"THE SEA HAWK" (1940) Review

”THE SEA HAWK” (1940) Review

If anyone has ever read Rafael Sabatini’s 1915 novel, ”The Sea Hawk”, he or she has clearly seen that the so-called 1940 film adaptation with the same title . . . is not the same story. I have never read Sabatini’s novel. But I have a friend who has. And according to him, the 1924 silent film adaptation bore a closer resemblance to the novel.

In the end, it is not surprising that this 1940 adventure bore little or no resemblance to Sabatini’s novel – aside from the main protagonist enduring a stint as slave aboard a Spanish galley. Although Warner Brothers studio had owned the film rights to the novel and released the 1924 version, one of their staff screenwriters – Seton I. Miller – had written a treatment that happened to be an Elizabethan adventure called ”Beggars of the Sea” in 1938. Warners decided to use Miller’s treatment and the title of Sabatini’s novel for an Errol Flynn vehicle.

”THE SEA HAWK” told the story about an Elizabethan privateer (official pirate for the English Crown) named Captain Geoffrey Thorpe (Flynn) who belongs with a group of other privateers known as the Sea Hawks. Thorpe’s capture and plunder of a galley carrying Don José Alvarez de Cordoba (Claude Rains), the Spanish ambassador to the English Court and his niece, Doña Maria de Cordoba (Brenda Marshall); attracts the attention of Spain and a traitorous minister in Elizabeth I’s court – Lord Wolfingham (Henry Daniell). The privateer proposes to Elizabeth (Flora Robson) an expedition to plunder Spanish gold in Panama. Lord Wolfingham and Don Alavarez learn of his plans via one of their English spies and set a trap for Thorpe in Panama. At the same time, Don Alvarez uses the privateer’s capture as an excuse to pressure the Queen to disband and arrest the other Sea Hawk captains.

I had noticed something rather curious about the movie’s cast. A good number of them happened to be American-born – including leading lady Brenda Marshall (born in the Philippines to American parents), Alan Hale, Edgar Buchannan (of ”PETTICOAT JUNCTION” fame) and a good number of others. This was not the first Flynn movie with an English or British setting. After all, Hale had appeared in ”THE ADVENTURES OF ROBIN HOOD” (1938), along with fellow American Eugene Pallette. And actor Ross Alexander had appeared in ”CAPTAIN BLOOD” (1935). But this is the first time I can recall this number of Americans in a Flynn movie set outside the United States. I wonder if this had anything to with the possibility that many younger British actors – leading and supporting – had left Hollywood to join the British forces after the war began.

Amongst the supporting players in the cast was a veteran from one of Flynn’s past – namely Ona O’Connor. As she had done in ”THE ADVENTURES OF ROBIN HOOD”, she portrayed another plain-faced maid of a noblewoman, who manages to find romance with one of Flynn’s men. In ”THE SEA HAWK”, the lucky fellow in question turned out to be Hale. And if one is sharp, one would recognize Gilbert Roland as the Spanish sea captain, whose ship is captured by Thorpe in the film’s first action sequence. Being just as handsome and dashing as Flynn, it seemed only natural that Roland’s character would get his revenge in the movie’s second half. I must say that the collection of supporting actors and extras that had made up Geoffrey Thorpe’s crew did a first-rate job, despite the number of American accents. Unlike those who portrayed Robin Hood’s Merrie Men in the 1938 film, the actors that portrayed Thorpe’s crew had the opportunity to display their talents for on-screen suffering during two major sequences in the film.

Another one of Warner Brothers’ top character actors and veteran of past Flynn movies was Alan Hale, who portrayed Thorpe’s first officer Carl Pitts. I have been trying to think of something original to say about Hale, but why bother? Let’s face it. Everyone knows that he was a talented actor until his death in 1950. ”THE SEA HAWK” not only provided enough proof of his talent, but also his obvious screen chemistry with Flynn. I had especially enjoyed one of their scenes that involved a humorous discussion on Panamanian mosquitoes. And it still amazes me how an American actor can project an Old World aura while sporting a questionable accent. ”THE SEA HAWK” also marked legendary British character actress Flora Robson second portrayal of the Tudor queen, Elizabeth I. She had first portrayed this role in the 1937 movie, ”FIRE OVER ENGLAND” with Laurence Olivier and Vivian Leigh. In this movie, her Elizabeth possessed a witty and extroverted nature that easily became commanding and a little frightening when crossed. I have only seen ”FIRE OVER ENGLAND” once and it happened over a decade ago. But I must admit that I enjoyed Robson’s interpretation of Elizabeth in this movie, very much. And her scenes with Flynn crackled with the obvious chemistry of two people who seemed to enjoy each other’s company.


One could always count upon an Errol Flynn swashbuckler to include first-rate villains. ”THE SEA HAWK” certainly had two – namely Henry Daniell as the traitorous Lord Wolfingham and Claude Rains as the Spanish ambassador, Don José Alvarez de Cordoba. Rains had already appeared as the backstabbing Prince John in ”THE ADVENTURES OF ROBIN HOOD”. Although his Don Alvarez is clearly Geoffrey Thorpe’s enemy, one could never accuse the character of being perfidious, like Prince John. Don Alvarez is first and foremost a patriot. Despite his plotting against Thorpe, the other Sea Hawks and the Queen, his actions clearly stemmed from his patriotic fervor and loyalty to Spain and outrage toward Thorpe’s piratical actions against his country. He also seemed to have a close and warm relationship with his Anglo-Spanish niece, Doña Maria. Their kinship turned out to be strong enough to withstand her feelings of love toward Thorpe and her decision to remain in England, instead of returning to Spain with him. Henry Daniell’s Lord Wolfingham turned out to be a different kettle of fish . . . a true villain. He was an Englishman who clearly seemed bent upon working against the English Crown. One could assume that he was a practicing Catholic with hostile feelings toward Elizabeth’s Protestantism – like the Duke of Norfolk character in the 1998 film ”ELIZABETH”. But Miller and Koch had never offered any hints of his religious affiliation. It did reveal his desire for more political power if Spain had ever conquered England. Which made his betrayal all the more distasteful. And I must say that actor Henry Daniell had superbly portrayed Wolfingham with a lively relish I have rarely seen in his other roles.

One of the commentators for the movie’s DVD featurette had described actress Brenda Marshall as ”good at playing outraged”. That was it . He said nothing about her skills as an actress or screen presence. As for other critics, they tend to point out that in ”THE SEA HAWK”, the leading lady was not Olivia De Havilland. As if that is supposed to explain everything. I have been a fan of the movie for years and to be frank, I have never been bothered by Brenda Marshall as Flynn’s leading lady in this film, instead of De Havilland. The American-born actress seemed more suited for this role as the Anglo-Spanish Doña Maria, who found herself falling in love with her uncle’s enemy – Geoffrey Thorpe. She may not have generated the same level of chemistry with Flynn as De Havilland did. But she and Flynn certainly managed to create a strong screen chemistry. And what I especially liked about Marshall’s performance was her ability to flesh out Maria’s strength of character beneath the delicate façade. Especially when the character helped smuggled a wanted Thorpe into the royal palace for an audience with the Queen. Yet, Marshall’s finest moment in ”THE SEA HAWK” occurred during Doña Maria’s encounter with the British galley slaves pouring from beneath the ship, following Thorpe’s victory in the film’s first quarter. The mixture of shock and embarrassment on Marshall’s face seemed to confirm her skills as a talented actress.

Based upon some of the online reviews I have read for ”THE SEA HAWKS”, most critics seemed impressed by Errol Flynn’s portrayal of Captain Geoffrey Thorpe. They seemed to be impressed by his on-screen daring-do and sense of command. The critics labeled Flynn’s Thorpe as a mature Captain Blood or Robin of Locksley. Like the critics, I was impressed by Flynn’s performance. However, I certainly do not agree with their assessment of role merely as a mature Captain Blood”. Geoffrey Thorpe struck me as a different kettle of fish. Yes, believe that Thorpe was a more mature character than his previous ones. But I saw him as a mature professional that possessed an intense, no-nonsense personality. Yet, Thorpe also managed to retain a sharp sense of humor that seemed to come from nowhere and bite his victim in the ass. When it came to romance, he became a shy, tongue-twisted lover-to-be – something that has never been apparent in his previous roles. And Flynn captured all of these different nuances of the Geoffrey Thorpe character with a competent skill that should have garnered him more professional respect from Warners Brothers and the Hollywood community at large. I view Geoffrey Thorpe as one of Flynn’s best roles during his twenty-something long career.

