"NORTH AND SOUTH" (1975) Review

"NORTH AND SOUTH" (1975) Review

I had been a fan of Elizabeth Gaskell's 1855 novel, ever since I first saw the 2004 television adaptation a few years ago. Mind you, I had never read the novel. And I still have yet to read it. Despite this, I became a fan of the story. And when I learned that the BBC planned to release an older adaptation of Gaskell's novel, which first aired in 1975, I looked forward to seeing it. 

As one would assume from reading this review, I eventually purchased a copy of the 1975 adaptation on DVD. And if I must be honest, I do not regret it. "NORTH AND SOUTH" proved to be a pretty damn good adaptation. Like the 2004 version, it consisted of four (4) fifty-minute episodes. Gaskell's novel told the story of one Margret Hale, who returns home after ten years to her cleric father's rector in Helstone, after attending the wedding of her cousin, Edith Shaw. Margaret's homecoming is short-lived when she and her mother learn that her father Richard Hale has left the Church of England as a matter of conscience, after he has become a dissenter. His old Oxford friend, Mr. Bell, suggests that the Hales move to the industrial town of Milton, in Northern England; where the latter was born and own property. 

Not long after the Hales' arrival in Milton, both Margaret and mother Maria Hale find Milton harsh and strange. Due to financial circumstances, Mr. Hale works as a tutor. One of his more enthusiastic students turn out to be a wealthy cotton manufacturer named John Thornton, master of Marlborough Mills. Appalled by the conditions of the poverty-stricken mill workers, Margaret befriends the family of one Nicholas Higgins, a union representative. She also develops a dislike of Thornton, finding him gauche and seemingly unconcerned about his workers' condition. Unbeknownst to Margaret, Thornton has grown attracted to her. The volatile relationship between Margaret and Thornton eventually plays out amidst the growing conflict between mill owners and angry workers.

As I had stated earlier, "NORTH AND SOUTH" proved to be a pretty good adaptation. I have a tendency to regard BBC miniseries produced in the 1970s with a jaundice eye, considering their tendency end up as televised stage plays. Thanks to the conflicts, social commentaries and romance featured in "NORTH AND SOUTH", the miniseries was never boring. Many viewers who have seen this version of Gaskell's novel claim that it was a more faithful adaptation than the 2004 miniseries. I cannot agree or disagree, considering that I have yet to read the novel. But I have never been too concern with the faithfulness of any movie or television adaptation, as long as the screenwriter(s) manage to come up with decent script that adheres to the main narrative of the literary source. Fortunately, David Turner did just that. His screenplay, along with Rodney Bennett's direction, explored all of the aspects of Gaskell's 1855 novel - the reason behind the Hales' move to the North, the labor conflicts between the workers and the mill owners, Margaret Hale's conflict/romance with John Thornton, the latter's relationship with his mother, Nicholas Higgins' conflict with fellow mill worker Boucher, and the fragmentation of the Hale family. Also, Bennett directed the entire miniseries with a steady pace that kept me alert.

It is a good thing that Bennett's pacing kept me alert . . . most of the time. Like many BBC productions in the 1970s,"NORTH AND SOUTH" did come off as a filmed play in many scenes. Aside from Margaret's arrival in Helstone in Episode One, the labor violence that erupts within the grounds of Marlborough Mills in Episode Two and the delivery of Boucher's body in his neighborhood; just about every other scene was probably shot inside a sound stage. And looked it. This even includes the Milton train station where Margaret says good-bye to her fugitive brother, Frederick. Now many would state that this has been the case for nearly all BBC miniseries productions from that era. Yet, I can recall a handful of productions from the same decade - 1971's "PERSUASION", 1972's "EMMA" and even "JENNIE, LADY RANDOLPH CHURCHILL" from 1974 - featured a good deal of exterior shots. And there were moments when some scenes continued longer than necessary, especially in Episode One. Margaret's conversation with her cousin Edith and Mr. Hale's announcement of his separation from the Church of England seemed to take forever. And due to this problem, there were moments went the miniseries threatened to bog down.

