwriter Eric Bercovici ditched it. He also removed another story arc featuring an entourage of visiting members of Parliament - which included Dunross' Labor brother-in-law. Again, this arc had very little to do with the main one involving Dunross's business situation.

The miniseries had also removed several characters, including K.G.B. agent Captain Suslev, a visiting author and former Royal Air Force veteran named Peter Marlowe (from the 1962 novel, "King Rat"), Dunross's wife and children (he is a childless widower in the miniseries), Dunross's brother-in-law Robin Grey (also from "King Rat") and especially Dunross's wife Penelope and their three children. In the miniseries, Dunross is a childless widower, enabling him to have a romance with Par-Con executive Casey Tcholok. The biggest change proved to be the story's timeline. Bercovici updated the story's setting from August 1963 to November 1987, allowing it to be a modern tale. This enabled several characters like Linc Barlett and Casey Tcholok to mention Great Britain's future 1997 handover of Hong Kong to China.

I do have some minor complaints regarding "NOBLE HOUSE". One, I found Paul Chihara's score for the miniseries unmemorable and almost pedantic. And speaking of the score, I really disliked the cheesy aspect of the theme Chihara had created for the Orlanda Ramos character. It almost sounded like something for a soft-porn movie. Very insulting for a character like Orlanda, who proved to be more complicated. I also had a problem with some of the dialogue featured in "NOBLE HOUSE". This especially seemed to be the case in scenes featuring dialogue between European and Chinese characters or simply between Chinese characters. I found the dialogue rather awkward, exaggerated and very stylized. I realize the screenwriter was simply copying some of James Clavell's dialogue from the novel. But I really wish he had not.

Despite my complaints, I really enjoyed "NOBLE HOUSE". Every time I watch it, I am always surprised at how epic it seemed by the end of the last episode. And mind you, this story had very little to do with history. It was simply a mixture of the usual melodrama involving sex, romance, financial dealings and family conflicts. Even one of the story arcs, which featured Cold War espionage, managed to have an impact on the narrative's main arc regarding Ian Dunross's financial situation. Most people would be disappointed that this television adaptation was not completely faithful to Clavell's novel. Frankly, I am relieved. Bercovici managed to cut some of the superfluous story arcs and prevent the miniseries from becoming bloated. Yet, he still managed to retain Clavell's epic feel for the narrative. And he achieved this with the help of director Gary Nelson, who provided an overall steady pace in scenes that range from dramatic and action moments. Nelson's handling of the floating restaurant fire and the landslide that destroyed an apartment complex in the final episode really impressed me.

"NOBLE HOUSE" proved to be one of those productions that featured an international cast. Aside from a handful of performances, most struck me as being pretty solid. I must admit that I found those from the likes of Burt Kwok, Lim Kay Tong, Gordon Jackson, Denholm Elliott, Lisa Lu, Michael Siberry, Tia Carrere, John Houseman, Brian Fong, Ric Young, John van Dreelen, Nancy Kwan, Damien Thomas, Galen Yuen, George Innes and Dudley Sutton rather memorable. But there were certain performances that I truly enjoyed.

One of those performances came from the always memorable Khigh Dhiegh, who struck me as very colorful as one of Hong Kong's premiere smugglers, Four Fingers Wu. Ben Masters' take on the Lincoln "Linc" Bartlett characters seemed less boyish and more mature that Clavell's literary version. And to be honest, Masters' interpretation struck me as a lot more plausible as the witty and ruthless corporate CEO. I am more familiar with actor Ping Wu, thanks to his frequent appearances on NBC's "SEINFELD". But I really enjoyed his performance as Four Fingers Wu's youngest son, the intelligent and frustrated Paul Choy, who seemed incapable of impressing his father with his more modern outlook on how to profit outside of smuggling. Julia Nickson gave a very poignant performance as Orlanda Ramos, a local Eurasian television journalist and former mistress of Quillan Gornt. Thanks to Nickson's skillful performance, Orlanda evaded the superficial trope of a one-dimensional, walking sex toy; who became an intelligent, yet emotional woman who desired to be more than someone's bed warmer.

I might as well confess. Despite James Clavell's efforts, the character of Quillan Gornt never became a favorite of mine. His role as Dunross's main rival had nothing to do with my attitude. But I cannot deny that John Rhys-Davies gave one hell of a performance as the ruthless CEO who seemed to radiate wit, presence and a penchant for petty behavior. Casey Tcholok seemed like a difficult character to portray. Actress Deborah Raffin could have easily portray her as this ideal, "Mary Sue" type. Fortunately, James Clavell never portrayed Casey in that manner and neither did Raffin. Although the latter's take on the character seemed a bit more mature than her literary counterpart, Raffin expertly conveyed many of Casey's nuances - her razor-sharp intelligence, impatience, her talent for observation, her fears of being overlooked as a more than competent business person and her wit. However, Raffin's Casey struck me as a bit more sardonic than Clavell's literary version. Pierce Brosnan looked nothing like the literary Ian Dunross. Although both are tall, the latter possessed slightly wavy blond hair and the actor is definitely a brunette. The literary Dunross was in his early 40s, whereas Brosnan was only 34 years-old when he shot "NOBLE HOUSE". And yet . . . the Irish-born actor more than lived up to the role of Struan's CEO with a commanding performance without trying to hard. Brosnan wore the role very well - tight on the inside and relaxed on the outside. He not only portrayed Dunross's intelligence and ruthlessness with great skill, but also conveyed the CEO's growing concerns over losing the company and desperate attempts to save it without resorting to any kind of histrionic acting. By the time the miniseries ended, Brosnan had embedded into the role so well that I had completely forgotten that he was the wrong age to portray Dunross and possessed the wrong hair color.

"NOBLE HOUSE" never really acquired the acclaim that both television versions of James Clavell's 1975 novel, Shōgun or the movie version of the author's 1962 novel, "King Rat" had. But thankfully, it was no "TAI-PAN". Not that I care. I am not claiming that "NOBLE HOUSE" was mediocre. On the contrary, I thought it was a skillful and excellent adaptation of the 1981 novel. The latter is my favorite Clavell novel and I was more than happy that NBC had did more than simply justice to it, thanks to Gary Nelson's well-paced direction, Eric Bercovici's tight screenplay and performances from a first-rate cast led by Pierce Brosnan and Deborah Ruffin. It has been years since I first saw it and to this day, I have yet to grown tired of it.