[Afamilyatwar-list] Episode 7

[Veit, Richard]

Episode No. 7, "The War Office Regrets"

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Thanks to some brilliant writing by John Finch, “The War Office Regrets” produces some of the most intense drama of the series. It is Harry Porter who receives the dreaded telegram alluded to in the episode title, informing him that his son is “missing, believed killed.” As Harry struggles to cope with the shattering news, his spirits ebb, and he even resorts to the contemplation of suicide. When, in dire hopelessness, he takes his service revolver from the drawer, the suspense becomes unbearable. Patrick Troughton’s acting is superb throughout, but nowhere more so than during the brief scene when his character reveals to a sympathetic police officer the cause of his despair. His reddened, glassy eyes seem to say it all. Earlier, we witnessed his despondency when poor Harry’s plea to his wife (“Can’t we help each other?”) is brushed aside by her disparaging comment, “When did you ever need any help from me?”

Besides the aforementioned police officer, another minor character whom I find to be quite true-to-life in this episode is the likable NAAFI delivery man, Bob O’Connell. His shy personality is engaging, and we feel for him when he awkwardly makes a “play” for the affections of Sheila Ashton. The warm friendship between these two lonely human beings is interrupted by the sudden arrival of Sheila’s husband, who jumps to conclusions and behaves rudely toward the delivery man. Then, when the couple is alone, he begins spouting allegations of impropriety. This is truly splendid writing, resonating with irony, for the viewer by now is keenly aware of David’s indulgent liaison with Peggy Drake. Incidentally, fans of "Dad's Army" will recognize the actor who played the role of O'Connell. It was James Beck, who (until his early death) appeared on the Jimmy Perry/David Croft sitcom as spif Joe Walker.

What can be stated with any certainty about Margaret’s support of the war effort? In her emotional outburst against her uncle, Sefton Briggs, she seems resentful of his lukewarm, defeatist stance. And yet, it may be that her attitude is simply a response to what she perceives to be Sefton's superficial, mercenary involvement. She wonders how her uncle can be so selfishly cavalier about the war when she must endure the personal torment of having a husband in mortal danger.

In “The War Office Regrets,” we again glimpse one of the Ashton women at the piano. In this instance, it is Freda playing a piece by Chopin. Previously, Margaret has tried her hand at the keyboard, and, in a later episode, Jean will do the same. It is evident that all three of these actresses (Barbara Flynn, Lesley Nunnerley, and Shelagh Fraser) had at least a passing acquaintance with the piano. This fortuitous circumstance works to good advantage. On more than one occasion, conversations around that slightly out-of-tune upright provide some insight into the principal characters’ thoughts.
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