TV Review - Howards End Episode 4 BBC1

The fourth and final episode of Howards End came full circle with the Schlegel sisters and the Wilcoxes as obnoxious as they were for me in the first episode. In the third episode it seemed as if Helen had developed some awareness of Leonard Bast as an equal rather than a charity case and a social experiment but this was not to endure.

It was also confusing in some parts in a similar way to episode one, especially regarding what happened between Helen and Leonard, so it seemed as if the BBC were relying on people having read the book before watching the series. Did they have a single encounter or had it continued? I couldn’t quite tell. Either way, she decided she ‘never wants to see him again’ because he would ‘keep worshipping her’.

Being a single mother at a time when it would ruin her reputation is preferable to her than being with Leonard, which can be seen as brave, but the way she has continued to treat him abusively by encouraging him to get close and then distancing him because she ultimately views him as inferior shows that she’s the same Helen who wanted to patronise and help him. Her offer of a cheque for £5,000, which he keeps returning, compounds that insult.

The writer, Kenneth Lonergan, did well to keep us wondering why she decided to go to Germany and avoid her family. I thought it was to avoid Margaret once Helen knew about Henry Wilcox’s affair, as it would be hard to lie to her sister after a lifetime of honesty. Helen doesn’t know that Henry has told Margaret and she has forgiven him. The obvious reason – to hide a pregnancy – doesn’t occur to us.

When it comes to Henry being as accepting about a heavily pregnant and unmarried Helen the hypocrisy and double standards of the time for men and women become clear. He doesn’t even want Helen to spend the night in Howards End, where all the Schlegel furniture is being stored. As the housekeeper sets out the furniture and books, Howards End continues to play a main role in the story, establishing itself even more as the permanent home the sisters crave.

The switch from our focus on Henry’s affair to Helen’s unmarried sexual encounter is effective as we see very different reactions to the people involved. Helen is expected to marry, the man is considered a seducer and the active partner, with the woman as a victim but an embarrassment to be shuffled out of the way. If the man can’t marry her he should be thrashed.

Leonard would no doubt marry Helen and is looking for her, finally travelling to Howards End after getting some news from her brother Tibby. It’s clear that he will never be accepted by the Schlegels or the Wilcoxes as a possible husband because of his class, although Tibby has begun to admire him for returning such large cheques and not giving in to the temptation of money despite his poverty.

I haven’t read the novel, but the damage done to Leonard by the Schlegel sisters’ books and bookshelves makes me think EM Forster intended us to see him as the victim of their culture and philanthropy as much as he’s a victim of the class system and wealthy materialists like the Wilcoxes. The Schlegels want the same things as the Wilcoxes in the end – their comfortable house and the company of people from their own class.

At the end we see Helen and Margaret blissfully happy and Leonard is completely forgotten as they live their idyllic life. Helen tells Margaret that she now likes Henry, and Margaret suggests that it would be impossible for anyone to dislike him. Henry has been broken by the legal punishment of his son, rather than the horrific act he has committed, and the fact that he can’t manage to get him out of trouble by pulling all the strings he can. Even when Margaret hears that her husband hid from her the fact that she inherited Howards End from his late wife she is unperturbed. He asks if he did wrong and she replies that nobody has done anything wrong.

They have all done wrong and the victim at every stage has been Leonard Bast along with Jackie. Their lives would have been much better if Leonard had never met the Schlegels but the damage done to them is wiped aside and forgotten as Helen, Margaret and Henry walk out into the sunny meadow with Helen’s child. They deserve each other and Leonard deserved much better. He will stay in my mind and I must read the novel now to see if it comes across in the same way or if the TV series made significant changes to the plot and themes.

It’s not easy to get a strong reaction from viewers and Howards End managed to annoy me many times and to create some difficult viewing in the worst moments for Leonard, all done in casual ignorance by the philanthropic Helen, her family and their friends. If you haven’t seen it, I highly recommend catching it on BBC iPlayer.

