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My sister and I appreciate this mini-series which was shown in Masterpiece Theater many years ago. Anyone who enjoys turn-of-the-century films such as The Age of Innocence, House of Mirth, The Golden Bowl, A Room With A Belief and Howard’s Slay or stories of the Astors and Vanderbilts will catch themselves enraptured with this yarn of 4 attractive American women who secure themselves being courted by sons of the British nobility.
In the center of the sage are Nan (Carla Gugino) and Virginia St. George (Alison Eliott), and their friends Conchita Closson (Mira Sorvino) and Lizzy Elmsworth (Rya Kihlstedt) - four young women living in turn-of-the-century America, when social plot and wealth were the most primary considerations in a woman’s life (these were the days of the Astors and Vanderbilts, after all) . Early in the fable we rep Conchita married to Lord Marable and begins her novel life with the English nobility. Spurned in Newport and Modern York social circles because they are considered “modern money,” Nan, Virginia and Lizzy proceed to England to visit Conchita and hopefully try their luck there. With the support of 2 enterprising older women, they soon become the toast of the town and are courted by many comely, wealthy young men. Virginia and Lizzy vie for the attentions of Lord Seadown (Tag Tandy) who is not quite what he seems. Nan is pursued by the humble but ambitious Guy Thwaite (Greg Wise from “Sense and Sensibility”) and the wealthy and reserved Julius, the Duke of Trevenick (James Frain) .
The mini-series offers pretty scenery and costumes, enormous acting from members of the cast (including veterans Cherie Lunghi, Jenny Agutter, Michael Kitchen and Rosemary Leach) and a thoroughly titillating myth. I loved the improbable mansions, palaces and castles in Newport and England alike and the extraordinary intertwining of the American and British sensibilities in the set. It has “one foot in America and another foot in England,” as Masterpiece Theater narrator Russell Baker aptly explains. I highly recommend this to anyone who enjoys ample romance/drama!
This is a version of Edith Wharton’s last unfinished new as completed by the BBC screenwriter Maggie Wadey. It was filmed barely 2 years after the first complete version of the original was published in 1993 (Completed by Marion Mainwaring) . It chronicles a very different time (1870s) when class distinctions were clearly marked and the nouveau riche found themselves curtly excluded from the “weak money” aristocracy of 19th century America. The narrative traces the lives of 4 girls from such families who finding themselves rejected in the land of their birth, recede to England to try their charms and modern found wealth on the titled aristocracy of the stale country. How they fare and the breaking of their illusions get the meat of the memoir. One reviewer commented on the shallowness and blandness of the characters, of not being able to verbalize the girls apart. Some viewers may even peruse at these girls as twittering airheads. This is in fragment Wharton’s doing. Edith Wharton was no admirer of the American upper class. She belonged to it, she experienced it first hand and she despised it and made it evident in her books. Wharton constantly pointed out her society’s ignorance, provincialism and prissy narrow-mindedness. None of the girls here really ends up living happily ever after. One of the reviewers here stated that in the absence of Wharton’s fill ending, the BBC screenwriter has let one of the girls off at the kill. But I tend to disagree. Even the heroine Annabelle’s running away with the man she loves (supposedly a delighted ending) is tinged with the public scandal of adultery, the loss of her titles and privileges, and exile to the other side of the world (Durban, South Africa) . This is definitely not what any of the girls would have wanted. Everybody unbiased ends up making compromises and settling for second best. But then such is life.
Buy,Download, Or Stream The Buccaneers! Click Here
Buy,Download, Or Stream The Buccaneers! Click Here
As usual with the BBC, this is a shapely production, with dazzling costumes and sets, filmed at various locations in the English countryside as well as in Newport, Rhode Island which stands in for 19th century America.
The DVD transfer is a rather more questionable affair. According to IMDb, Buccaneers was shot on 16mm film. In America, most TV shows are shot on standard 35mm, 16mm film being conventional usually for cheaper productions, especially sitcoms and series whose future is in doubt. The BBC alas is publicly funded and doesn’t have quite the deep pockets of competing American studios, so many of even its major productions are on 16mm. The critically acclaimed “Brideshead Revisited” immediately springs to mind. For a 16mm film, this actually looks radiant excellent with strong, vibrant colours, rich blacks and unprejudiced a cramped amount of graininess which imparts a positive softness to the recount, considerable what you would examine from a 16mm print. It actually looks better than “Brideshead” does on DVD. What is disturbing is the rather strange (1.50:1) aspect ratio presented here. (Yes, I actually popped it into the PC to measure it.) Buccaneers is, I beget, supposed to be in 1.66:1 widescreen. The 1.50:1 aspect ratio means that it has either been cropped or it has had its mattes removed. Either device, it has been modified. Because of the outlandish ratio it has to be letterboxed into a 4:3 frame. It may matter only to a handful of cinephiles or videophiles but I do wish video companies would catch more care in transferring their shows onto discs. Sound is in 2.0 Stereo and dialogue is always obvious and positive.
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