I have one last thing to say about both Errol Flynn and Brenda Marshall’s roles in ”THE SEA HAWK”. The last time I had viewed this movie, something about their characters that I found curious. The characters of both Geoffrey Thorpe and Doña Maria Alvarez reminded me of two literary characters from a novel I have not read in over a year. Has anyone ever read ”The Shadow of the Moon” by M.M. Kaye? It is a novel about the 1857-58 Sepoy Rebellion in India that was first published in 1959 – nineteen years after ”THE SEA HAWK”. The two main characters – Contessa Winter de Ballesteros and Captain Alex Randall - bore a strong resemblance to Thorpe and Doña Maria. Both Thorpe and Alex Randall are two military men that possessed an intense, professional demeanor countered by a sharp sense of humor. And both Doña Maria and Winter de Ballesteros are two young Anglo-Spanish women who hide their emotional personalities behind a reserved manner. Curious indeed.

I have never read Rafael Sabatini’s novel. But I have read the synopsis. And I must say that it read like a first-rate adventure. I can honestly say the same about this 1940 film version as well. Seton I. Miller and Howard Koch (who co-wrote ”CASABLANCA”) had created a top-notch script that eventually became one of Errol Flynn’s best movies. It provided plenty of humor, action, intrigue, pathos and romance. And like some of Flynn’s better movies, it possessed something unique that made it memorable. ”THE SEA HAWK” had been released about year after World War II began in September 1939. Many film critics and fans have pointed out that the movie’s plot seemed to serve as some kind of allegory of the war in 1940. In the movie, England stood alone against the growing threat of Imperial Spain. Around the time of the movie’s release in July 1940, Great Britain found itself standing alone against the growing threat of Nazi Germany. Sixteenth century Spain. Nazi Germany in 1939-1940. I get the feeling that Miller and especially Koch knew what they were doing when writing the movie’s script. Especially since Spain (under Franco’s Fascist rule) happened to be one of Germany’s allies in 1940. The strongest indication of ”THE SEA HAWK” being an allegory of World War II’s early years came in the form of the Queen’s speech in the final scene that hinted for all free men to defend liberty, and that the world did not belong to any one man. She might as well have been speaking to the British subjects of 1940, instead of 1588.

Right now, I want to speak about some of the movie’s major sequences. At least those sequences that left a big impression upon me. The first major sequence involved Thrope’s sea battle against the Spanish galley conveying Don Alvarez and Doña Maria to English. In all honesty, I found myself feeling less impressed with this sequence. Although filled with thunderous canon fire, men swinging from one ship to the other and plenty of swordplay, the entire battle seemed to possess a lack of urgency. And the large number of men participating in the battle struck me as over-the-top in a way that made me wonder how so many people – a good number of them that became Thorpe’s prisoners – managed to reach England without the English ship sinking from the sheer weight. I wondered if producer Hal Wallis and director Michael Curtiz had originally mistaken this sequence with the final cavalry charge from ”THE CHARGE OF THE LIGHT BRIGADE”.

Thankfully, there were other sequences in ”THE SEA HAWK” that I found impressive. Thorpe’s private meeting with Queen Elizabeth had allowed Flynn and Robson to sparkle on screen. I understand that they were very fond of each other. In fact, Flynn had so much respect for Robson that he eschewed his usual lax discipline and appeared on the set on time and always knew his lines. This behavior baffled director Michael Curtiz, who had grown used to Flynn’s less than admirable on-the-set behavior.

The one sequence that left a strong impression in my mind featured the adventures of Thorpe and his crew in Panama. Thanks to cinematographer Sol Polito, the entire Panama sequence had been filmed with a sheen of yellow sepia to evoke a tropical world filled with humidity and corruption. This became especially effective in the scenes that featured Thorpe and his men’s attempts to escape the Spanish troops hunting them down in the jungle. Personally, I found the entire sequence rather chilling . . . at least a first. It became downright depressing when one of Thorpe’s men – an elderly sailor – dies in the longboat taking them back to the ship.

And if you thought that the Panama sequence seemed a little horrifying, try watching the following one that featured Thorpe and his surviving crew as slaves aboard a Spanish galley. Stripped to the waist and sporting torn breeches and scraggly beards, Thorpe and his men readily physically reflected the hellish situation in which they found themselves. While the galley is docked in Cadiz, Thorpe learns from a new prisoner (an English spy) that there are papers aboard ship indicating Wolfingham as a traitor and Spain’s plans to send an armada against England. The escape attempt that followed harbored an air of a grim deadliness, resulting in the deaths of some Spanish crewman.

Thorpe and his men finally make their escape from the Cadiz docks to the tune of a rousing Korngold score. The movie eventually shifts back to England, where Thorpe reunites with Doña Maria. She helps him overcome obstacles in his efforts to acquire an audience with the Queen. One of these obstacles turned out to be a duel between Thorpe and Wolfingham. Frankly, I consider this duel to be one of Flynn’s best on screen. Unfortunately Henry Daniell, Flynn’s opponent, lacked the experience and skills for on screen fencing and the Australian actor ended up fighting against a stunt double. Despite this little setback, Curtiz managed to create a more than credible fencing duel by mixing actual fighting between Flynn and the stuntman with occasional close-ups of both Flynn and Daniell, and shadows of the two swordsmen reflected on the palace walls. In terms of action, I consider this to be one of Curtiz’s finest moments. I must also say the same for Flynn. I had noticed a series of cuts on the actor’s upper body and face, following Thorpe’s fights with Wolfingham and the palace guards. I cannot ever recall Flynn looking so exhausted and bedraggled following an on-screen duel in any movie – before or after this one.

The last major sequence in ”THE SEA HAWK” featured Geoffrey Thorpe being knighted Queen Elizabeth for his service. A patriotic speech by the Queen followed, in which she urged the English citizens to persevere against the upcoming threat of the Spanish Armada. This speech was a clear indication that the movie was more than just another Flynn costumed adventure. It was also an allegory of Great Britain’s wartime position in 1940. Unfortunately, the speech bored the pants off me. Miller and Koch’s attempt to express their sympathy toward Britain’s struggles against Nazi Germany struck me at best, heavy handed.

For years, ”THE SEA HAWK” used to be my favorite Errol Flynn movie. After a recent viewing of the 1936 movie, ”THE CHARGE OF THE LIGHT BRIGADE”, the movie has slipped to number two on my list. But thanks to solid performances by Flynn and a first-rate supporting cast, superb photography by Sol Polito, Erich Wolfgang Korngold’ stirring score, an excellent yet occasionally heavy-handed script by Seton I. Miller and Howard Koch, and exciting direction by Michael Curtiz; ”THE SEA HAWK” is still a superb costumed adventure that has not lost its touch in the past sixty-eight (68) years. I feel that it is a must see for everyone.

"Obssessions" [PG-13] - Chapter 9

"OBSESSIONS"

Part 9

The opportunity for Phoebe and Paige to pay a second visit to DeWolfe Mann's apartment finally arose on Saturday. Apart from the police tape attached to the front door, they found nothing. Nor had Phoebe been able to conjure up a premonition. Which did not surprise her. Summoning premonitions had always been difficult for her.

"Have you ever thought of practicing?" Paige suggested. "You know, learn how to summon a premonition? I mean, Cecile does. She even uses spells, sometimes."

It took all of Phoebe's efforts to bite back a retort. Meeting Olivia's friend, Cecile Dubois, had made her feel even more inadequate about her powers. Not only did Phoebe lately found herself wishing she had a more active power, she also envied Cecile's control over the latter's own psychic abilities.

"I don't have the time," Phoebe finally shot back. "And I doubt that Cecile's control over her own premonitions is that great. Besides, I tried it once some four years ago, and it didn't work."

Paige added, "Maybe you shouldn't give up so . . ."

"Paige! Please? Not now!" Phoebe continued to touch the various items and furniture inside the apartment. Nothing. "This is a waste of our time. I should have told Olivia, when she asked me. Let's get out of here." The two sisters returned to the Halliwell manor.

While Paige called Olivia, Phoebe found herself contemplating the interview between Jason, Olivia and Darryl, last Wednesday. The former had been right about the red-haired inspector. Olivia's attitude toward Jason had been cruel and needling. Phoebe noticed how she seemed to take great pleasure in making the young publisher feel uncomfortable. Phoebe brought up the matter, once Paige hung up.

The youngest Charmed One dismissed Phoebe's accusation with a wave of her hand. "C'mon Phoebe! Olivia may be a little direct at times, but she isn't cruel. At least not deliberately."

"You weren't there, Paige. She really seemed bent upon putting Jason through the wringer," Phoebe insisted.

Paige shrugged her shoulders. "From what I've heard, he's the only one who has a motive to kill 'Wolfie'."

"Jason's not a killer! Unlike some people!"

"Oh. You mean us?" A twisted smile formed on Paige's mouth.

Phoebe glared at her younger sister. There were times she wished that Paige did not possessed such a twisted sense of humor. "What's that supposed to mean?" she demanded.

Paige rolled her eyes. "Jeez, Phoebe! Lighten up! As for Jason, I'm sure that Olivia and Darryl were only doing their jobs. Does Olivia still believe that Jason's guilty?"