But as much as I liked Turner's adaptation of the novel, it seemed far from perfect. One aspect of the script that really irritated me was that Turner had a habit of telling the audiences what happened, instead of showing what happened. InEpisode One, following their arrival in Milton, Margaret tells her parents that she met the Higgins family. The miniseries never revealed how she met Nicholas or Betsy Higgins in the first place. The series never revealed the details behind Boucher's death in Episode Four. Instead, a neighbor told Margaret, before his body appeared on the screen. We never see any scenes of Fanny Thornton's wedding to mill owner Mr. Slickson. Instead, John tells Mr. Bell about the wedding in a quick scene between the two men on a train. Also, I found Margaret's initial hostility toward John rather weak. A conversation between the two about the mill workers took part after audiences met the Higgins family. It is easy to see that John's arrogant assumption regarding his control of his workers might seemed a bit off putting to Margaret. But it just did not seem enough for her hostility to last so long. And while the script probably followed Gaskell's novel and allowed John's regard for Margaret to be apparent before the end of Episode One, I never felt any growing attraction that Margaret may have felt toward John. Not even through most of Episode Four. In fact, Margaret's open declaration of her love for John in the episode's last few minutes seemed sudden . . . as if it came out of the blue.

The above mentioned problem may have been one reason why I found Margaret and John's romance unconvincing. Another problem was that I found the on-screen chemistry between the two leads, Rosalie Shanks and Patrick Stewart, rather flat. In short, they did not seemed to have any real chemistry. The two leads gave first-rate, if somewhat flawed performances in their roles. Aside from a few moments in which I found Shanks' Margaret Hale a bit too passive, I thought she gave an excellent, yet intelligent performance. Stewart seemed as energetic as ever, even if there were moments when his John Thornton seemed to change moods faster than lightning. But they did not click as an on-screen couple. Also, Turner's screenplay failed to any signs of Margaret's growing attraction toward John. It simply appeared out of the blue, during the series' last few minutes. 

I certainly had no problems with the other performances in the miniseries, save for a few performances. Robin Bailey did an excellent job in portraying Margaret's well-meaning, yet mild-mannered father, Richard Hale. Bailey seemed to make it obvious that Mr. Hale was a man out of his depth and time. Kathleen Byron perfectly conveyed both the delicate sensibility and strong will of Margaret's mother, Maria Hale. I was very impressed by Rosalie Crutchley's portrayal of the tough, passionate and very complex Mrs. Hannah Thornton. I could also say the same about Norman Jones, who gave a very fine performance as union representative Nicolas Jones . . . even if there were times when I could barely understand him. Christopher Burgess' portrayal of Boucher struck me as very strong . . . perhaps a little on the aggressive side. And Pamela Moiseiwitsch gave a very funny portrayal of John's younger sister, Fanny; even if her performance came off as a bit too broad at times. It was a blast to see Tim Pigott-Smith in the role of Margaret's fugitive brother, Frederick Hale. I say it was a blast, due to the fact that Pigott-Smith portrayed Richard Hale in the 2004 miniseries, 19 years later. As much as I enjoyed seeing him, there were times when his performance came off as a bit hammy.

Overall, "NORTH AND SOUTH" is a pretty solid adaptation of Elizabeth Gaskell's novel. Aside from a few changes, it more or less adhered to the original narrative, thanks to David Turner's screenplay and Rodney Bennett's direction. And although it featured some fine performances, the miniseries did suffer from some narrative flaws and a lack of chemistry between the two leads - Rosalie Shanks and Patrick Stewart. However, "NORTH AND SOUTH" still managed to rise above its flaws . . . in the end.

"NORTH AND SOUTH" (1975) Photo Gallery

Below are images from "NORTH AND SOUTH", the 1975 BBC adaptation of Elizabeth Gaskell's 1855 novel. Directed by Rodney Bennett, the four-part miniseries starred Rosalie Shanks and Patrick Stewart: 


"NORTH AND SOUTH" (1975) Photo Gallery

Looking Beyond "NORTH AND SOUTH"

LOOKING BEYOND "NORTH AND SOUTH"

In the past year, I have become increasingly obsessed with costume dramas based upon British literature. My obsession has not only focused upon movies and miniseries based on the many movie and television adaptations, but also on various British novels. Ranked near the top of the list of my favorite stories is the 2004 BBC miniseries, ”NORTH AND SOUTH”.

