The following is commentary on Episode No. 12 ("If It's Got Your Number on It") from members of AFAMILYATWAR-LIST. If you wish to add your thoughts to what is being said on this page, become a part of our discussion group by clicking the "Join" button.

 

 


 

 

Richard Veit

Writer Elaine Morgan’s only script in the series proves to be a strong one, as three major plot lines are tied together convincingly: Philip is home on leave, Freda meets a wartime sweetheart, and Peter Collins feels compelled to seek enlistment.

Peter and Owen interact in two ways—emotionally, in vying for Freda’s affections, and physically, in a violent scuffle that results in cut lip for Owen and a swollen eye for Peter. Mrs. Collins, meantime, calls upon Philip Ashton to dissuade her son from acting rashly by joining the navy. I was impressed by the way all three aspects of the story are interwoven so seamlessly.

Some other random thoughts on “If It’s Got Your Number on It”…

Actress Elizabeth Kelly, who portrays a woman in the air-raid shelter, will re-appear in a much later episode (No. 42, “The Fundamental Things Apply”) in an entirely different role, as the superintendent at Freda’s wedding.

On more than one occasion during the course of “A Family at War,” we witness Edwin’s boss at the ARP, Ted Fiddler, dealing in the black market. It seems that civilians were inclined to wink at such behaviour if it remained on a superficial level.

Barbara Flynn’s performance throughout “If It’s Got Your Number on It” is wonderful, but my favourite moment would be her delayed reaction when she arrives home and belatedly spots Philip sitting right there among the others. It is so natural, presented with humour and perfect timing.

Owen Thomas establishes himself as a sympathetic character from the very instant we meet him outside the shelter, and actor Mark Edwards possesses an on-screen charisma that recalls a young Gary Cooper. This likeable Aussie would have made a nice “catch” for Freda, and her subsequent ambivalent feelings toward him have always bothered me. Not that this is bad writing at all—quite the contrary! The very human “games people play,” including fickle attitudes of the sexes, is captured beautifully by the screenplays’ authors. Still, it is frustrating to watch their relationship unravel, and my heart goes out to poor, bewildered Owen, particularly when (in the very next episode) he visits the Ashtons for Christmas and inexplicably gets the cold shoulder.

There is quite a funny scene in a café when Freda tries to act oh-so-sophisticated by smoking with Owen Thomas. Her coughing tips him off that she is not very adept at this social grace, as does that unpracticed way she holds the cigarette, as if it were a child’s crayon.

Another funny moment comes amidst the chaotic scene at the Ashtons’ when Edwin—with toothpaste on his mouth and clad in his pajama bottoms—desperately tries to learn what is going on and who this Australian airman with the split lip might be.

Philip’s protective side is evident when he jumps to his sister’s defence upon hearing that Owen was kissing her. Later, though, he becomes chummy with the uniformed Owen when they engage in (as Peter contemptuously terms it) some “shop talk.”

The pressures that Peter Collins is forced to endure are formidable indeed: unresponsive Freda Ashton, his mother’s manipulative nature, his voluntary work at the ARP on top of daytime work as an exempt draftsman, the cruel looks and unspoken thoughts of “slacker,” and, perhaps most challenging of all, the long shadow of older brother Danny, whose naval service is posited as an ideal well beyond Peter’s modest reach. (“Danny is different,” says Mrs. Collins.) I feel sorry for Peter, and ultimately he comes across as a tragic figure.

Mrs. Collins is nearly as thoughtless and self-centred as another emotionally smothering mother, Celia Porter. And yet one cannot help but feel some compassion for her when director Gerry Mill utilises an effective long-shot, even zooming out a bit further to show the woman’s pathetic isolation as Peter is leaving her alone.

One of my favourite lines of dialogue in this episode arrives when Freda advises her troubled friend, “Don’t turn yourself into a tough guy, Peter.” Somehow these melodramatic words manage to strike an honest chord, like something Freda Ashton really would say in that situation. Writer Elaine Morgan seems to be giving an affectionate nod toward the vocabulary of film noir, and it works quite well in this context.

The closing shot of “If It’s Got Your Number on It” is a disturbing one, as Edwin looks from the damaged ARP post to the flaming ruins outside. The camera zooms in to reveal the lifeless body of Peter Collins.

 


 

Gert Bak Pedersen

I agree with Richard that Barbara Flynn's acting is charming all the way through this episode, and it is easy to detectand understand the young Freda's resistance of being 'pulled' into a serious relationship with Peter combined with her fascination of Owen. As for me it is more irritation than pity when I watch Peter Collins - I don't know what it is called in English, but it seems as if he lacks any sense of the occasion. I think most other would have sensed that Freda isn't interested and then backed off - instead Peter almost gets pathetic (only my opinion....).

