First published as PARADE'S END Review on Seat42F.
Grade: 91%
Grade: 91%
HBO will take its turn presenting the
miniseries PARADE’S END this week, its partner in the endeavor, the BBC,
having already broadcast it last fall. Perhaps HBO saved it so it would
have a rich period piece this winter, just as it had Mildred Pierce
last year, or perhaps they wish to attract those in the early stages of
Downton Abbey-withdrawal. Whatever the reason, now seems an opportune
time to air it.
The title PARADE’S END refers to the
excising of the British upper-class way of life, the manner in which the
elite of society put on certain airs, stay true to traditions, and
worry about the way they are perceived. There is a strict social
structure in place in the early twentieth century, mostly destroyed
during World War I, and this miniseries tells that tale.
Well, it tells a personal take on
characters who make that transition. Yes, the piece is somewhat
sweeping, and does have a large-ish cast. But there are really three
main players in the story who stand about above everyone else, and who
are the case study made an example of here.
Benedict Cumberbatch (Sherlock, Star
Trek Into Darkness) plays Christopher Tietjens, a noble Englishman who
sticks with the way he is brought up, no matter what. This means he goes
through with his marriage to the wicked, manipulative Sylvia (Rebecca
Hall, The Town, Frost/Nixon), even though he knows she’s been sleeping
around on him, and it’s very likely her pregnancy isn’t a result of his
actions.
Their union is predictable unhappy, and
Sylvia doesn’t even try to stay faithful, spending much time apart from
her groom in the company of other men. Christopher, though, keeps up
appearances, even as he begins falling for the sweet, strong-willed
Valentine Wannop (Adelaide Clemens, Rectify, Vampire).
Looked at through the modern eye, it’s
very hard to understand why Christopher doesn’t just leave Sylvia for
Valentine, a topic discussed in the series. Why should he show any
loyalty to someone who is so nasty to him? But that’s Christopher’s way
of life, so I’m not sure it even occurs to him to end his own suffering,
at least not for awhile. Part of the beauty of the piece is the
illustration of the type of man Christopher represents, a specific guy
from a specific period in time in a specific place.
In fact, PARADE’S END succeeds very well
artistically. The sets and costumes are made expertly, and the details
that set an authentic tone are present. The writing is smart, and the
characters are well defined. Presenting World War I as a catalyst is a
good idea, executed with much success.
The cast is fantastic, of course,
especially the three leads. For those who are familiar with
Cumberbatch’s work, this should come as no surprise. The girls’ talent
matches hiw, but this is Cumberbatch’s showcase, and he owns every
moment he is on screen, conveying much in his sad eyes.
The supporting players also lend both a
fuller picture, and some levity to the proceedings. They include Roger
Allam (The Thick Of It, The Queen), Rupert Everett (My Best Friend’s
Wedding), Miranda Richardson (Rubicon), Janet McTeer (Damages), Clare
Higgins (Homefront), Stephen Graham (Boardwalk Empire), and Rufus Sewell
(The Pillars of the Earth), each of whom adds a positive element.
My problem with it is that it’s slow and
a bit boring. Like Mildred Pierce, it meanders for quite awhile, and
there isn’t a lot of movement. Does it really take five hours for a trio
to work out their romantic arrangements? Especially when we, the
viewer, know right away the decision that Christopher should make. His
struggle is interesting, to be sure, but the running time will likely
drive some potential watchers away.
PARADE’S END is strongly British, and
not completely accessible. One must pay attention to follow the story,
and it isn’t very light-hearted. I enjoyed what I’ve watched of it (I
haven’t finished it yet), but it’s a miniseries I’d have to be in a
certain mood to really appreciate, for sure.
PARADE’S END airs this Tuesday, Wednesday, and Thursday on HBO.
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