"Now is an emotion that most Forsytes disapprove of unless they fell in love. Even if they had, they had got off it pretty quickly not being able to reconcile their principles, extravagance involved. These young Forsytes have got it bad as they say nowadays, and having got it is their property. Who will try to deprive them of it?" Jo's words nicely foretell the events to come.
Episode 14 titled "Conflict" and dramatized by Vincent Tilsley, despite the fact that it introduces certain new supporting characters, appears to be condensed putting greater emphasis on Fleur-Jon plot. But, as one of the titles of Galsworthy's TO LET, it highlights even more the important relations between fathers and daughters. Not merely caprices of a daughter, the major conflict arises within the contemplation of the past and the present. One, of course, being deeply rooted in the other. Soames, with his daughter's happiness at heart, must confront the reality of others stepping into her lives.
There is one brilliant scene when June visits Fleur. June, for some time, has appeared in the moments when slight reflections, little subtlety and nostalgia for inner freedom appeared in the hearts of some of the family members and here is Fleur's turn. Although both agree about the statement that "it's horrid not to have it your own way," there appear to be certain striking differences between the two women. Consider a certain symmetry of this scene with one where Irene turns up at June's. The scenes, as similar as they may seem, considerably differ. Fleur is a picture of her father, the man of property and, even if she might appear oblivious to the drawbacks of her father's character within her, she displays those features. In a way, I daresay there is a further analysis of Soames through the character of Fleur.
Merely for the sake of more intense dramatization, Tilsley and Wilson put in contrast two fathers, now the elder generation of the Forsytes: Soames and Jo. Those two have been put in contrast many times, but here, in a more focused manner, they are 'fathers' in relation not solely to themselves, but to their children. Soames experiences a sort of downfall of his world (the climax of this, perhaps, is the moment with Annette, his wife) and realizing that barely anyone loves him, he tries so desperately to keep his daughter for himself, steal her feelings, Jo is a fully understanding character but deteriorating in health. Both men share one crucial fact, though: they are the parents of the couple head over heels being, at the same time, affected by a 'mysterious, intriguing feud, 'ancient history' that, for the sake of reason, should long ago be forgotten, but, for the sake of family honor, cannot ever be ignored.
It is interesting to note particularly in this episode, how the two react to this situation. While Jo is the least 'self centered' man called later by his daughter Holly 'the most unselfish person' Soames appears to be his opposite growing in inner dilemmas, constant fears of losing control over other people and retiring to oblivion. Jo accepts the reality in a modest way. Just a note about an interesting scene he talks to Dr Dewar on a 1920s telephone.
Soames' dilemmas may be concluded in two women of his life: his daughter and his wife. There are two men who want to win Fleur. Apart from the most disastrous prospect of marriage with Jon, there is one Michael Mont (Nicholas Penell), so far a supporting character, who, though called 'young idiot who does not count' by pretentious young lady that Fleur is, slowly wins the privileges of the Forsytes against Jon. Soames is funny in the manner how he states that his experience of life has made him not too anxious to couple people in a hurry. Yet, as over-caring a parent as he is, we will not expect this 'indifferent waiting' to be long lasting. The trouble with his wife, however, becomes more dramatic.
Annette displays cold, calculating attitude towards the man of property being extremely frank and extremely cruel. 'Living with you has not improved me..." harsh words to be said in any circumstances. And, being half his age, she naturally displays more fondness of younger men. Is one Monsieur Profond (Christopher Benjamin) a new Bossiney? One who wins many Forsytes, even Winifred but Soames and Fleur.
New moral acceptabilities of the society are nicely incorporated into the episode through minor detailed scenes, particularly here Jack Cardigan who represents new fashions of the time and new lifestyles. What does he keep fit for? Fathers and daughters...different relations...dreams unfulfilled...certain expectations. Fears...Will any side find courage to put an end to the whole thing?
Episode 14 titled "Conflict" and dramatized by Vincent Tilsley, despite the fact that it introduces certain new supporting characters, appears to be condensed putting greater emphasis on Fleur-Jon plot. But, as one of the titles of Galsworthy's TO LET, it highlights even more the important relations between fathers and daughters. Not merely caprices of a daughter, the major conflict arises within the contemplation of the past and the present. One, of course, being deeply rooted in the other. Soames, with his daughter's happiness at heart, must confront the reality of others stepping into her lives.
There is one brilliant scene when June visits Fleur. June, for some time, has appeared in the moments when slight reflections, little subtlety and nostalgia for inner freedom appeared in the hearts of some of the family members and here is Fleur's turn. Although both agree about the statement that "it's horrid not to have it your own way," there appear to be certain striking differences between the two women. Consider a certain symmetry of this scene with one where Irene turns up at June's. The scenes, as similar as they may seem, considerably differ. Fleur is a picture of her father, the man of property and, even if she might appear oblivious to the drawbacks of her father's character within her, she displays those features. In a way, I daresay there is a further analysis of Soames through the character of Fleur.
Merely for the sake of more intense dramatization, Tilsley and Wilson put in contrast two fathers, now the elder generation of the Forsytes: Soames and Jo. Those two have been put in contrast many times, but here, in a more focused manner, they are 'fathers' in relation not solely to themselves, but to their children. Soames experiences a sort of downfall of his world (the climax of this, perhaps, is the moment with Annette, his wife) and realizing that barely anyone loves him, he tries so desperately to keep his daughter for himself, steal her feelings, Jo is a fully understanding character but deteriorating in health. Both men share one crucial fact, though: they are the parents of the couple head over heels being, at the same time, affected by a 'mysterious, intriguing feud, 'ancient history' that, for the sake of reason, should long ago be forgotten, but, for the sake of family honor, cannot ever be ignored.
It is interesting to note particularly in this episode, how the two react to this situation. While Jo is the least 'self centered' man called later by his daughter Holly 'the most unselfish person' Soames appears to be his opposite growing in inner dilemmas, constant fears of losing control over other people and retiring to oblivion. Jo accepts the reality in a modest way. Just a note about an interesting scene he talks to Dr Dewar on a 1920s telephone.
Soames' dilemmas may be concluded in two women of his life: his daughter and his wife. There are two men who want to win Fleur. Apart from the most disastrous prospect of marriage with Jon, there is one Michael Mont (Nicholas Penell), so far a supporting character, who, though called 'young idiot who does not count' by pretentious young lady that Fleur is, slowly wins the privileges of the Forsytes against Jon. Soames is funny in the manner how he states that his experience of life has made him not too anxious to couple people in a hurry. Yet, as over-caring a parent as he is, we will not expect this 'indifferent waiting' to be long lasting. The trouble with his wife, however, becomes more dramatic.
Annette displays cold, calculating attitude towards the man of property being extremely frank and extremely cruel. 'Living with you has not improved me..." harsh words to be said in any circumstances. And, being half his age, she naturally displays more fondness of younger men. Is one Monsieur Profond (Christopher Benjamin) a new Bossiney? One who wins many Forsytes, even Winifred but Soames and Fleur.
New moral acceptabilities of the society are nicely incorporated into the episode through minor detailed scenes, particularly here Jack Cardigan who represents new fashions of the time and new lifestyles. What does he keep fit for? Fathers and daughters...different relations...dreams unfulfilled...certain expectations. Fears...Will any side find courage to put an end to the whole thing?