"No."

"Well then," Paige continued, "what's the problem? Or maybe there's a reason for Olivia's attitude toward Jason."

Phoebe cried out, "Like what? According to Jason, they had a mutual breakup!"

Paige fell silent for a brief moment. "Are you sure?"

Her sister's question reverberated in Phoebe's mind. It continued to do so, two days later, while she was standing next to the water cooler inside the BAY-MIRROR's main newsroom. However, the question disappeared from her mind, when she spotted a tall and strikingly beautiful woman step out of the elevator.

No one seemed capable of keeping his or her eyes off the woman. Including Phoebe. Who could ignore the statuesque figure, the long and curly dark hair and air of sophistication. "Ho-ly mackerel!" one male staff member, who stood near Phoebe, exclaimed. "Would you take a look at that? We're in the presence of a goddess!"

Another reporter - female - merely sniffed. "Hmmm, couldn't one be anymore obvious? She's practically a walking ad for sex!"

"Yeah, but she does it with such style," gushed the male reporter. He regarded the newcomer with lust filled eyes. Everyone watched as she strode toward one of the editors' offices.

Phoebe declared, "She's going to see O'Keefe."

"Huh." A smirk formed on her male colleague's face. "I guess you know what that means. O'Keefe has found someone to replace dear old Wolfie."

Sure enough, the beautiful stranger knocked on Milo O'Keefe's office door. A few seconds passed before she entered. "Her?" Phoebe's voice echoed with disbelief. "She's going to be the paper's newest food critic?"

"Hell, I'd sample anything she happens to recommend," the male reporter suggested. Both of his female colleagues rolled their eyes. He leaned back against the wall and sighed. Happily.

* * * *

Jason Dean stared at the beautiful woman who sat opposite him. He barely acknowledged the tall, lanky man who stood near his entertainment console. "Your name is . . .?" he began.

Milo O'Keefe answered instead of the new guest. "Portia. Portia Della Scalla. Her background includes . . ."

"Thank you, Mr. O'Keefe," Jason said, interrupting the Food Editor. "But I'm sure that the lady can answer for herself." He smiled broadly at his newest employee.

The Italian woman leaned forward. Jason found it difficult to ignore her full lips. Or the sherry-brown eyes that sparkled with promise. "Yes. Of course. My name is Portia Della Scalla. I'm originally from Venice, Italy. I have spent the last seven years writing about food and restaurants for various magazines and newspapers, including here in the United States." The last two words seemed to roll enticingly from her tongue.

Jason's smile remained fixed on his face. "Well, I believe that says it all. Even Mr. O'Keefe seemed impressed by your as. . . uh, qualifications. When will you be available to begin work?"

Ms. Della Scalla spread out her arms in an appealing manner. "Is today too soon? It is only," she glanced at the clock on Jason's desk, "only nine forty-three."

"Well . . ."

The lips and eyes were once again in full view. "Please? I would so love to begin work, immediately."

A workaholic. Jason approved. "If you insist. Uh, some of Mr. Mann's belongings are still inside his office. I guess we can find a desk for you - until his office is cleared."

"Grazie," Miss Della Scalla said with a smile. Then, "Oh, one more thing. Signor O'Keefe has informed me that this Signor Mann was involved in a story, when he died. I would be more than happy to complete the assignment."

Last assignment? Finally, Jason remembered. The McNeills and the Golden Horn restaurant's silver anniversary. "Oh, that story is dead," Jason replied. "I'm sure that Mr. O'Keefe can find something new for you."

"But this is the Golden Horn restaurant we are talking about," Miss Della Scalla continued. "I have heard of it and the owner, Gweneth McNeill. She is one of the world's most renowned chefs. And her son, Bruce, who is the current executive chef, is developing his own reputation. Also, I understand that the restaurant will be celebrating its silver anniversary. You want to forget about the story?"

Mustering all of his patience, Jason explained that he wanted the newspaper's Food Section to focus less on exclusive restaurants and more on establishments that the average reader can afford. "You know," he added, "places like Eliza's, La Taqueria, the Sear's coffee shop, and Zarzuela."

"And Morgan's," O'Keefe added. Jason shot him a quick glare. Morgan's happened to be the other McNeill-owned restaurant in San Francisco. "Anyway, you see what I mean, don't you?"

Sherry brown eyes grew rounder. Ms. Della Scalla's lips became fuller. In fact, they almost formed a pout. Jason became aware of her scent. Gardenias and . . . sex. "I understand, Signor Dean," she finally said. Her voice seemed so bell-like. "Believe me, I do. But I also believe that an excellent restaurant . . . is an excellent restaurant. No matter the price of the meal. And if there is an excellent restaurant in this city, it is my job as a food critic, to write about it."

Jason felt himself completely enveloped by her presence. As if there was nothing else in the world. He smiled. "Well, Ms. Della Scalla, you've got my vote. The Golden Horn story will continue."

Ms. Della Scalla smiled. Beautifully. "Grazie. Uh, do you know if Signor Mann had left any notes on the story?"

"In his office," O'Keefe replied. "I can show where it is."

Jason insisted, "Actually, I can."

Both men made a move to help the new columnist out of her chair. Jason reached her first.

* * * *

When Cole strode inside the BAY-MIRROR's newsroom, it occurred to him that he has not stepped foot inside for the last six months. Six very long months. He turned to his companion and asked, "Are you sure that you're ready for this?"

Deborah Mann nodded. While holding an empty cardboard box in his hand, Cole led the bereaved woman toward her late brother's office. Several employees nodded at the pair. Or stared. Cole had no idea if what his presence or Deborah's that seemed to be attracting the attention.

They finally reached DeWolfe Mann's office. When Cole opened the door, he was surprised to find three other people inside - including Jason Dean. "Uh, excuse me. May I help you, gentlemen?" He glanced at the beautiful woman standing beside Dean. "Miss?"

Recognition flickered in Dean's eyes. "Turner! What are you doing here?" His glance fell upon Deborah. "Who is this?"

"This . . . is Ms. Deborah Mann," Cole explained. "DeWolfe Mann's sister. And she's here to collect his personal belongings." He indicated the box in his arms.

Dean's face turned red with embarrassment. "Oh. Uh, yeah. Of course."

"What are YOU doing in here?" Deborah demanded. Her voice bridled with hostility. "You shouldn't even be in here! At least not until I clear out Wolfie's belongings."

Both Dean and the other man - whom Cole figured to be Milo O'Keefe - looked even more embarrassed. The former said, "Yes, of course. Please excuse us." The three visitors began to file out of the office.

The third visitor approached Cole. He could not help but noticed how beautiful she looked. Nor could he ignore the familiar sensation, as she walked past him. A familiar sensation at the base of his neck. One that usually hinted . . . danger. He frowned at the woman.

"And who are you?" Deborah sharply demanded, knocking Cole out of his reverie. He realized that his client had also noticed the woman. "Who is this woman? And why is she in this office?"

The object of Deborah's questions turned to face the grieving woman. Her lovely face expressed compassion and understanding. "Buena sera, Signora," she said in a bell-like voice. "My name is Portia Della Scalla. I am so sorry for the loss of your . . . husband?"

"Brother," Deborah shot back. "And thanks. I think. So what are you doing here?"

Dean spoke up. "Miss Della Scalla has been hired as one of our new food critics. She'll be taking over your brother's column."

"How comforting."

Detecting hostility from his client, Cole spoke up. "Uh, thank you for your kind words, Miss Della Scalla." He held out his hand to shake the other woman's. As he gently clasped her hand, the sensation of danger returned. He briefly glanced into her sherry brown eyes, before she looked away and released his hand. "However, if all of you won't mind," he continued, "Ms. Mann would like to be alone, while she gathers her brother's belongings."

The other three murmured apologies and marched out of the office. Cole turned to his client. "Why don't you go ahead, Deborah? There's someone I need to speak with." The grieving woman nodded and Cole left.

* * * *

Phoebe sat behind her desk, staring at her laptop computer screen. She tried to concentrate on the letter in her hand, but images of DeWolfe's dead body continued to flash in her mind. Along with the mysterious woman who had appeared at the office just a little over an hour ago. Did this woman have any connection with Wolfie's murder?

A knock on her door broke Phoebe out of her thoughts. "Come in!" she ordered. Seconds later, she found herself regretting her words, as a surprise visitor entered her office. Stunned, Phoebe stared at the tall figure before her. "Cole?"

Her ex-husband nodded. "Phoebe.

"What . . . what are you . . . what do you want?" God! Could she sound even more paranoid? Calm down, Phoebe. He's not a threat. At least not yet. Taking a deep breath, Phoebe asked in a calm voice, "So, what brings you here?"

"My client," Cole replied, "Deborah Mann. She's here to gather her brother's personal belongings from his office."