Adapted by Sandy Welch from Elizabeth Gaskell’s 1855 novel, ”NORTH AND SOUTH” told the story of a former clergyman’s daughter named Margaret Hale, who follows her uprooted parents to the Northern city of Milton; and John Thornton, a cotton mill owner who ends up befriending Margaret’s father and falling in love with her. Anyone familiar with Gaskell’s novel and the four-part miniseries would know that both Margaret and John endured a series of misunderstandings, quarrels, their relatives, external crises, and a marriage proposal gone wrong before they end up happily engaged. Yet, the question remains . . . what happened to the couple following the wedding? Did they end up ”happily ever after”?

Lately, I have become aware of a growing number of sequels based upon Jane Austen’s novels. This should not be surprising, considering the obsession that has surrounded the late 18th/early 19th century author for the past fifteen years. Most of these sequels tend to be follow-ups to the novelist’s most famous work, ”Pride and Prejudice”. I have never experienced any inclination to read any of these sequels in the past. And if I must be honest, any inclination remains dormant within me. But in the wake of becoming a fan of the ”NORTH AND SOUTH” miniseries, I found myself wondering if any writers or fans have ever considered writing a sequel to Gaskell’s novel.

I have come across some fan fiction based upon the novel. But most of these stories tend to focus solely on Margaret and John’s romance. Yes, I realize that it was the story’s romance – and especially Richard Armitage’s image as John Thornton – that made the miniseries become so popular with television viewers during the past 6 years or so. But for me and a good number of other fans, ”NORTH AND SOUTH” was more than just about the romance and leading actor. The social upheavals and culture clashes that permeated the story allowed an interesting glimpse into mid-Victorian English society and the differences in class and region. If someone ever decided to continue Margaret and John Thornton’s story, how would he or she do it? Would that writer merely focus upon the romance or follow Gaskell’s example by continuing the exploration of Victorian society? I personally believe that to write an effective sequel to ”North and South”, a writer would have to consider the following:

*the strong wills and temper of the two protagonists
*the protagonists’ family members
*the protagonists’ friendship with Nicholas Higgins and the union movement
*historical backdrop of the cotton trade in mid 19th century

Below is a more in-depth look into these topics:




Margaret Hale and John Thornton Relationship

I am certain that many fans of Gaskell’s novel and the 2004 miniseries sighed with pleasure . . . and relief when Margaret Hale and John Thornton finally acknowledged their love for each other by the end of the story. But one has to consider certain facts. One, love alone cannot always sustain a successful relationship. Two, despite the improvement in their respective characters, the cores of Margaret and John’s personalities will remain constant. One should anticipate future storms in the Hale-Thornton marriage.





Family Relations

Since the novel and the miniseries ended with Margaret and John’s engagement, fans can assume that the pair will eventually become husband and wife. Which means that they will have to deal with their respective in-laws.

One would be inclined to assume that John would not have to deal with in-laws on a daily basis, considering that Margaret’s parents were dead, her cousins living in London and her brother Frederick living in Spain. Margaret, on the other hand, will have two in-laws to deal with – John’s younger sister, the silly Fanny; and his indomitable mother, Mrs. Hannah Thornton. Considering John and Mrs. Thornton’s low opinion of Fanny, the latter should prove to be more of a problem for them, instead of Margaret. The worst she would have to contend with the occasional inane comment from Fanny or the latter’s barely concealed jealousy of her older brother. Mrs. Thornton might prove to be another matter. I doubt that John’s mother had not forgotten Margaret’s rejection of John’s first marriage proposal or the mild scandal regarding Margaret’s appearance at the rail station with her brother Frederick. And the older woman has never been fond of younger one. Considering her personality, I would not be surprised if Mrs. Thornton ends up developing a slight resentment toward Margaret’s financial rescue of Marlborough Mills. One can easily look forward to fireworks between Margaret and her new mother-in-law.

