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<p><strong><span style="font-size:14.0pt;font-family:"Calibri",sans-serif;color:black">Episode No. 25, “Giving and Taking”<o:p></o:p></span></strong></p>
<p><strong><span style="font-size:12.0pt;font-family:"Calibri",sans-serif;color:black"><img width="371" height="281" style="width:3.8645in;height:2.927in" id="Picture_x0020_3" src="cid:image001.png@01D47807.EBD3D6A0"></span></strong><strong><span style="font-size:12.0pt;font-family:"Calibri",sans-serif;color:black"><o:p></o:p></span></strong></p>
<p><strong><span style="font-size:12.0pt;font-family:"Calibri",sans-serif;color:black">I consider the black and white episodes (nos. 25-32) to be some of the strongest scripts in the entire series. One soon becomes accustomed to the absence of colour, so it
really is no problem from a dramatic point of view. Indeed, in a strange sort of way, black and white actually seems to add a certain film noir “edge” to the productions that I find quite appealing. I am tempted to suggest that they may be even MORE powerful
this way, somehow better setting the action in that WWII period of time. I will stop short of that, however, because I really do appreciate the effective use of colour in the other 44 episodes, and, after all, people living through the war years (despite the
vintage movies we enjoy) actually did see things in colour! That said, I am glad that the series continued production throughout that difficult time of the trade union dispute, and I am certain that the original audience felt that way too, as continuity was
maintained rather than having to endure a technical hiatus of several weeks. Come to think of it, I suppose that most viewers were not even aware of the change, as most television sets back then were black and white anyway.</span></strong><b><span style="font-size:12.0pt;color:black"><o:p></o:p></span></b></p>
<p><strong><span style="font-size:12.0pt;font-family:"Calibri",sans-serif;color:black">“Giving and Taking” concerns itself with four troubled relationships: Edwin-Jean / David-Sheila / Michael-Margaret / and Tony-Jenny:</span></strong><b><span style="font-size:12.0pt;color:black"><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">(1) Disparity of class resurfaces when Edwin and Jean are at the old Ashton home in Yorkshire, and she complains that the house smells, the bed is damp, and (referring to Edwin’s side of the family) “They
weren’t my people.” He takes exception to these insensitive remarks, and their marriage is damaged at its foundations—their very identities as human beings. At one point, Edwin breaks down in tears and confesses to his wife that he is lost. Characteristically,
she offers him no comfort. We sense that the lines of communication between them have become severed. In the context of their marriage, both of them sometimes are guilty of changing the subject or even openly rejecting the other’s attempt at peace overtures,
but Jean is particularly guilty of such selfish behaviour. However, we should bear in mind that she is not well. It is two months after Robert’s death at sea, and the physical and mental toll on Jean Ashton is by now clear to see. Whether due to a minor stroke
or depression, she suffers from malaise and fits of forgetfulness, and her mind occasionally wanders, causing her to become unaware of where she is. Another manifestation of her illness: after all these years, for no apparent reason, she has resumed smoking
cigarettes, an aimless decision that strikes both Freda and Edwin as singularly odd.</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">(2) Just when David Ashton is making some half-hearted effort to salvage his marriage, in walks Colin Woodcock, and any possibility of reconciliation is dashed. Sheila is innocent of any wrongdoing, but
I suppose it is only natural for David to suspect otherwise in the circumstances. Still, it is difficult to grant him much sympathy, in view of his own proclivity for indiscriminate liaisons.</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">(3) Little does Michael Armstrong realise how hopeless his situation has become. Edwin has learned from Major Dimmock that John Porter is indeed alive, and that reality all but seals Michael’s fate. Though
Edwin may insist to Jean that there is some doubt as to where Margaret’s affections will reside, my feelings are that she is too loyal, too decent, too firmly grounded in morality to abandon her husband for the arms of another man. She will attempt to do so
at first, enjoying the bogus freedom of choice, but ultimately there can be no question of establishing a permanent home life with Michael.</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">(4) I find it quite sad to witness the dissolution of love between Tony Briggs and Jenny Graham. She is such a charming, classy lady that I wish their plans for a life together could have been realised.
But it was not meant to be. Tony, that most likeable, eligible, and desirable of bachelors on “A Family at War,” is the one who will remain single at series end. I can see the obvious and insurmountable problems with his cousin Freda and, in “Flesh and Blood,”
with Barbara (mother of little Stevie), but the relationship with Jenny was on another level altogether.</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">Some other comments and questions about “Giving and Taking”…</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">In this episode, we learn that Sefton’s late wife was named Edith.</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">There is a funny scene between Sefton and Tony, wherein Tony tries to get his father to admit that he slept with the door open to make certain that he and Jenny did not become too amorous during the night.
Ever wily, the elder Briggs attributes his new-found attentiveness to “the burglary.”</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">How nice it is to have Margaret back with us again after her time away, recuperating in Shropshire. My eyes always seem to gravitate to Lesley Nunnerley whenever she is on screen.</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">Has anyone else noticed that the young boy who plays John George Porter here, Ben Grieve, is almost always crying? The same holds true in later episodes, too. Was he afraid of the cameras, the sound equipment,
and the lights? It does not damage the productions very much, as children of that age do cry, but I wonder what the circumstances were for selecting him for the role. (Is he, perhaps, related to Ken Grieve, a director of Coronation Street?)</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">The touching scene where Margaret and Freda are in the kitchen, discussing young Robert’s death, is one of the most shattering in the series, powerfully acted by Lesley Nunnerley and Barbara Flynn and beautifully
written by John Finch. Another memorable moment comes later in the episode when Freda discovers that she is lying in Robert’s bed. Her look is utterly believable, and I am impressed by actor Colin Campbell’s perfect timing here, as David tells her, “No, that
wasn’t my bed. It was Rob…” He stops short of saying his brother’s name, but of course no one can reverse her pangs of sorrow.</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">What a majestic camera pan director Gerry Mill chooses in that bleak establishing shot of the Yorkshire mining town.</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">Margaret and David are very sweet together, most convincing as sister and brother, when she makes him promise to see Sheila. Here we are given a glimpse of David’s softer side.</span></strong><br>
<br>
<strong><span style="font-family:"Calibri",sans-serif">Not long after the Ashtons have learned of Robert’s death at sea, Jean is in the boys’ bedroom. As she turns over Robert’s mattress, it topples some books off the night stand. She leans down to pick them
up and notices Robert’s old school supply box, on which is scribbled (in the boy’s own handwriting) “Robert Ashton / Aigburgh / Liverpool / Lancashire / England / Europe / The World / The Universe / Space.” There seems to be another word there as well (separated
from “Space” by a dash or hyphen), but it is obscured from view by the plastic triangle. Can anyone decipher what that word might be? I have attached an image of the box and a close-up of the area in question.</span></strong><o:p></o:p></span></b></p>
<p> <o:p></o:p></p>
<p align="center" style="text-align:center"><img width="371" height="281" style="width:3.8645in;height:2.927in" id="Picture_x0020_2" src="cid:image002.jpg@01D47807.EBD3D6A0" alt="http://afamilyatwar.com/25-Robert%27s%20School%20Box.jpg"><o:p></o:p></p>
<p align="center" style="text-align:center"><img width="371" height="281" style="width:3.8645in;height:2.927in" id="Picture_x0020_1" src="cid:image003.jpg@01D47807.EBD3D6A0" alt="http://afamilyatwar.com/25-Robert%27s%20Box%20close.jpg"><o:p></o:p></p>
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