Phoebe nodded. "Oh. That's right. Wolfie had told me that you were his lawyer. And his sister's." She paused, before adding in a pointed tone, "So, why are you here? Inside my office?"

Cole sighed. "Come here." He cracked open the door.

"Why?" Phoebe protested, feeling wary.

Rolling his eyes, a caustic Cole shot back, "Don't worry. I'm not going to hurt you, or anything like that." Phoebe could not help but wince. "I want you to see someone. Out here."

Slowly, Phoebe rose from her desk. She walked over to the door and stood next to her ex-husband, desperately trying to ignore the effect his nearness was having upon her. "See whom?" she asked in a soft voice.

Cole widened the door, slightly. "You see that woman with your boyfriend and the skinny guy outside DeWolfe's office?"

Phoebe peered outside. She spotted Jason, along with Milo O'Keefe and the beautiful stranger that had attracted the office's attention. "Do you know her?" she asked.

"No. She had introduced herself as Portia Della Scalla. Apparently, she's been hired to take over DeWolfe's column."

Phoebe let out a gasp. "Oh my God! Lee had been right! I didn't realize they would replace Wolfie so soon."

"Yeah. Neither did Deborah. Listen," Cole closed the door and faced Phoebe, "do me a favor, will you? Keep an eye on her. I've got a very funny feeling about Ms. Della Scalla."

Frowning, Phoebe asked, "What feeling? Are you saying that she's some kind of warlock or demon?"

"Maybe. I don't know. Just keep an eye on her, okay? I find it highly suspicious that DeWolfe's old position would be filled within a few days after he was killed."

Phoebe could not believe it. Cole had come into her office to ask her to act as a spy? And nothing else? Resentment welled within her. "If you're so suspicious about this woman, Cole, why don't you just tell the police? You don't need me as a spy and I'm sure that Olivia would be more than happy to help you." The moment she had spoken, Phoebe wished she could take back her words. But her resentment proved to be stronger, as she added, "Besides, the last time you had asked me for a favor, a certain slumlord ended up dead."

Blue eyes turned cold as chipped ice. Cole's face became a mask. Phoebe mentally kicked herself for her big mouth. She also felt guilty for bringing up the past and throwing it in Cole's face. Especially since all he wanted was her help for a good cause. The apology came quick. "God, Cole, I'm sorry. I didn't mean to . . ."

"Sure you did," Cole replied sharply. "But you're right. I'm probably better off telling Olivia and Darryl. I'll be seeing Olivia this evening, anyway. See you around." He turned his back on his ex-wife and left.

Phoebe's shoulders sagged with defeat. Shit! Why did every encounter with Cole had to end on a bad note? And why was it always her fault?

* * * *

Ever since learning about DeWolfe Mann's murder, Bruce had been fighting the disappointment that threatened to overwhelm him. Yes, he felt bad that the columnist had met a violent death. And he certainly felt sorry for Deborah Mann, who by Cole's account, had taken her brother's death very hard. But what Bruce mainly felt was disappointment. Disappointment that the Golden Horn would not be featured in a newspaper story in time for its silver anniversary. And if his disappointment made him seem selfish, Bruce took comfort in the knowledge that he was not alone. The restaurant's staff shared his feelings.

Bruce sighed, as he contemplated the menu for the second week of May. With his wedding and honeymoon over two weeks away, he had decided to make plans plans for his upcoming absence. Plans that included the daily special during the last week of April and three weeks of May. What should he consider as the special for the second Tuesday of May? Duck Tangine With Apples? Or the . . .

The telephone on his desk rang. Bruce immediately picked up the receiver. "Hello, Golden Horn restaurant. Bruce McNeill speaking."

The first thing that struck Bruce was the caller's foreign accent. Italian, perhaps. The second thing he noticed was that the caller's voice had a breathy quality that hinted sex. "Hello? Signor McNeill? Bruce McNeill?"

"Yes."

A heavy sigh of relief followed. "Buena sera. My name is Portia Della Scalla. I have just been hired as a columnist for the SAN FRANCISCO BAY-MIRROR." Bruce could not help but admire the way "San Francisco" rolled off her tongue. She continued, "I understand that a certain Signor DeWolfe Mann was supposed to write an article about your restaurant. As it so happens, I have been assigned to write the story in his place."

Euphoria gripped every nerve in Bruce's body. He could not believe his ears. "So you . . . you'll be writing the article, instead? On the restaurant?"

"Si Signor." The Italian woman paused. "By the way, when will you be available for the first interview? Tomorrow? This evening?"

* * * *

Unaware of the danger facing one of his former charges, Leo focused his attention on another and one of his present charges. All in the name of acting as matchmaker. And his plans led him inside Paul Margolin's office, at the city's criminal courts building.

"Leo!" The ADA nearly jumped out of his seat in shock. "Wha . . . what are you doing here?"

The whitelighter eased into one of the chairs on the other side of his charge's desk. "I came to see how you're doing. I haven't heard from you in nearly a week."

"I've been busy," Paul tersely replied. "Trying to become acquainted with the cases I've been assigned."

Quietly, Leo added, "Including the DiMatteo case?"

Paul's face became a mask. "Of course. Why do you . . .?"

"C'mon Paul! I haven't heard hide or hair of you since that day you came by the house! That was almost a week ago! And I think we both know why."

The New Yorker leaned back and heaved a sigh. "Yeah. I'm . . . I'm sorry. It's just finding out that Olivia is friends with a demon . . ."

". . . who once was my brother-in-law," Leo finished.

Shaking his head, Paul continued, "And that I can't understand, Leo. I mean, why? Why would any of you associate yourselves with a demon? A notorious killer like Belthazor?"

Leo proceeded to reveal Cole Turner's long history with the Halliwells. And his recent history with Olivia and the other McNeills. "Lately, I've been having suspicions that Olivia and Cole were more than just friends. That they were attracted to each other," Leo continued. "But I'm not sure. It's been nearly six months, and they haven't . . . you know, start dating." The whitelighter's face flushed with embarrassment. "I think Cole still hopes that he will win back Phoebe. Someday."

"Which means," Paul finished, his voice reflecting hope, "he might be using Olivia to make Phoebe jealous. And Olivia might be free, after all."

Leo added, "And considering the way she warmed up to you at our house, I don't think you should give up on her. At least not yet."

Silence fell between the pair. Leo watched Paul whirl his seat around to face the windows behind. "Maybe you're right. Maybe it's time I pay Olivia a visit." He whirled around to face Leo. "Do you, uh . . . know her address, by any chance?"

The whitelighter allowed himself a triumphant smile, as he reached for a pen and piece of paper.


END OF PART 9

More Observations of "NORTH AND SOUTH: BOOK II" (1986)

On another blog, I had posted a review and a list of flaws about the miniseries' production. Here are more observations on the 1986 miniseries:


MORE OBSERVATIONS OF "NORTH AND SOUTH: BOOK II" (1986)

POMPOUS QUOTES - Lines that I suppose were to be well meaning but came off as self-righteous or a speech:

"I never wanted this war. But we would be without pride, without honor, if we let the North tell us how to live. There are some things worth fighting for, Madeline. This land, this family, our way of life . . .” – Orry Main to Madeline La Motte

"After the Mexican War, I swore I’d never wear a uniform again. But I can’t sit here in Lehigh Station, while the country is being torn in half. I agree with the President. The Union must be preserved." – George Hazard to Constance Flynn Hazard

"Numbers alone won’t be enough. This will be a people’s war. Brother against brother. Our greatest test. Those boys moving south deserve the best arms and cannon we can give them." – President Abraham Lincoln

"The issue here is not just the fate of the United States, but of the whole family of man." – President Lincoln

"The Yankee battle flag. One of our colonels took it. It was taken while Jackson stood like a stone wall." - President Jefferson Davis to Orry

"I understand that after Manassas, we could have taken Washington, had those militia supported our Potomoc forces." - Orry to President Davis

"Your brother’s marriage is an act of faith and hope that Mont Royal will go on." – Clarissa Gault Main to Brett Main Hazard

"The North recovered from Manassas, sir. We shall from this (Fort Donelson defeat). There will be no more talk now of an easy victory." - Orry to President Davis

"George Washington’s statue. Always been an inspiration to me. That’s why I chose his birthday to become the first president of the Confederacy. That great man refused to give up, in spite of everything. He brought to birth a new nation. So will I, so will I." – President Davis

"We’ve never had fighting like this before on this continent. Skirmishes, maim and filth. More than major battles in earlier wars. We’re not prepared for such casualties." - Dorothea Dix to Virgilia Hazard Grady

"I have seen horrors as bad or as worse as any war. Atrocities inflicted by Southern slaveowners on their black victims. I’ve witnessed that. I’ve touched them with my own hands Bodies burned. Beaten with whips. Wounds, scars, hideous disfigurements." - Virgilia to Miss Dix

