The internationally successful novel by John Jakes begins with the prologue 'Two Fortunes' containing the 17th century stories of two men: one is from England and the other is from France. They never meet but both of them strive for common values in the New World: liberty and life on one's own. Absorbing fates of determination and courage, harsh realities and acts of despair are their everyday bread... no matter what crops they dream of, something will occur beyond their brightest visions. That will outlive them all...the mid 1800s. Would Josef Moffat and Charles De Main ever have thought that their descendants' destinies are linked in challenging times of a cruel test for the United States of America?
NORTH AND SOUTH Book I directed by Richard T Heffron skips that prologue and takes some liberties with the introduction of the main characters: a southern boy Orry Main from South Carolina and a Yankee George Hazard from Pennsylvania. Our attention is, first, directed towards the colorful, dreamlike south easily adapted on the screen and easily made visually riveting for viewers. One sunny morning in the June of 1842 at the Mont Royal plantation hidden deep within the paradise of oak avenues and magnolias - two little southern belles - sisters of astonishingly different tempers, 'unmistakably Mains, yet different,' fight for a heron's egg found in a bird's nest. This incident between Ashton and Brett, though clearly reveals different characters of the two, is interrupted by more important tidings. Their big brother, Orry Main (Patrick Swayze), leaves the idyllic Mont Royal plantation for the military Academy at West Point. That Academy was a spot where the youngsters could find fulfillment - the perfect educational prospect for soldiers to come. Just to note the historic words referred to by John Jakes in his novel "in future wars the Nation must look to the Academy for the skill to conduct valor to victory" (John C Calhoun to Sylvanus Thayer, 1818). Great hopes separate a young man from his family and open him to new acquaintances...
The atmospheric theme score by Bill Conti and the nature wonderlands of Boone Hall Plantation (the exterior for film's Mont Royal) create a unique impression that recalls the great classics recreating the life in the old south (just to name GONE WITH THE WIND or JEZEBEL). You say: "It's gonna be a true entertainment!" since there is hardly anything more lively on the screen than extinct lifestyle, though decadent at certain moments, yet well worth interest. Can you, however, rely solely on your expectations and, more importantly, on the novel source?
In spite of my general comments on NORTH AND SOUTH Book I and Book II, I have decided to write detailed reviews on consecutive episodes for several reasons. Firstly, each single episode offers moments of particular attention from the psychological, fictitious, literary as well as historical point of view. Secondly, there are guest appearances that deserve special remarks. Finally, there is a very personal motive. The TV series plays a significant role in my film experience of youth. I remember looking forward to single episodes each Sunday afternoon since viewing NORTH AND SOUTH was an event. So let me start with some notes on Episode 1.
There are a lot of undertones of later aspects and contradictory emotions that mark the entire storyline and a variety of plots: hatred vs love, friendship vs prejudice, unity vs divisions, reason vs fanaticism and symbols that stand for all. The main cast, like Patrick Swayze, James Read, Jean Simmons, Inga Swenson, Kirstie Alley, Lesley Ann Down, Philip Casnoff, Terri Garber and David Carradine are worth praise just repeated from my general review. Some liberties with the source novel include the lack of some characters, like Orry's elder brother's Cooper, and chronology of some events attempted at creating greater viewing impression. But what interests us about the first episode are the following noteworthy scenes:
Among the supporting cast of Episode One, a mention must be made of John Anderson who portrays William Hazard, the head of the northern family and the owner of Hazard Iron that the family have run for generations (innitially Hazard Furnace).
Powerful introduction and growing enthusiasm that reach the climax at the sad, almost tragic finale: plans usually do not materialize and lifetime decisions may lead to endless tears of regret and empathy...