As I had earlier pointed out, there would be a strong possibility of John avoiding any conflict with any of his in-laws, due to the deaths of Margaret’s parents and the scattered locations of her surviving relations. But the possibilities remain. After all, Margaret does have close relationships with her Cousin Edith Shaw Lennox and Aunt Shaw, who live in London. The chances of her and John making family visits to the south remain strong. The London family would probably be disappointed in Margaret’s marriage to John and her second rejection of Edith’s brother-in-law, Henry Lennox. And judging from the Great Exhibition scene featured in the miniseries’ third episode, they did not seem enamored of John. Although Margaret’s brother Frederick lives in Spain, both she and John could afford to pay him a visit. But I wonder if that visit would prove to be congenial. Frank had clearly expressed his contempt for John as a “tradesman” in the miniseries’ third episode. I doubt that one rebuke from Margaret would have changed his opinion. And I can foresee a chilly response from Frank, for his new “tradesman” brother-in-law.

Overall, in-law troubles for both Margaret and John strike me as very plausible in a sequel.





Nicholas Higgins and the Union

I wonder if many fans of both the Gaskell novel and the 2004 miniseries would view Margaret and John’s friendship with worker/union leader Nicholas Higgins as a possible source of future conflict. I believe it is possible. Higgins is a strong-willed character with firm ideas. I simply cannot see him permanently giving up his dreams of a strong union for Milton’s mill workers, despite the setback featured in Episodes 2 and 3, and his friendship with John Thornton. And knowing John’s feelings regarding unions and his own strong will, I cannot see him supporting any future efforts to begin one. There could be a chance of a future clash between the two men if a new union is pursued. Margaret might find herself in the middle of such a clash, considering her closer friendship with Higgins and her love for John. Such a storyline could prove to be very interesting in a sequel.







Cotton Trade and the U.S. Civil War

Although I am not certain, I suspect that many fans would never associate the topic of slavery and the U.S. Civil War with Gaskell’s novel or the miniseries. Yet, I do recall a scene in which John and other Milton cotton mill owners had engaged in a conversation about purchasing cotton from countries other than the United States. John insisted that he would continue purchasing American cotton, due to its superior quality. If someone ever decided to write a sequel to ”North and South”, I wonder if the author would set the story a few years following Margaret and John’s engagement. Or would the author allow their tale to continue into the 1860s? If the latter does happen, chances are Marlborough Mill and other mills throughout Great Britain will suffer the effects of the U.S. Civil War (1861-1865).

That particular war managed to deprive many British mill owners of raw cotton for their factories. In return, the British cotton manufacturing business suffered a major economic depression, due to the Confederates’ policy of withholding cotton in exchange for diplomatic recognition and aid from Great Britain. Since the Confederacy never received official recognition or aid, the British mill owners suffered.

Not only could the growing issue of slavery and the American Civil War should have a profound effect upon the Thorntons’ profits. Both issues could be used as potential conflict between Margaret and John. I would not be surprised if concern for his mill would lead to John developing an anti-abolition or pro-Confederate stance. And considering her sympathies toward Milton’s mill workers, I could see Margaret developing a pro-abolition or pro-Union stance. However, a part of me suspects that many writers would go out of their way to avoid the topic of slavery, the Civil War and their effect upon Britain’s cotton manufacturing industry. Since Gaskell’s novel and the 2004 miniseries embraced social issues, it would be a pity if this never happened.




Conclusion

If there is one thing I enjoyed about Elizabeth Gaskell’s novel and its 2004 television adaptation was that both turned out to be a well-written saga that combined romance, family strife and social issues. I believe that this combination could be repeated in a sequel to ”North and South”. This sequel could continue the exploration of Margaret Hale and John Thornton’s relationship through their own personalities, family connections, their friendship with Nicholas Higgins and the economic repercussions of slavery and the U.S. Civil War on Britain’s cotton industry and Northern England’s economy. I could go as far to say that a sequel to ”North and South” has the potential to be just as fascinating as Gaskell’s original novel. However, with so many sequels and spin-offs to Jane Austen’s novels still being written, I suspect that such a novel will never be written.