"I have always believed in equality for men and women." - Virgilia to Miss Dix

"There’s a whole way of life at stake here. If it’s God’s will that we prevail, we won’t just win a war, we’ll secure freedom for all our people." – President Lincoln to George

"No sir. I’m going to give this (a skull) a proper burial. He was a brave soldier." – Tom to Lieutenant Stephen Kent

"Only unconditional surrender will give us a lasting peace." – General U.S. Grant to General John Rawlins

"Vicksburg seems like more of a disaster everyday. By surrendering there, we lost the Mississippi and saw our nation cut in two." - Orry to Captain Calvin Shelby

"General Lee is in ill health and discouraged. I hope he does not consider resigning. The Confederacy is doomed without Lee. He must stay on." – President Davis to James Huntoon and other fireaters

"This is almost as bad as the Wilderness. Since Grant’s been in charge, we’ve been pushing Lee back, but at what cost." - Corporal Shane to Virgilia

"Think how difficult it will be for those whose loved ones will never come home." - Constance to Maude Hazard


BAD QUOTE - Or lines that made me want to squirm

"I want my freedom! You can’t force me to love you!" - Madeline to Justin

"Don’t you laugh at me! Don’t you ever laugh at me. Or I will kill you." - Bent to Ashton


ATTRACTIVE COSTUMES

Brett’s blue and white day dress (Outside War Department & near Engineers’ camp; I)

Elkhannah Bent’s dark blue overcoat and gray waistcoat and trousers (First Meeting w/Ashton inside his house; I)

Brett’s gray day dress (Inside Washington boarding room w/Semiramis; I)

Constance’s blue and white dress (At Bull Run; I)

Madeline’s light blue evening gown (Supper at Resolute; II)

Ashton Main Hunton’s pink-salmon gown with black trimming (At the Huntoons’ reception for Vice-President Alexander Stephens; II)

Bent’s cream-colored suit (At the Huntoons’ reception for Alexander Stephens; II)

Madeline’s wedding gown; II

Maude’s maroon and green evening gown (Inside Belvedere’s parlor w/Stanley Hazard and Isabel Truscott Hazard; III)

Ashton’s pale purple traveling dress (At Mont Royal; III)

Huntoon’s ice blue jacket with gray trousers, powder blue waistcoat and dark blue top hat (At President Davis’s office; IV)

Constance’s deep blue dress (Meeting with Lincoln; IV)

Isabel’s red evening gown (Christmas at Belvedere; V)

Rafe Beaudine’s black suit and long boots (Christmas in Charleston; V)

Constance’s white and blue checked dress (At Belvedere w/George; V)

Virgilia’s aquamarine blue gown (Reception for Sam Greene; VI)

George and Orry’s civilian suits (During Clarissa’s funeral; VI)

Bent's dark blue riding suit (With Ashton inside barn/Part V)

Ashton's short red jacket with blue trimming over a white blouse and a blue skirt (With Bent inside barn/Part V)

Rafe's dark blue coat, red waistcoat, blue trousers, which are tucked inside long boots (Walk with Madeline/Part V)

Mrs. Westcott's deep blue dress (Meeting with Madeline/Part V)

Huntoon's light-gray double-breasted suit (Meeting with Davis and Orry/Part V)


INCONSISTANCIES - In an earlier ARTICLE, I had posted a list of plot inconsistencies in ”BOOK II”. Here are more minor subplots and moments that did not make sense:

Why would Charles, a West Point graduate and an Army veteran, believe that the South would easily whip the North with very little difficulty?

Why did the Mont Royal field hands go through so much trouble to save the Mains’ cotton without any white supervision?

Why did Ezra, or one of the Mains’ neighbors, send the message about Clarissa’s injury and Justin LaMotte’s kidnapping of Madeline to Brett in Washington D.C., instead of Orry in Richmond? Why hire a messenger to go behind enemy lines to deliver the message to Brett?

Only the infantry from Wade Hampton’s Legion fought at Bull’s Run. Both his cavalry (of which Charles and Ambrose Pell are part) and flying artillery were left behind.

The defeated Union troops at Bull Run had retreated in an orderly manner until they reached the panicking civilians, who blocked the stone bridge in a massive traffic jam. Only then, did the troops panicked.

During his fight with Justin’s troops, Orry manages to kick one man, despite a crippled leg. Hmmm.

Why did Orry remained at Mont Royal for over three months (between late July and November 1861), despite the fact that Justin was dead?

Why are Charles and Ambrose Pell dragging their swords with them, while crawling on the ground, scouting? They should have left them behind, sheathed into their saddles.

Why are Charles and Ambrose leading infantry platoons during the battle of Antietam? They are supposed to be cavalry scouts.

Why do Billy and other officers like Rudy Bosford and Stephen Kent seem to be fighting together, instead of leading their own platoons? Especially at Antietam?

Why did Ambrose die, while operating a defective cannon? How does a cavalry scout who was not even West Point trained, knew how to use a captured artillery piece?

"You had a fine record at the Point." - How did U.S. Grant knew about George’s West Point record? He had graduated three years ahead of George and the two had just reunited.

George had visited General Grant’s headquarters during the winter of 1862/1863 in Western Tennessee. Yet, I could have sworn that Grant was in Northern Mississippi during this period.

The cavalry troopers and officers used sabers a lot in this miniseries. Yet, from what I had read, sabers were considered useless by the middle of the war. I thought troopers used rifles, shotguns and pistols.

Young Orry Nicholas Main was born around May 1864. Which meant he had to been conceived around August 1863. Yet, according to the miniseries, Orry visited Mont Royal between late June 1863 (when George Meade assumed command of the Army of the Potomoc) and the Battle of Gettysburg (July 1-3, 1863).

How did George transformed from an artillery commander (during the Battle of Gettysburg) to an infantry commander by the end of the war?

Why was George, promoted to a general, directly ordering artillery men to fire? He should have left such direct orders to subordinate officers.

The miniseries shows George and Billy’s reunion on the evening of July 1, 1863, following Gettysburg’s first day. Yet, it only shows one more day of battle. The Battle of Gettysburg lasted three days.

What was George doing back with Lincoln’s war cabinet, following the Gettysburg battle? I thought he had been made a field commander.

Why on earth would Ashton bother to bring along foodstuff to Mont Royal with her? The war in Virginia would have made it impossible for her to gather that much food. And she could have easily found plenty of food stuff in South Carolina, which would not be devastated until General WilliamSherman’s arrival in January-February 1865.

What was that major battle that took place before Charles and Augusta’s reunion in May 1864? The first battle between Grant and Lee did not occur until the Wilderness; which Billy and the Sharpshooters fought after Charles and Augusta began their affair.

Who, exactly, was in second command of the Sharpshooters?

Why were the Confederate troops marching toward the Sharpshooters in formation during the Battle of the Wilderness? That particular battle was more or less an engagement in bushwacking.

I noticed that among the foodstuff that Madeline had acquired for the refugees were sacks of rice stamped MONT ROYAL. The Mains grew cotton in the miniseries. And I did not recall any cotton being harvested, since Justin burned the Mains’ last crop in Episode 1.

Why would Ashton be stupid enough to meet with Bent at night, while Huntoon was at home?

Colonel John Mosby captured George in May 1864. Yet, seven months later, Charles informed Orry that he had overheard Mosby tell Wade Hampton that the former had just caught a Yankee general. Exactly when did Charles overheard Mosby and Hampton’s conversation?

Why did Captain Turner failed to show immediate respect at the sight of Orry, who clearly outranked him? Even before he became suspicious?

When George escaped from Libby Prison, why did he go straight to Lehigh Station? Should he have not gone toWashington D.C. to report for duty - and send for Constance?

Why did Madeline left the safety of her boardinghouse, late at night, to send a messenger to Richmond about Bent? She could have waited until the following morning. Or better yet, summon one to her boardinghouse? Perhaps Bent would not have accosted her on the streets.






GOOD QUOTES

"Cotton’s gone, boy. I ain’t wasting no sweat or blood saving something that don’t belong to me." - Cuffey to Ezra

"You saw my wedding picture? . . . My sister Brett was that drab little thing to my right." - Ashton to Bent

"The world has gone insane, George. Completely insane." - Constance to George

"And when she’s (Madeline) disposed of, it will destroy him (Orry) . . . slowly." - Bent to Ashton

"Another year of this war and you Mains won’t be so high and mighty." - Salem Jones to the Main women

"This is the only might that the white man understand! Cold steel!" - Cuffey to Semiramis

"You stay then. Keep waiting for your white rooster, Charles. Who’s fighting to keep me and you slaves. Maybe they’ll let you sleep in his bed. Ain’t nothing left here for me. Maybe pay for all the pain, sweat and blood those folks done took from me." - Cuffey to Semiramis

"You were so close to freedom when you were in Washington! Why you come back?" - Ezra to Semiramis

"I wouldn’t believe you’d been able to think of a white man after Salem Jones!" - Ezra to Semiramis

"No sir. This (Mont Royal) was never our home." - Caleb to Orry

"You were always there with that smile that said, ‘Orry Main, you’re destined to be my pride and joy and if I’m wrong and you turn out to be a no-good account, I love you anyway.’" - Orry to Clarissa

"Mama, you’re the best there ever was." - Orry to Clarissa

"After you’ve been out here a while, you might decide Washington isn’t so bad." - Billy to George

"George, I haven’t seen Brett in two years!" – Billy to George

"Mighty far south for a Yankee, aren’t you?" – Private Raymond to Billy

"I am not an old woman! I can do my share!" - Clarissa to Brett and Madeline

ASHTON: "Can you believe Abe Lincoln put darkies in the Army? James says it would
be a disgrace to be wounded or killed by one."
BRETT: "How would James know? He’s not fighting."

