The following is commentary on Episode No. 22 ("We Could Be a Lot Worse Off") 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
Two dramatic story lines form the heart of this gripping episode. We witness the tragic death of the youngest brother in the family (the first of three Ashtons who do not survive to series end), and we are presented with an intriguing mystery, as a pair of military officers investigate the possibility that Margaret’s husband, listed “as missing, believed killed,” may still be alive.
Seventeen-year-old Robert Ashton has assimilated quite well to a life at sea, much better than his close friend, Peter Maitland, who seems unable to control the natural fear of combat. Robin Langford portrays Peter’s terror in the face of battle quite convincingly. When an explosion (torpedoed tanker) shatters the nighttime quiet, lifejackets are donned, and so devastated are Peter's nerves that he writhes in physical pain. David Dixon is likeable as Robert, and we empathise with him, which of course makes his sad demise all the more heartbreaking. One of the script’s many brilliant touches is Robert’s cigarette tin, which provides a powerful closing shot, leaving the viewer with little doubt as to young Robert’s fate.
The officers, Dimmock and Brent, who twice visit the Ashton home, serve the story well by introducing an element of mystery. Ostensibly investigating the wartime allegiance and behaviour of Harry Porter, the men are in fact collecting useful information on Harry’s son, John Porter. Both Jean and Edwin suspect as much. At one point, Jean appears to delight in frustrating the officers’ little ruse. When they express a desire to see photos of Harry at the wedding of John and Margaret, Jean calmly explains that Celia became ill and had to leave before any pictures were taken. It is amusing to see the outfoxed Dimmock’s expression! The officers eventually find what they came for, but only after revealing their true intentions. John, it seems, is quite capable of constructing a makeshift wireless unit, confirming that Belgian transmissions from a “John Porter” may indeed be authentic.
Some random comments and questions about “We Could Be a Lot Worse Off”…
There is a seamless verbal transition from Margaret’s hospital bed in Shropshire to Robert’s ship in New York Harbour when Margaret tells Michael Armstrong, “I can never seem to think of him as grown up.”
Were those colour shots of the New York City skyline found in a stock footage library? Are they generic or of World War II vintage?
It is a pleasant surprise to see Jean Ashton’s sudden warming in attitude toward Michael. I believe that she appreciates his genuine concern for Margaret’s health and for being thoughtful enough to provide the family with a report on her condition.
The episode continues to explore the deterioration of the relationship between Edwin and Jean. Each is guilty of remaining stubbornly mute when open communication might have rescued their marriage. What was Jean about to say when Edwin was going upstairs to bed? Whatever it was, she thinks better of it, and they part company with sentiment left unsaid.
That telephone sequence between Sheila and David is very effective, with convincing dialogue and portrayals of character. And the editing is perfectly timed. How touching it is to hear Sheila cry “David!” only an instant after the line is disengaged.
During the survival scenes at sea, director Richard Martin’s choices of claustrophobic camera shots heightens the tension and sense of desperate isolation. Alfred Hitchcock’s Lifeboat famously succeeded in much the same manner, as did Noel Coward’s and David Lean’s In Which We Serve.
The tragic final scene is played to the accompaniment of harmonica (mouth organ) music that lends a wistful feeling to the stark visuals. In case you do not recognise it, the title of that folk tune (appropriately enough) is: “The Leaving of Liverpool.” To listen to the complete song, as performed by The Seekers, click here.