"NORTH AND SOUTH" (2004) Review

Below is my review of the 2004 BBC miniseries, "NORTH AND SOUTH", which is an adaptation of Elizabeth Gaskell's 1855 novel:


”NORTH AND SOUTH” (2004) Review

If someone had told me years ago that I would find myself watching the 2004 BBC television adaptation of Elizabeth Gaskell’s 1855 novel, let alone purchase a DVD copy of the miniseries, I would have dismissed that person’s notion as inconceivable. I have never shown any previous interest in ”NORTH AND SOUTH”. And I am still baffled at how I suddenly became interested in it.

Mind you, I have been aware of the 2004 miniseries for the past several years. This was due to my interest in the three miniseries based upon John Jakes’ literary trilogy about two families during the years before, during and after the American Civil War. Every time I tried to find photographs or websites about Jakes’ trilogy, I would end up encountering material on the BBC miniseries. It took me at least three to four years to express any real interest in ”NORTH AND SOUTH”. But in the end, I found it difficult to ignore the mid-Victorian setting (a period I have always been interested in) and decided to include the miniseries on my Netflix rental list.

But when Netflix decided to offer the opportunity to view ”NORTH AND SOUTH” via the computer, I watched the first fifteen minutes of Episode One . . . and became intrigued. Then I accessed at least two scenes from the miniseries on YOU TUBE - namely John Thornton’s marriage proposal to Margaret Hale and Nicholas Higgins’ castigation of Boucher for ruining the strike via violence and became hooked. I had to see the entire miniseries as soon as possible. So what did I do? Instead of moving ”NORTH AND SOUTH” to the top of my Netflix list, I purchased a DVD copy of the miniseries. Just like that. Yes, I know I could have easily done the former. But for some reason, I found myself longing to own the DVD. And you know what? I am very glad that I made the purchase.

The miniseries is an adaptation of Elizabeth Gaskell’s novel about the cultural clash between England’s pastoral South and the industrial North in the 1850s. It told the story of Margaret, a well-to-do young woman from southern England who is forced to move to the North after her clergyman father became a church dissenter and decided to leave the clergy. With the help of a family friend named Mr. Bell, the Hales managed to find a home in the city of Milton (a stand-in for Manchester). However, they end up struggling to adjust itself to the industrial town's customs, especially after meeting the Thorntons, a proud family that owns a cotton mill called Marlborough Mills. The story explored the issues of class and gender, as Margaret's sympathy for the town mill workers conflicts with her growing attraction to John Thornton.

Many have compared ”NORTH AND SOUTH” to the 1995 miniseries ”PRIDE AND PREJUDICE”, an adaptation of Jane Austen’s novel. Personally, I only saw scant resemblance between the two stories. Both featured a romance between a plucky, yet genteel heroine and a brooding hero. But the personalities of Margaret Hale and John Thornton seemed a far cry from those of Elizabeth Bennet and Fitzwilliam Darcy. Also, ”NORTH AND SOUTH” seemed more than just a costumed romantic story filled with misunderstandings. As I had mentioned in the previous paragraph, it is a social drama about class and gender differences. It is also an exploration of the rise of the Industrial Age and its effects upon people, Great Britain’s economy and the environment. Most importantly, the story is a cultural clash between the pastoral South represented by Margaret Hale and John Thornton’s industrial North.

The miniseries’ exploration of the cotton textile industry led me to ponder a few things about the story’s background. A conversation between Thornton and some of his fellow mill owners led to a mention of the cotton they have purchased from cotton planters in the American South. Although their conversation only touched upon the different locations where cotton is grown, the subject would end up having an impact upon England’s cotton textile industry following the outbreak of the American Civil War. I also noticed that mill workers like Nicholas Higgins and his daughters Bessie and Mary refer to their bosses as ”Master” - the same term African-American slaves use for their owners. I can only speculate on that astounding coincidence.