TV Review – Howards End Episode 3 BBC1

Condensing Howards End into four episodes must have been a challenge for the writer (Kenneth Lonergan), but as we reached the penultimate episode it was all coming together nicely. He has all his plates spinning and he’s keeping them balanced, just as a novelist would be in the large central section of a book. The idea was to concentrate on the Schlegel sisters and the men in their lives and this does allow a wider look at other main themes.

The opening scene was a bit stagey and heavy-handed in showing Margaret Schlegel displaying her interest in the latest car being driven by the Wilcox chauffeur. It served to indicate her feminism, contrasting with the older Wilcox and his old-fashioned view of the roles of men and women, but there is little to reinforce the idea of Margaret as a New Woman apart from this and her decision to take the initiative in giving a passionate kiss later. I am left with the feeling that the Margaret in the novel might be more complex, interesting and likeable than the one in this series.

After the initial car scene the acting and dialogue became more believable, with a convincing marriage proposal that takes place without either person saying it explicitly and both cutting the other’s sentences short and saying they understood. Wilcox became more likeable than before in his modest expectation of rejection and offer to help with housing nonetheless. Margaret’s motives are hard to fathom, especially when she makes it clear to Wilcox that she agrees he should pass his money to his sons and daughters.

It’s hard to see what has drawn her to him and it seems like a genuine attraction, even if his attempt at a kiss is initially looks unwelcome. The Margaret who worried about her sister Helen being led on and abandoned by Wilcox’s son in the first episode, seemingly at his father’s request, has vanished. She has no time for Helen’s objections even if we are suddenly reminded by Helen’s own memories that Wilcox is the stuffy and cold authoritarian who hid behind his newspaper to make her feel unwelcome in his home.

Wilcox had been winning us over with his humble proposal in this episode and his willingness to ‘enjoy’ a meal at the protein café at Margaret’s invitation, despite others saying the reformed food is vile. However, we soon see his other side when he just expects Margaret to do as he says. He is inconsiderate about her Aunt Juley’s need of her company on a seaside break and takes her away, speaking over her objections. He also tells her which of his houses she will live in with him without consulting her, only letting her know when she asks.

Margaret’s first view of the empty Howards End is a striking moment. It’s almost derelict without the family there and she seems to fall in love, which many viewers will understand and identify with. In this episode we discover that Howards End is not the only or the main property Wilcox owns and he doesn’t want to live in it. This makes it unacceptable that he ignored his wife’s dying wish to leave it to Margaret (I would still have liked to see more of their short but deep friendship).

Worst of all he has no conscience when he hears his advice has led to Leonard Bast giving up a safe job as a bank clerk and taking on a lower paid job. He doesn’t even remember Bast or that he said the bank was going to have serious financial difficulty. The bank is in no trouble at all, but Bast’s new employer lays him off, leaving him struggling with serious poverty and his live-in partner Jackie ill and malnourished. When he is unwilling to ask the Schlegel sisters for charity, Jackie calls on Margaret to ask for help.

Helen’s response is as immature and tactless as her behaviour in earlier episodes, making us cringe as she drags Bast and Jackie on a train to confront Wilcox at his daughter’s wedding to insist he takes responsibility for his incorrect advice. When Margaret sees them at the wedding marquee she seems to have turned into an echo of Wilcox, shocking Helen by insisting they should leave. However, she offers to speak to Wilcox in a more conventional way to ask him to find Bast a new job.

Wilcox comes good with an offer to please Margaret, even though he believes Bast’s problems are all of his own making. The bringing together of Bast, Jackie and Wilcox leads to a revelation about Wilcox’s past and I’ll be interested to see in the final episode if Margaret will accept it with so-called Bloomsbury open-mindedness about polyamory or if it’s just a new way of turning a blind eye to the patriarchal behaviour of men like Wilcox.

