The following is commentary on Episode No. 27 ("Into the Dark") 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

With regard to the Ashton saga, this episode centres upon Philip's blindness, caused by shell fragment wounds which he suffered in combat at Tobruk. However, within that same military field hospital where Philip lies sightless there is an even deeper drama that involves the scheming Corporal Grant, who has shot off the toes of his left foot in an effort to "earn" his discharge from service. In so doing, he placed his fellow soldiers in peril, and one of them, Lance Corporal Reynolds, now lies two beds away, grievously wounded.

It is easy to sympathise with Corporal Grant's desire to return home to his wife and leave the battle front--who would not desire that?--but the manner in which he attempts to do so is reprehensible. Whatever we may think of conscientious objector Michael Armstrong, at least he is honest in his convictions and does not expose his fellow soldiers to enemy troops out of sheer selfishness. Grant is devious and calculating, stealthily taking advantage of Philip's blindness to make certain that eye-witness Reynolds dies before having the opportunity to deliver testimony that could incriminate Grant and cost him "ten years inside." Ghoulishly, with no value for human life, Grant looks on as Reynolds struggles for breath.

And yet, however hard we may wish to see Grant repaid for his betrayal of his fellow troops and human decency, alas, that is not meant to be. As in real life, sometimes the unrighteous prevail, at least in the short term, and this seems to be one such case. Philip shouts at him, "Come back, Grant," and we sense that there will be a confrontation, but then Philip detects light in one eye, and the case against Grant is forgotten.

Some other random comments about "Into the Dark"...

We are able to view Grant's dishonesty as he struggles to fabricate what happened to him and Reynolds at Tobruk, but Philip does not have our advantage of sight. This is an effective narrative twist that will be employed again in "Clash by Night," only this time with Parker as the antagonist.

The hospital doctor is quite compassionate, as is orderly Jumbo. I think both actors (Roger Heathcott and David Simeon) perform splendidly here, creating characters that seem real and three-dimensional rather than stereotypical.

I find 18-stone Mess Sergeant Smith to be a very engaging character too. He provides some welcome comic relief and genuine kindness.

There is a powerful transition when the camera cuts from Philip's anguished cry of "Oh, God" (fearing that he may never see again) to a contrasting shot with the carefree laughter of Freda and Doris.

Sefton is his usual insensitive self, telling John, "An early night, eh? That's the stuff for invalids."

Just moments later, director Baz Taylor chooses an interesting camera shot, showing Sefton speaking to Edwin, who can be seen in a mirror.

The writers present us with a premonition of sorts when Edwin informs Sheila that some servicemen get a "blighty one" (insignificant injury) to secure their discharges. Of course, this ensues soon thereafter in the person of Corporal Grant.

Another example of fine writing is the spectre of John's sleeping pills, causing sympathetic viewers to fear for his life as sleeplessness and depression overtake him, and only those mocking tablets promise surcease. Ian Thompson's portrayal of a tortured mind is truly remarkable in this episode.

Michael is foolish and inconsiderate to barge into the Ashton home when John Porter is there, and I must say that I agree with Jean in telling him so in no uncertain terms. She can be surprisingly forceful and outspoken at times, and invariably for good reason. It is she, for instance, who is strong enough to admit to herself that John attempted to take his own life. Edwin, for his part, dances around the topic of suicide by claiming that his son-in-law was only in search of some sleep.

One of Margaret's most dramatic scenes occurs as she weeps to Michael that their late baby is like a little ghost walking between them. I am continually impressed by the screen presence of actress Lesley Nunnerley.

It is Margaret who injects an element of suspense into the episode's waning moments, confessing to her mother that she decided between Michael and John on the way home. We are left to wonder what that decision was, though the closing frames give us some idea.