"Yes Madeline, I do hate you. Elkhannah Bent was right. Hatred is like fine. It improves with age." - Ashton

"Black or white, I despise your kind! Especially the way you even treat your own family! You gonna pay for what you’ve done. Someday, you’re gonna know what it is to be alone!" - Semiramis to Ashton

"He’s (Tom) a drummer boy. He’s just a kid. More guts than a sergeant." - Billy to Brett

"I love you, Brett Hazard! Never forget that." - Billy to Brett

"You are a miserable, frustrated woman, Ashton!" - Brett to Ashton

"And if I never see you again, little sister, it would be too soon." - Ashton to Brett

"I know all about men who hunger after their wives, Hazard. But if every officer in this army did what you did, Jeff Davis would be sitting in a rocking chair on the back porch of the White House!" – Colonel Hiram Berdan to Billy

"Gentlemen, you know I can’t abide cuss words, but this time I’m going to use one. Because I am damn tired of hearing what General Lee is going do to us! Start thinking about what we’re going to do to him. Some of you think he’s about to turn a double sommersault and land on our rear end on both flanks of both sides." - U.S. Grant to his staff officers.

"Then it’s best that people don’t speculate." - Madeline, while defending Rafe Beaudine from her landlady’s gossip.

"You touch him, you’re a dead man. I’ll crack your skull like an egg." - Captain Turner to George

"You’re nothing but trash!" - Union prisoner to Captain Turner

"You’re always sorry, James. Well, sorry doesn’t butter any biscuits, if you know what I mean." - Ashton to James Huntoon

"I never want to see another clamp or surgeon’s saw or hospital wagon for as long as I live." - Virgilia to Corporal Shane

"Ma’am, I don’t run this war. It runs me." – Lincoln to Constance

"You get out of here, Salem Jones! Or this other barrel is gonna blow your head off!" - Semiramis to Salem Jones

"You’ve got to wake up, Madeline! Honor’s dead! It’s been killed in the war." - Rafe to Madeline

"My name is George Hazard, you miserable scum!" - George to Mr. Morgan

"Apparently you haven't heard your husband, dear. It's over, Isabel." - Constance to Isabel

"So congratulate yourself, Mr. Colbert. It's not everyday a lawyer helps a scoundrel help a lady." - Rafe to Miles Colbert

"We're beat, Charlie! Can't you see that? Grant's got us bottled up in Petersburg. And he's gonna stomp us until there's more blood in the trenches than rainwater!" - Jim Pickles to Charles

"Damn you Ashton!" - Orry to Ashton, before giving her a well-deserved slap.


EXCELLENT SCENES - What I thought were the best scenes
in the miniseries

George and Virgilia’s quarrel inside her boardinghouse room (Part 1)

Charles and Augusta first meet while eluding Union troops (Part 1)

Bull Run sequence (Part 1)

George and Orry’s bitter reunion (Part 2)

Charles and Augusta’s resistance to a night of passion (Part 2)

Billy and Charles’s reunion at Antietam (Part 3)

Orry and Clarissa say good-bye (Part 3)

George’s reunion with Billy before the second Gettysburg battle (Part 3)

Ashton’s revelation to Madeline about the latter’s mother (Part 3)

Madeline and Rafe Beaudine meet for the first time (Part 4)

George’s introduction to Libby Prison (Part 4)

Mrs. Neal accuses Virgilia of murdering a Confederate prisoner (Part 4)

George confronts Stanley and Isabel about Axol Iron (Part 5)

Ashton prostitutes herself for Bent’s scheme (Part 5)

Rafe Beaudine’s death (Part 5)

Ashton confesses to an early abortion and her part in Madeline’s disappearance to Orry (Part 5)

Battle near Fort Steadman (Part 6)

George and Virgilia say good-bye (Part 6)

George and Orry reunite (Part 6)

Attack upon Mont Royal (Part 6)


CONCLUDING THOUGHTS

1. Parts 2 and 5 are difficult to watch. So slow! It took me over a week to watch these two episodes. And I had plenty of opportunity to finish the story a lot sooner. I felt so relieved when I finally finished, something I have never felt about ”NORTH AND SOUTH” or ”HEAVEN AND HELL”.

2. Did anyone else noticed the Yankee hurrah that George let out when he learned that Lee had surrendered?

3. I noticed that the producers managed to conveniently give Augusta Barclay relatives living in Charleston. I suppose they did not want Charles roaming all over Virginia looking for his son. Or searching for young Gus in Washington D.C. (as in the novel).

4. When Ezra had asked Semiramis why she did not attempt an escape while she was in Washington, I found myself wondering the same thing. Then it occurred to me - Semiramis wanted to return, in case Charles might return to Mont Royal. Well, she had to wait nearly four years for that to happen. As for Ezra, I guess Semiramis was the only reason that kept him at Mont Royal. Talk about unrequited love, which thankfully did not last very long.

5. One question - why did Bent bother to get the portrait of Madeline's mother from that New Orleans whorehouse? As far as he knew, Madeline was the wife of one of Orry's neighbors. Bent had no idea that Orry had an emotional tie to Madeline until Ashton later told him.

6. MRS. NEAL - Olivia DeHavilland did an excellent job of portraying one of the most dislikeable characters in the entire trilogy. Harry Venable and James Huntoon also make the list. I take that back. She is the most dislikeable. I can understand how she would be concerned that Virgilia might not be giving proper care to Southern patients, but did she have to be so self-righteous about it? She practiced self-righteousness to a level that made Virgilia look like an amateur! And I have never seen anyone who pre-judged others like she does! Granted, Virgilia was partially responsible for the troubles she endured. She could been less hostile toward the older woman, expressed more concern for Southern patients and refrain from losing her cool when accused of murder. But the old biddy could have at least did a more thorough job of investigating the death of that Southern officer before, accusing Virgilia of murder! Mrs. Neal also could have asked others, beside Corporal Shane about what happened. But nooo! Since Virgilia was an abolitionist who had made no attempt to hide her dislike of Southerners, Mrs. Neal felt she had the perfect culprit.


=====

That is all for now.

"PERCY JACKSON AND THE OLYMPIANS: THE LIGHTNING THIEF" (2010) Photo Gallery

Below are photos from "PERCY JACKSON AND THE OLYMPIANS: THE LIGHTNING THIEF", the recent adaptation of Rick Riordan's best-selling novel. Directed by Chris Columbus, the movie starred Logan Lerman, Brandon T. Jackson and Alexandra Daddario:


"PERCY JACKSON AND THE OLYMPIANS: THE LIGHTNING THIEF" (2010) Photo Gallery

Nineteenth Century Fashion in Films and Television

Below is a gallery featuring 19th century fashion in movies and television:


NINETEENTH CENTURY FASHION IN FILMS AND TELEVISION

"DEFIANCE" (2008) Review

”DEFIANCE” (2008) Review

After watching Edward Zwick’s latest film, ”DEFIANCE”, I am finally beginning to realize that it does not pay to make assumptions about a movie, based upon a theater trailer. I have already made this mistake several times throughout my life and it irks me that I am still making it. I certainly made this mistake when I saw the trailer for ”DEFIANCE”, a World War II drama that told the story of the war experiences of four Polish-Jewish brothers who ended up forming a partisan resistance group against the occupying Nazis between 1941 and 1942.

Based upon the book, ”Defiance: The Bielski Partisans” by Nechama Tec, ”DEFIANCE” centered around the Bielski brothers – Daniel Craig, Liev Schreiber, Jamie Bell and George MacKay – who had escaped their Nazi-occupied homeland of Eastern Poland/West Belarus and joined the Soviet partisans to combat the Nazis. The brothers eventually rescued roughly 1,200 Jews. The film tracked their struggle to evade invading German forces, while still maintaining their mission to save Jewish lives. When I had first learned about this film, I had assumed this would be some rousing World War II tale about a brave resistance against the Nazi horde. I really should have known better. I should have taken into account the film’s director – namely Edward Zwick.