Bast remains the most interesting character to me, and the subtlety of Joseph Quinn’s acting works superbly in this role. So much has to be suggested by looks, body language and few words: his despair at his poverty and loss of work; his feeling of failure at not looking after Jackie; his humiliation at being pressurised to ask for charity and his polite way of understating it in his letter so that Margaret would have to be an expert at reading between the lines to know how much trouble he’s in. The moment he sees Margaret in his home we feel the shock and humiliation with him and we cringe with him on the train he would certainly never have got onto with Helen without Jackie going along with the plan.

When Margaret asks him to leave and says Helen has misled him in expecting Wilcox to help, Bast is only too eager to apologise and go, but Margaret is charitable enough to put him up in a local hotel where Jackie soon falls asleep and he’s left alone with Helen. This moment feels as if it has been inevitable since his first awareness of her sitting beside him at the classical music concert. Helen finally listens to him, rather than treating him to her philanthropy. In few words he tells of his working class family cutting him off because of his relationship and we find out the back story that has left him in his trapped situation. But he does care for Jackie and when Helen says they can’t have anything in common it’s a poignant moment when he answers, ‘We have companionship in common.’ His acceptance of Jackie with her past, and his greater compassion for her because of it, marks him out as the most appealing and ethical character.

Despite her immature behaviour and tactlessness, Helen has also become more likeable because her motives are laudable. She has also started to see Bast as an equal. It’s a significant moment and Joseph Quinn somehow charges the atmosphere with a type of charisma I admire and don’t quite understand in an actor. How exactly does he do it with so few words and restrained body language? When he crosses the room to help Helen close the window, standing close and reaching across her to do it, there’s more erotic tension than in an explicit scene. He has quickly established himself as an actor I would watch a television series to see.

All three first episodes are on BBC iPlayer for a while and they’re well worth seeing, and the fourth will join them after it’s aired this evening.

TV Review – Howards End Episode 2 BBC1

After my mixed feelings about the first episode of Howards End, I watched the second episode in the hope it would be less of a curate’s egg and it was. There was only one scene with grown women acting like ‘girls being silly’ – the moment when Leonard Bast arrived at the door and they almost accosted him on the doorstep, both talking over each other in their enthusiasm to get him indoors. There were also fewer scenes with women rushing after people – only one this week as Helen chased after Leonard making a hasty escape from their patronising treatment of him in their drawing room once he gave in and accepted their invitation to tea.

The series is made worthwhile for me by the story of Leonard Bast, by far the most interesting character. Joseph Quinn is a superb actor in the role and completely believable against the sometimes melodramatic lines and acting by the Schlegel sisters. They can also be credible but they slip into odd moments when they become ‘silly girls’, which is disappointing in a story that’s looking at feminism.

In this episode we found out more about Bast and the reasons why his face shows all the woes of the world, mixed with some kind of hope – we wonder what it is he most wants. His life as a clerk is mind-numbingly dreary and he drags his feet home after work to a small flat in a basement, reached by walking along a grimy alley with views onto other basement flats with dirty net curtains. Unlike the Schlegels he has no servants and gets the cooking on, while Mrs Bast arrives home to ask him when she can stop pretending she’s his wife. It’s a scene we can tell has been repeated many times, and he promises he will marry here once he’s 21 as his word is his honour. So much is conveyed by this – his young age and the sense that he’s trapped in a life he hates.

When he visits the Schegel household his greatest desire is to talk about books but the sisters see him as a social project and they want to help him in other ways. His attempts at conversation about literature are rebuffed, and he himself feels rebuffed when Mr Wilcox turns up for a visit with his daughter. Bast feels himself out of his class and unwanted as a conversationalist about the arts. The scene when he leaves is moving, giving him the chance to tell Helen exactly how he feels while the maid tries to find his hat. He knows very well that they see him as a ‘charity case’ and a ‘comedy figure’ and that they have no interest in talking to him about books. As Helen tries to deny this the maid finds his hat and he takes it, swiftly moving his hand to grip it by a particularly threadbare part of the brim. Helen notices and he notices her noticing. It’s understated and all the more poignant for that.