I have never read Elizabeth Gaskell’s novel. Perhaps I will, one day. But I understand there had been a few changes in this adaptation. One, the miniseries depicted Margaret’s initial meeting with Thornton at a time when he was beating one of his employees for smoking on the Marlborough Mills premises. Naturally, Margaret viewed Thornton’s actions as cruel and barbaric – typical of men in that region. Screenwriter Sandy Welch had created the scene for the miniseries, believing it would better serve as an opening salvo for Margaret’s dislike of Thornton and her prejudices against the North in a more dramatic manner. Although some fans have complained against this artistic license, I have not. Especially since Welch’s screenplay explained that the worker’s smoking could have endangered the employees with a devastating fire. I also feel that this scene visually worked better than Gaskell’s literary introduction of the two main characters.

Another major change in the miniseries featured Margaret and Thornton’s final reconciliation at a railway station between London and Milton. The scene featured Margaret offering financial aid to Thornton for the defunct Marlborough Mills and a romantic kiss between the two. Many have pointed out the lack of discretion of such a kiss in Victorian Britain and they are probably right. But I must admit that I found it damn romantic – probably more so than Elizabeth and Darcy’s reconciliation in most of the ”PRIDE AND PREJUDICE” adaptations I have seen.

Production designer Simon Elliot did a first-rate job in recapturing Great Britain in the early 1850s. I especially applaud his decision to use parts of Edinburgh as a stand-in for Milton. This was a wise decision, considering that the Scottish metropolis managed to retain many of its buildings from the Victorian industrial era. Elliot ended up receiving a much deserved British Academy Television Award nomination for Best Production Design. Not only did Peter Greenhalgh’s photography also captured the period’s mood, but also used different tints of color to distinguish the three main settings in the story – Helstone in Southern England, the Northern industrial town of Milton and London. Mike O’Neill’s costumes suited the period, the personalities of each major character and their circumstances throughout the story. In fact, the miniseries even touched upon the differences between Fanny Thornton’s wide crinoline skirts and the Hale women’s more subdued ones – pinpointing the financial differences between the three female characters and their families. And what can I say about Martin Phipps’ score? Not only was it beautiful, but also haunting enough to be memorable.

The only problems I had with ”NORTH AND SOUTH” centered on its pacing in late Episode 3 and in Episode 4. I think the miniseries could have benefitted from a fifth episode. There seemed to be too many deaths and other incidents during this period of the story for two episodes. I suppose one could blame Gaskell or also her editor – author Charles Dickens – for rushing her toward the end. Too much occurred during these last two episodes – the deaths, Thornton’s friendship with Higgins, Frederick Hale’s reunion with his family, Margaret’s legal problems, Fanny Thornton’s marriage, Thornton’s financial crisis and Margaret’s reunion with her family members in the South and Henry Lennox. I do believe that a fifth episode could have suffice. Also, Welch introduced two characters to the story – a banker named Latimer and his daughter Ann. I believe Ann was used or to be used as Margaret’s rival for Thornton’s romantic interest. Only the so-called rivalry never really went anywhere.

”NORTH AND SOUTH” was really blessed with a first-rate cast – both leading and supporting. Try as I might, I could not find a performance I would consider to be out-of-step. Neither Tim Piggot-Smith or Lesley Manville had received much notice for their portrayal of Margaret’s parents – Richard and Maria Hale. It seemed a shame, considering I found myself very impressed by their performances. Both did an excellent job in conveying how dysfunctional and emotionally repressed the Hale household tended to be. This was especially made apparent in an emotionally charged scene in which Maria Hale expressed her dislike of Milton and lack of understanding toward her husband’s decision to give up the clergy. Brian Protheroe portrayed Mr. Hale’s closest friend and Margaret’s godfather, Mr. Bell. I have not seen Protheroe since he portrayed Maryam D’Abo’s love interest in the 1990 adaptation of Jeffrey Archer’s novel, ”NOT A PENNY MORE, NOT A PENNY LESS”. As Mr. Bell, he was just as charming and ambiguous as he had been back in 1990. Jo Joyner gave a funny and interesting performance as Fanny Thornton, John’s shallow and capricious younger sister. There were times I wondered if Fanny’s character had a one-dimensional note about it, despite Joyner’s hilarious performance. However, the actress did manage to convey the character’s jealousy of not only Margaret, but also her older brother. I also got the feeling, thanks to some subtle moments in Joyner’s performance that Fanny did not like her mother very much. And resented the older woman.