The first Zwick film I had ever seen was the 1989 Civil War drama, ”GLORY”. In that movie and other movies directed by him, most of the characters are never presented as one-dimensional, black-and-white characters. Shades of gray permeated most, if not all of his characters, including most memorably – Denzel Washington in ”GLORY”, Annette Bening in ”SIEGE”, Tom Cruise in ”THE LAST SAMURAI” and both Leonardo DiCaprio and Djimon Hounsou. Zwick continued his tradition of presenting ambiguous characters and morally conflicting issues in ”DEFIANCE”. Moral ambiguity seemed to be the hallmark in the portrayal of at least two of the Bielski brothers. Both Tuvial and Zus Bielski (Daniel Craig and Liev Schreiber) are strong-willed and ruthless men, willing to kill anyone who crossed them. And both seemed willing to enact vengeance against anyone have harmed their loved ones. But they had their differences.

Daniel Craig had the job of portraying Tuvial Bielski, the oldest sibling who decides to create a community and a brigade with the Jewish refugees hiding from the Nazis and their Polish allies. His Tuvial seemed a little reluctant to take on this task – at least at first. And he also seemed unsure whether he could be a competent leader. Thanks to Craig’s performance, this insecurity of Tuvial’s seemed to slowly grow more apparent by the movie’s second half. Being the more-than-competent actor that he is, Craig also managed to portray other aspects of Tuvial’s nature – his ruthlessness, tenderness and sardonic sense of humor (which seemed to be apparent in the Bielski family overall). And like any good actor, he does not try to hog the limelight at the expense of his co-stars. Craig created sizzling on-screen chemistry with Schreiber, Bell and the actress who portrayed Tuvial’s future wife, Alexa Davalos.

Liev Schreiber portrayed Zus, the second oldest Bielski brother. And being the charismatic actor that he is, Schreiber did an excellent job of portraying the volatile second brother, Zus. Upon learning the deaths of his wife and child, Schreiber’s Zus seemed determined to exact revenge upon the Nazis for their deaths. Even if it meant walking away from his brothers and joining the Soviet partisans. Another aspect of Zus’ character that Schreiber made so memorable was the intense sibling rivalry he injected into his relationship with Craig’s Tuvial. Unlike his older brother, Zus’s volatile nature made him more inclined to exact revenge against the Nazis and other enemies. Also, Schreiber perfectly brought out Zus’ contempt and dislike toward those Jewish refugees who came from a higher social class than his family’s.

Portraying the third Bielski brother is Jamie Bell, a young English actor who had also appeared in movies such as ”KING KONG” (2005) and ”JUMPER” (2008). Bell did an excellent job of portraying the young and slightly naïve Asael, the third Bielski brother who experiences as a partisan with Tuvial enabled him to mature as a fighter and a man. His Asael does not seem to possess his older brothers’ ruthlessness . . . on the surface. But as the refugees struggle to survive their first winter together and evade the Nazis in the movie’s last half hour, Bell brought out Asael’s toughness that had been hidden by a reserved and slightly shy nature.

”DEFIANCE” also included an additional cast that greatly supported the three leads. There were at least three that caught my interest. Alexa Davalos expertly portrayed Lilka Ticktin, an aristocratic Polish Jew, whose delicate looks and quiet personality hid a strong will and warmly supportive nature. Both Mark Feuerstein as the intellectual Isaac Malbin and Allan Corduner as a professor named Shamon Haretz humorously provided comic relief in their never-ending philosophical debates that seemed to elude the less intellectual Bielskis. The rest of the cast featured supporting players and local Lithuanians portraying the refugees. Basically, they did a pretty good job in conveying the refugees’ plight. There were moments when their acting seemed like one, long running cliché. And there were moments – like the sequence featuring their fatal beating of the captured German soldier – in which they seemed very effective.

”DEFIANCE” is not perfect. As I had stated earlier, the supporting and background characters tend to drift into cliché performances sometimes. The movie’s pacing threatened to drag in two places – when the Bielskis first began to gather the refugees that followed them; and later in the film when Tuvial’s camp suffer their first ”winter of discontent”. James Newton Howard’s score did not help matters. I found it slow and unoriginal and it threatened to bog down the film in certain scenes.

But the movie definitely had its moments – including the sequence featuring the lynching of the German soldier. It was one of many that accentuated the gray and complex nature of ”DEFIANCE”. On one hand, the audience could not help but empathize with the refugees’ anger at what the German soldier represented – the deaths of their loved ones and the dark turn their lives had taken. On the other hand, the entire sequence struck me as ugly and dark. Mob violence at its worse. Even Asael (Bell) seemed disgusted by the refugees’ lynching of the soldier . . . and Tuvial’s failure to stop them. Another ambiguous scene centered around one of the refugees – a rogue soldier of Tuvial’s brigade named Arkady Lubczanski – who tries to lead a rebellion against an ill Tuvial during a food shortage. Arkady is portrayed as an unpleasant man who lusts after Asael’s bride and believes that he and his fellow soldiers in the brigade are entitled to more food than the refugees. Tuvial ends the rebellion by killing Arkady. Granted, Arkady had not harmed anyone – aside from giving Asael a shiner. On the other hand, his practice of hoarding the food could have ended with death by starvation for most of the refugees. Had Tuvial been right to commit murder? Apparently, the refugees did not seem so. They did not protest against his act of murder.

This is what Edward Zwick is all about. This is why I am a major fan of many of his movies. Superficially, he presents his story in a black-and-white situation. The Nazis, their Polish allies, anti-Semitic Soviet troops and unpleasant refugees like Arkady are presented superficially as one-note villains. Yet, the people who oppose them – the Bielski brothers, their loved ones, their Polish and Soviet allies and the refugees – turn out not to be as “good” or perfect as many would believe. In Ed Zwick’s movies, the world is not as black and white as we might believe . . . or wish it would be.

"Obssessions" [PG-13] - Chapter 8

"OBSSESSIONS"

Part 8

AUTHOR'S NOTE: Sorry, short chapter.


It really was a shock finding his body like that," Paige was saying. "You should have seen him. His eyes were bugged wide open. And his throat slit. He must have lost a lot of blood."

Barbara heaved a sigh. "Paige! Honey, must you go over the entire thing in such graphic details?" The Charmed One's mouth formed a moue.

Nick, who had used his lunch break as an opportunity to visit Ostera's, leaned against the store's front counter. He said to Paige, "And you say that the body was inside a locked apartment?"

"Yep." Paige nodded. "I even had to orb Phoebe and myself inside. Like I had told Barbara, we thought we heard voices from inside the apartment. Before we found the body. I mean, there was no way the killer could have gotten out without being seen by us, unless . . ."

Nick urged her to continue. "Unless what?"

"Unless some supernatural force was involved. Only what demon or warlock would want this guy dead?"

Barbara handed over purchased goods inside a plastic bag, over to Nick. "Maybe they were supernatural gay bashers," she commented.

"Gay bashers?" Nick frowned. "This guy was gay?"

Paige added, "According to Phoebe."

For the first time, Nick understood Portia's failure to seduce the columnist. DeWolfe Mann obviously had no interest in anyone of the opposite sex. Including a succubus. Perhaps her male counterpart - an incubus - would have done the trick. "Who knew?" he muttered under his breath.

Unfortunately, Barbara overheard him. "Knew what?" she asked.

"Uh . . . DeWolfe Mann. I uh, I've heard of him. I just didn't realize that he was . . . you know."

"Honey, this is San Francisco. Location of the biggest gay community in the world. DeWolfe Mann's sexual preference shouldn't have been that surprising. Maybe finding a heterosexual partner in this city."

Nick merely responded with a wan smile. Who could argue with the truth?

* * * *

Employees of the SAN FRANCISCO BAY-MIRROR took the news of DeWolfe Mann's murder with great shock. The portly columnist had seemed like the last person who would meet with a violent death. Mann had struck the others as too remote and disciplined to incite another to kill him. But once everyone had accepted the news, many began to express possible motives behind his murder.

The sports columnist Gunther Weiss, whom Olivia had once met, remembered that Mann had been a homosexual. "Clearly a case of gay bashing," he declared to the redheaded inspector. "Hasn't gay bashing been on the rise, lately? At least that's what I've heard. And Mann had never bothered to hide his homosexuality."

Olivia regarded the sports columnist with a speculative eye. "Gay bashing? Inside his apartment? Hmmm. Perhaps. But such cases usually involve some kind of physical assault or beating. There were no signs of a struggle inside Mr. Mann's apartment."

"But didn't some neighbor report a disturbance inside the apartment?" Weiss asked.

Shaking her head, Olivia replied, "Actually, a Mrs. Patio had reported hearing someone banging on Mr. Mann's apartment door. A woman. She didn't say anything about a disturbance from inside." Yet, despite Olivia's arguments, Weiss seemed convinced that DeWolfe Mann had been a victim of gay bashing.