I love the scenes from the everyday-life of the Ashtons. The 'play' that goes on between the members of the family is great. But I think the very best part is when discussions and problems from the actual hstorical time is woven into the episode. My two favorite scenes in this episode are when Edwin and Philip are sitting in the kitchen discussing the possible outcome of the war and how the truth is often hid from the public. A little later they are playing chess and the talk they have here is very interesting.

During this episode it struck me how well Keith Drinkel is playing the part of Philip. It is really a shame that he wasn't that happy about the series and that he didn't play in the last season - he really gave a lot!

 


 

John Finch

I agree completely with Gert and Richard re this episode. It was in fact an almost complete rewrite of an earlier script. What spoiled it for me was what I considered appalling casting of Peter. His voice grated. It was more of a whine. He just didn't grasp what could have been an interesting character. However, you can't win them all.

 


 

Richard Veit

Jean cautions Owen that Freda might not seem the same as before, a change of attitude that she ascribes to the fact that Peter was killed. And, of course, Freda explains to Owen that even she herself cannot explain the change, except to say that she no longer feels the same about him.

Why do you think Freda was so unfriendly toward Owen when he returned to Liverpool? Was she tired of him? Did she resent his role in what happened to Peter Collins? Was it something he said to her in November? Was she fickle? Had she used the intervening month to reconsider the relationship? Does she herself not know why?


 

Paul Cook

Some personal reflections on  Freda.

Watching Freda, I think it is easy to see her as being older than she really is, particularly in the earlier episodes. I see her apparent contrariness and erratic behaviour as part of her growing- up. Viewing her as a teenager, then none of her responses seem strange to me. I think they are normal and quite healthy, indeed a rite of passage. Freda is struggling to come to terms with the fact that she is quickly moving away from being a child towards womanhood. At times she wants to be the young daughter that needs to be looked after and cared for. Other times Freda is aware of her own awakening sexual feelings, which alternate between desire and fear, often at exasperating speed. Those around her don’t feel they can keep up with these rapid changes at times. As the audience, we experience this frustration too.

Freda is having to grow up quickly because of the war. She does not have the luxury that might have been hers in peacetime  to mature at the pace she would like, or need to. Freda is intelligent,  has a strong personality, and just  won’t  fit into the sterotypical idea of the expected woman’s role at that time. She wants other things from life other than being a homemaker, wife and/or mother, which was seen by many as  being both expected and desired. She has aspirations and hopes, albeit unclear to start with, and is confused by her emotions that seem to leave her going round in circles. No wonder she seems like a powder keg at times, just waiting to explode.

Freda wants to experience life to the full, yet haunted with the fear of losing those around her whom she loves, or dares to want to love. Freda has to face the brutal reality of war with Peter’s death. She concludes that being emotionally distant, (thus relationship-free) will protect her from the grief resulting from any loss. I feel this is why she is so ambivalent in her attitude towards Owen. She loves him, but can’t bear the fact that he could easily be taken from her so brutally and abruptly in these chaotic war times
.

 


 

Richard Veit

Yes, I think you have nailed it, Paul. I must say, you are VERY adept at identifying the psychological workings of characters!
In addition to Freda’s feelings for Owen, some other instances of her “growing-up pains” (as John puts it so well) might be:
Her ambivalence toward the lovelorn Peter Collins
Her brief infatuation with Michael Armstrong
Her hot-and-cold hospital romance with Ian Mackenzie
Her confused relationship with her cousin, Tony Briggs
Her impulsive thought of joining the WRENS
Also unclear in her mind is what she thinks of the prospect of children. Ian says to her, “As far as I remember, you used to say you didn't want children cluttering up the place. ‘Little brats,’ you called them. You were very keen on being the modern, emancipated woman.” But she responds, “Yes, well, that was some time ago. And anyway, brats are other people's children.”
Maybe that is why we are so fond of Freda. Her lively, youthful personality always keeps us guessing.

 


 

John Finch

Very perceptive, Paul. You might sum it up as “Growing-up pains” as we used to say.


 

Paul Cook

Succinct as always John. I take hundreds of words trying to say something, yet you sum up stuff so simply.

 


 

John Finch

[The scene in the public lunchroom] Probably the best Owen/Freda exchange in the series. Elaine Morgan’s husband fought in the Spanish Civil War.