One could never harbor doubts that Sinéad Cusack’s portrayal of Hannah Thornton might be one-dimensional. Aside from the two leads, she gave one of the best performances in the miniseries. Thanks to Cusack’s complex performance, there were times when I could not decide whether to dislike Mrs. Thornton for her hostile attitude toward Margaret, or like her for her warm and devoted relationship with John. In the end, I guess I liked her. She seemed too interesting, too well-written and well-acted by Cusack for me to dismiss her. Besides, I suspect that her attitude toward Margaret had a great deal to do with concern for her son. I found Brendan Coyle and Anna Maxwell Martin’s performances as the mill workers, Nicholas and Bessie Higgins just as impressive. Costume dramas rarely focused upon working-class characters. Yet, both Coyle and Martin ably breathed life into their roles, they did an excellent of conveying the strong impact that both father and daughter had upon the lives of other main characters – especially through their friendships with Margaret and Thornton.

Before I actually saw ”NORTH AND SOUTH”, I had read a great deal about the John Thornton character and actor Richard Armitage, who had portrayed him. Granted, the man possessed unusual looks, but I never gave him much thought . . . until I saw a clip of his performance in the miniseries’ marriage proposal scene. But once I saw the miniseries in its entirety, I could see why Armitage’s performance had generated a slew of fans. His John Thornton blew me away. Literally. The actor gave an outstanding performance as the hard-nosed, yet emotion cotton mill owner who found himself falling in love with this stranger from the South. As a rule, I am not particularly inclined toward overtly masculine types and I am still not. Armitage’s Thornton might have been described in that manner . . . superficially. Yet, the actor managed to transcend this cliché by infusing Thornton with a passionate, yet insecure nature. His Thornton was a man who literally wore his heart on his sleeve. Armitage’s performance is truly remarkable.

I could probably say the same about Daniela Denby-Ashe’s portrayal of the story’s central character, Margaret Hale. I had read an article that Denby-Ashe had auditioned for the role of Fanny Thornton. All I can say is thank goodness that producer Kate Baylett had the good sense to realize that the actress would be the right person to portray Margaret. And Denby-Ashe was magnificent. Not only did she perfectly capture the genteel and internalized aspects of Margaret’s personality, she also conveyed the character’s strong-willed and opinionated nature. And Denby-Ashe’s Margaret proved to be just as intimidating as Armitage’s Thornton. This was especially apparent in two scenes – Margaret’s demand that Thornton do something to protect his new Irish workers from the strikers and her hostile outburst toward Helstone’s new vicar after he had criticized her father’s dissention. She was magnificent in the role.

I really must applaud how producer Kate Barlett, screenwriter Sandy Welch and especially director Brian Percival did a superb job in adapting Elizabeth Gaskell’s novel. In fact, I firmly believe it is one of the best programs that aired on television in the past decade. And yet . . . the only real accolade it managed to receive was a British Academy Television Award nomination for Best Production Design. And nothing else. No nominations for acting, writing or direction. Frankly, I consider this to be a travesty. Am I to believe that the bigwigs at BBC and the British media had this little respect for ”NORTH AND SOUTH” or Elizabeth Gaskell? I am even beginning to suspect that the American media has little respect for it. The only airing of the miniseries was a chopped up version that aired on BBC America, instead of PBS or the A&E Channel. How sad that certain people do not know a really good thing when they see it.

"NORTH AND SOUTH" (2004) Photo Gallery

Below are photos from the 2004 miniseries, "NORTH AND SOUTH". Based upon Elizabeth Gaskell's 1855 novel, the miniseries starred Daniela Denby-Ashe and Richard Armitage. Brian Percival directed:


"NORTH AND SOUTH" (2004) Photo Gallery