NORTH AND SOUTH Book I directed by Richard T Heffron skips that prologue and takes some liberties with the introduction of the main characters: a southern boy Orry Main from South Carolina and a Yankee George Hazard from Pennsylvania. Our attention is, first, directed towards the colorful, dreamlike south easily adapted on the screen and easily made visually riveting for viewers. One sunny morning in the June of 1842 at the Mont Royal plantation hidden deep within the paradise of oak avenues and magnolias - two little southern belles - sisters of astonishingly different tempers, 'unmistakably Mains, yet different,' fight for a heron's egg found in a bird's nest. This incident between Ashton and Brett, though clearly reveals different characters of the two, is interrupted by more important tidings. Their big brother, Orry Main (Patrick Swayze), leaves the idyllic Mont Royal plantation for the military Academy at West Point. That Academy was a spot where the youngsters could find fulfillment - the perfect educational prospect for soldiers to come. Just to note the historic words referred to by John Jakes in his novel "in future wars the Nation must look to the Academy for the skill to conduct valor to victory" (John C Calhoun to Sylvanus Thayer, 1818). Great hopes separate a young man from his family and open him to new acquaintances...
The atmospheric theme score by Bill Conti and the nature wonderlands of Boone Hall Plantation (the exterior for film's Mont Royal) create a unique impression that recalls the great classics recreating the life in the old south (just to name GONE WITH THE WIND or JEZEBEL). You say: "It's gonna be a true entertainment!" since there is hardly anything more lively on the screen than extinct lifestyle, though decadent at certain moments, yet well worth interest. Can you, however, rely solely on your expectations and, more importantly, on the novel source?
In spite of my general comments on NORTH AND SOUTH Book I and Book II, I have decided to write detailed reviews on consecutive episodes for several reasons. Firstly, each single episode offers moments of particular attention from the psychological, fictitious, literary as well as historical point of view. Secondly, there are guest appearances that deserve special remarks. Finally, there is a very personal motive. The TV series plays a significant role in my film experience of youth. I remember looking forward to single episodes each Sunday afternoon since viewing NORTH AND SOUTH was an event. So let me start with some notes on Episode 1.
There are a lot of undertones of later aspects and contradictory emotions that mark the entire storyline and a variety of plots: hatred vs love, friendship vs prejudice, unity vs divisions, reason vs fanaticism and symbols that stand for all. The main cast, like Patrick Swayze, James Read, Jean Simmons, Inga Swenson, Kirstie Alley, Lesley Ann Down, Philip Casnoff, Terri Garber and David Carradine are worth praise just repeated from my general review. Some liberties with the source novel include the lack of some characters, like Orry's elder brother's Cooper, and chronology of some events attempted at creating greater viewing impression. But what interests us about the first episode are the following noteworthy scenes:
- Orry (Patrick Swayze) meets Madeline Fabray (Lesley Ann Down), a Creole from New Orleans who travels with her devoted servant Maum Sally played by Olivia Cole (a sort of 'Mammy' character from GONE WITH THE WIND). Orry experiences the first moments of freedom and 'adulthood.' Love at first sight! Note the atmosphere of the two scenes, the visual splendor, the images of nature and the symbolic snake he rescues the young belle from;
- hilariously unexpected encounter with George Hazard (James Read) while fighting the swindlers in New York (actually the moment the novel begins with). From now on, they will be friends with novel nicknames: Stick and Stump;
- the boys' disillusions at West Point with its upperclassmen, mere 'things' at first who must survive entrance examinations to become 'plebes,' such odd repetitions of 'sirs' in its 'style of address' and a terrific portrayal of a sadistic, a little insane cadet Elkanah Bent (Phillip Casnoff). From the very first moment, Bent appears to be a real villain excellently played by Philip Casnoff (though he is not 'fat' as described in the novel) - consider the emotionally haunting effect at the drill of 'goose step;'
- the wedding of Madeline and Justin LaMotte reaching the emotional climax of the episode as Orry arrives at the plantation at a moment shot traditionally with the focus on shock, disillusion and suffering;
- Orry's visit at Lehigh Station at the Hazards', their ironworks and the very first indications of 'culture discrepancy.' Consider the consistent, yet developing performance of Kirstie Alley throughout;
Among the supporting cast of Episode One, a mention must be made of John Anderson who portrays William Hazard, the head of the northern family and the owner of Hazard Iron that the family have run for generations (innitially Hazard Furnace).
Powerful introduction and growing enthusiasm that reach the climax at the sad, almost tragic finale: plans usually do not materialize and lifetime decisions may lead to endless tears of regret and empathy...
