The following is commentary on Episode No. 28 ("The Straight and Narrow") 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

The theme of this episode might best be termed "burning bridges."

John Porter, having regained much of his former health, resents the fact that his possessive mother is trying to coerce him and Margaret into living in Chorley. Celia is relentless in her persistence, seemingly giving John no say in the matter, so he rebels and charges her with not telling him where Margaret was when he was leaving for France. She denies this accusation, but he insists, "You knew! You bloody knew!" Never before has he spoken to her with such forcefulness, and both of them are grieved by the rift that it creates between them.

Later, Margaret and her father are alone in the kitchen, where she curses her meddling mother-in-law ("Mrs. Bloody Porter"). Edwin brings John's courageous stance to her attention, explaining that he has "burned his bridges," fearing that Mrs. Porter would come between him, his wife, and their son. Edwin's implication is that Margaret should consider doing the same with Michael Armstrong, and she takes this to heart. The closing scene, inevitable but nonetheless agonising for Michael, demonstrates quite clearly that Margaret is determined to burn her own bridges for the sake of her marriage.

Some random comments about "The Straight and Narrow"...

The sad decline of Jean's mental health is apparent on at least two occasions here. First, oblivious to everything but her own private thoughts, she walks right by the ringing telephone without answering it. Then, while chopping vegetables with a knife in the kitchen, she cuts her hand but does not notice until Celia points it out to her. Even physical pain is, at times, beyond her perception.

Celia Porter is so wonderfully annoying that, in a perverse sort of way, I enjoy the episodes in which she appears. She is one of those villains we all love to hate. I have known people similar to her, so Margery Mason's self-serving characterisation seems right on target. It is fascinating to see how she manipulates her son's mind, slipping into their conversation such negative concepts as "While the cat's away, the mice will play" and "We can all be tempted, given the circumstances." She and Ian Thompson (John) have great chemistry in scenes that they share.

At first, Colin Woodcock shocked me with his aggressiveness toward Sheila. It seemed out of character until I realised that he was only responding to what he regarded as her attempts to seduce him by playing hard to get. Once she reveals her genuine revulsion to adultery ("Oh, please, don't make me"), he becomes a different person entirely, gentleman enough to depart from where he is not wanted.

I like the natural dialogue that is exchanged when Colin and Sheila are aboard the train, travelling to and from Wales. A funny moment comes when-referring to the three silent, unsmiling passengers opposite them-Colin quips, "That's what's going to win us this war, you know: all these happy, loving people."

Toward the end of the episode, there is a touching scene in John's bedroom. (Margaret still is rooming with Freda at this point.) He and his wife are discussing their marital troubles, and John declares, "You weren't there." His frayed emotions reduce John to tears, and Margaret comforts him with a loving embrace.