The following is commentary on Episode No. 47 ("Under New Management") 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
"Under New Management" provides an interesting glimpse of the inner workings of a local political election—Makin (Labour) versus Bradshaw (Conservative)—amidst a broader campaign that would find Churchill unseated as Prime Minister in favour of Clement Attlee. But in terms of "A Family at War," the true essence of this episode is a study in character development, with John Porter surrendering to temptation in the person of his co-worker in the Labour cause, Marjorie. John is especially vulnerable at this moment because of his marital frustrations at home with Margaret and his unfulfilling toils at the treasury office. The unsavory Councillor Dewsbury proves to be the catalyst here, spitefully redirecting his own unrequited lust for Marjorie toward his younger colleague. Not only does he assign Marjorie and John a canvassing area near her flat, but he suggestively adds, "Oh, and when you're finished, your time's your own." We do not actually see John and Marjorie in the act of a physical relationship, but his evident guilt when encountering Margaret soon thereafter indicates that he may have indulged in more than the proverbial cup of tea.
A secondary story line explores the troubled marriage of David and Sheila. After investing in a new home of their own, David must confront the fact that he hates his job, which has turned out to be little more than a con game in behalf of Trevor Howells. He bravely puts on a cheerful face for Sheila's benefit, but he senses disaster looming in the not-so-distant future.
Some random comments about "Under New Management"…
Councillor Dewsbury is quickly shown to be a lecherous character, peeping at Marjorie as she dresses, by means of two fortuitously placed mirrors.
There is a nostalgic glimpse of days gone by when we view the outmoded use of loudspeaker cars during the political campaign. This is the source of some stereotypical amusement, for the Tory automobile is a very fine and spacious motorcar, while the Labour vehicle is a ramshackle affair so cramped that its passenger appears to be in a half-standing crouch as he shouts into the microphone. This latter agent, by the way, is played by Bill Dean, who earlier appeared as pressman Alan Mills in three previous episodes of the series. It is conceivable, of course, that these two roles are intended to be one-in-the-same person, but they are so very different in character that this seems unlikely.
What a powerfully written and acted scene that is when John and Margaret are in the Ashton kitchen, arguing about Marjorie, Michael Armstrong, and distempering the attic.
Actress Georgine Anderson (Helen) measures the curtains so sure-handedly that it seems she has done so at some point in her real-life experience.
I am always impressed by the candour that David exhibits whenever he talks with his sister, Margaret. They discuss his job, his days in the RAF, and his marriage, and he is much more open with her than with his own wife.
It is a funny moment when John and his pro-Labour clients exchange the "V" sign of Churchill, much to Marjorie's chagrin.
Once again, the irrepressible Paul Brett is entertaining to watch as John George Porter. He is quite believable as an energetic youngster, and his unpredictable antics keep the other actors on their toes.
I feel sorry for Edwin as he confides to Margaret how disappointed he is in Tony, who "stabbed him in the back." Then, in a very touching confession, Edwin tells her how much he misses his honest talks about life with son Philip.
There is a pivotal moment—one might call it "John at the Crossroads"—when Marjorie and he pause in the park, and she invites him to accompany her home for a drink. This is some excellent writing by John Finch, and we wonder where John Porter's impulsive decision will lead.
Once in Marjorie's flat, John laughs nervously the instant she mentions V.D., an odd response that suggests the depths of his own ordeal in that respect. This entire scene, so dramatic from beginning to end, is fraught with sexual tension.
Ian Thompson (John) and Lesley Nunnerley (Margaret) have wonderful chemistry together, and the sparks really fly when she confronts him about his canvassing with Marjorie. His feelings of guilt seem to place him on the defensive in this final scene of the episode. Her cold, frank line of questioning here is quite merciless, and justifiably so.