Another staff reporter, also aware of Mann's sexual preference, offered another theory. That a lover had murdered Mann in a jealous fit. She seemed slightly disappointed when Darryl explained that the dead columnist had not been involved with anyone for nearly a year.

In the end, it was Phoebe who provided the information that they needed. "Paige and I were the ones who were overheard by that neighbor last night," she confessed. Darryl heaved a sigh and surreptiously closed the door to her office. "I had a premonition of Wolfie being killed. Unfortunately," she added in a remorseful tone, "Paige and I didn't get to him on time."

"You and Paige." Darryl frowned. He then shook his head. "So you two had originally discovered his body."

Phoebe nodded. "I think I had heard voices from inside his apartment, before we found him. One of them belonged to a woman, I think. But once Paige and I orbed inside, we only found Wolfie's body and no one else. And in my premonition, I saw a man's hand slit his throat."

"Are you saying there's a supernatural connection to Mr. Mann's death?" Olivia asked.

"How else can you explain voices from behind a closed door? And just before we found his body?"

Before Olivia could reply, the door swung open and in walked Jason Dean. "Phoebe, are you free on . . .?" He took one look at the visitors and paused. "Oh. I see you're with the police."

Olivia greeted her former boyfriend with a polite smile. "Hi Jace. It's nice to see you, too." To her amusement, the young publisher stiffened with discomfort.

Tension filled the office like thick fog. "Jason," Phoebe began, "you remember Olivia, don't you?"

Jason nodded uneasily. "Yeah, it's nice to see you, Olivia." He glanced at Darryl. "And you're Darryl, right? Darryl Morris?"

Darryl warmly shook the other man's hand. "Nice to see you, again."

The publisher suddenly became more business-like. "So, what can you tell me about this murder?"

Maintaining a polite smile, Darryl explained that he and Olivia had just been assigned to the case, this morning. "And I'm afraid that we can't disclose any information without the Department's authorization, at the moment. Or without Ms. Mann's."

A frown darkened Jason's countenance. Olivia recognized that look. It usually hinted Jason's stubborn inability to accept that some matters were beyond his control. "But as Mr. Mann's employer, surely I have a right . . ."

Olivia heaved a long and frustrated sigh. Out loud. "Jason. Please accept the fact that we cannot tell you everything. You'll just have to wait until we make our knowledge public like everyone else."

Jason struggled to hide his disappointment. And Olivia struggled to keep from smirking. God, she must really be evil. Finally, Jason assumed a polite mask. "Well. I guess I will. Excuse me." He started to turn away.

"Before you leave, Jace," Olivia said, barely keeping her amusement in check, "we have a few questions to ask you about Mr. Mann. Is there a time when you'll be available?" She gave him a sweet smile.

"Uh . . .questions?" Jason shook his head. "What can I tell you? Mann was a columnist and I'm the paper's publisher. I usually don't deal with my writers." Both Olivia and Darryl glanced at an uncomfortable-looking Phoebe. "Except on a personal basis, of course."

Olivia and Darryl's eyes met. "Uh, Mr. Dean," Darryl began, "I understand that you tend to be a hands-on publisher. You know, deal with your staff, personally." From underneath her lashes, Olivia's noticed Phoebe's growing discomfort.

"Who told you that?" Jason demanded.

Darryl hesitated before he coolly answered, "Mr. Mann's sister. And his attorney."

"Cole?" Phoebe said, sitting upright.

Nodding, Darryl continued, "Actually, both he and Ms. Mann had informed us about Mr. Dean's direct involvement in the paper's editorial process." He faced Jason. "Which apparently had led to clashes between you and Mr. Mann. So much so that according to his attorney, Mr. Turner, he had made plans to leave this paper."

"He can't!" Jason protested. He flushed slightly, obviously realizing he had spoken in the wrong tense. "What I meant was Mann wouldn't have been able to leave just like that. He had a five-year contract and had only been with the BAY-MIRROR for three years."

Olivia spoke up. "But according to . . . Mr. Turner, Mr. Mann was only obliged to work for three years. After that, he had the option to leave if and when he wanted. Apparently, Mr. Mann had been approached by the CHRONICLE." Poor Jason. He looked as if an oncoming truck had struck him without warning. At least Deborah Mann had been wrong about his possible knowledge of Mann's attempted defection.

"Jason didn't know about this," Phoebe cried, coming to her boyfriend's defense. "Isn't it obvious?"

Darryl calmly replied, "We understand, Phoe . . . Ms. Halliwell. We simply have to explore all possibilities in this investigation." He said to Jason, "And I'd like to add my thanks, Mr. Dean, for your cooperation."

A grunt left Jason's mouth as he nodded. Then he turned on his heels and left the office. Probably to check the contracts of his surviving columnists, Olivia sourly surmised. She and Darryl found themselves facing another outburst from Phoebe. "Was that really necessary?" she demanded angrily. "Attacking Jason like that?"

"C'mon Phoebe!" Darryl protested. "We were only doing our jobs."

Olivia added, "So far, Jason is the only one who seems like a potential suspect."

"And I bet that Cole was more than happy to give you that little information about Jason and Wolfie," Phoebe spit out.

Darryl sighed. "Actually, he only told us about the contract and the job offer. It was Deborah Mann who told us about the bad blood between Mann and Jason."

Phoebe insisted, "He didn't do it. Jason, I mean."

Gee! Talk about standing by one's man. "Phoebe, we realize that now," Olivia reassured the Charmed One. "Don't worry." She paused. "However, we . . . well, I was wondering if you and Paige would return to Mann's apartment. See if you can get a premonition of his killer."

Darryl stared at his partner in horror. "Are you kidding? How in the hell do you expect us to explain that we solved the case using magic? Especially if this comes to trial?"

"Look Darryl, I'm sure that we'll find a way. It's just . . . well, haven't you noticed something odd about this case? The body was found in a locked room. And Phoebe heard voices - including a woman's voice - before she and Paige had orbed inside the apartment. I don't know about you, but I find that very odd."

Phoebe added, "But it was a man who had killed Wolfie. At least a masculine hand."

Olivia nodded. "Right. Look, if Phoebe can find out who did it, all we have to do is collect the evidence to convict . . . him."

"But we have the button," Darryl protested. "That would easily convict the guy."

"Unless he turns out to be supernatural." Olivia paused. "Instead of arresting him, we might have to vanquish him."

Darryl's eyes rolled northward. "Great! Whatever happened to the good old days of a simple homicide?"

* * * *

Two days later, Nick burst into his apartment in a state of giddiness. "Eureka! Guess what I have?" he said to his guest.

A bored-looking Portia glanced up from the glossy fashion magazine she was reading. "Anything that will get me out of this dreadful place, I hope."

Ignoring the barb, Nick thrust another magazine into her face. A magazine titled, "JOBS TODAY". It was a weekly periodical that advertised white-collar jobs in the Bay Area. "Turn to page 12," he suggested.

Portia frowned at the Streghore, before flipping through the magazine. "What are you talk . . ." She paused. Her eyes grew wide. "Oh. A position is being advertised."

"That's right," Nick added. He sat next to Portia. "A position as food columnist for the SAN FRANCISCO BAY-MIRROR. DeWolfe Mann's old job is being offered. And you can apply for it on Monday."

"Why not tomorrow?"

Nick quickly replied, "Tomorrow is Saturday. Mann's editor probably won't be there, until Monday."

The succubus leaned back against the sofa and sighed. "Finally! I was beginning to fear that I would be stuck here, forever." Nick tried not to look crestfallen. And as usual - when faced with personal criticism - he failed. Portia noticed. "Oh please! Do not take my words, personally. I am simply not used to such . . . cramped living conditions. I need a bigger place to stay. Like a hotel suite." Her eyes brightened. "I know." She snapped her fingers.

Within an instant, Nick found himself standing in an alley, next to a tall building. Along with his suitcase. "What the . . . where are we?"

"Outside the Omni Hotel on Nob Hill," Portia explained. Three suitcases surrounded her. "I've decided to stay here during the remainder of my stay in San Francisco."

Nick cried out, "Are you . . . how in the hell do you expect me to pay for a room at the Omni? It's one of the city's most exclusive hotels!"

Portia rolled her eyes. "For heaven's sake! I will deal with the payment. Now, pick up my bags and we'll check in."

"But . . ." The succubus gave him a warning look. "Never mind." Nick sighed and picked up all four suitcases with a great deal of difficulty."

"Here, I will help you." Portia plucked one suitcase - the smallest - from Nick's grasp. "Cheer up," she continued. "Once we've checked in, we will do a little shopping. And come Monday, I will go to the offices of this BAY-MIRROR. It shouldn't be a problem. And within a few days, Bruce McNeill will be dead. And you will have your witch."

That was something to look forward to, Nick grumbled silently. And he followed Portia toward the hotel's entrance, while struggling with three suitcases.


END OF PART 8