Helen’s casual rudeness to her maid also shows her lack of self-awareness, wanting to help one person from a lower class while mistreating another. Quinn shows by his look towards the maid that he has seen Helen’s class superiority, and she is left on her own to consider these things in the light of his comments. Meanwhile, Mr Wilcox and his daughter are advising Margaret not to mix with people like Bast as ‘they will only take advantage’. If Wilcox sounds like the bad guy in this, the truth is that the Schlegels don’t come off well either. They insist Bast isn’t a ‘social experiment’ and that they invite him because they like him, but Wilcox is quite right that they make assumptions about Bast’s life being ‘grey’ and what he needs from them. They never ask him about his life or notice what it is he really wants from them.

I hoped the Schlegel brother Tibby might befriend Bast and give him the conversation he desires, but when he comes out at the sound of Bast saying they don’t like any of the authors he does and ‘what about Dostoevsky’, Tibby says that nobody likes Dostoevsky. He doesn’t recognise Bast at first then realises who he is and calls him his sisters’ social experiment and quotes what they say about him behind his back when talking to their social peers. Bast’s humiliation as a charity case and a curiosity is complete.

Tibby had some sympathy from me last week as his constant illness and fragility could be a serious condition and not the hypochondria some reviewers suspect. But this week he came across as a spoilt brat, not sure if he’s going to go back to Oxford. When the sisters insist that he must go back to university to get a job, he replies that he should be able to live off his inheritance as they do and why should it be different for him. Margaret replies that he’s a man so he must have a work ethic as it’s in the natural order. Another poor moment for their feminist credentials.

The scene also shows that they may be in poorer circumstances than the Wilcoxes, but the Schlegels come from a wealthy background – ‘old money’ you could say, although they are also looked down on for their German origins by the Wilcox son and daughter, who represent British society. Margaret showed that she doesn’t quite fit in by taking a bunch of red chrysanthemums to the funeral of Mrs Wilcox, completely the wrong colour among the white flowers from everybody else.

Despite this, the Schlegels are in straitened circumstances but on a par with the late Mrs Wilcox, who was the epitome of high class, inherited money, and no need to prove herself by her actions (I’m describing the stereotype rather than my view of class and wonder how she comes across in the novel). Mr Wilcox, on the other hand, seems to have married into money, as Howards End was owned by his late wife. He’s an industrialist who has made money – ‘new money’ – unlike the Schlegels who live on private incomes they have had passed down to them. The study of the class system is well observed and a theme that’s unfolding well. Bast brings into this the question of the arts being the preserve of the wealthy from which the lower middle class and the working class are excluded.

It was a surprise to find Mrs Wilcox had died between the two first episodes and a whole friendship between her and Margaret has been missed out. It’s an important friendship as it led to Mrs Wilcox deciding to leave Howards End to Margaret, knowing the lease on her family house is running out. The Schlegels have no idea about this so the Wilcoxes burn the scrap of paper with the improvised will. The Wilcox son and daughter are annoyingly self-centred, greedy and snobbish, and disliking them is pleasure.

Mr Wilcox is more of a mixture, convincingly articulate about the importance of industry and engineering, which the Schlegel sisters feel ‘lacks poetry’. He asks ‘why not?’ and he has a point. His criticism of their hypocrisy over treating Bast as a charity case also hits home as an unwelcome truth. He can also be kind, pretending to enjoy his ‘reformed food’ at the protein café Margaret takes him to – a place I would love to be able to visit!

Margaret quite clearly feels drawn to him and her responses to Helen’s taunts about marrying him show that she’d consider it. After the close friendship with his late wife, who we’ve just seen buried, this does seem rather opportunistic. Talk about jumping into somebody’s grave…

There’s more than enough to keep me watching – in fact I’d watch just to find out more about Bast’s back story and how he has ended up in a relationship and job that are destroying him. Will he find the company he needs so he can share his love of the arts, or will he continue to sit on his own at music concerts and read books by his fireside, keeping his thoughts to himself? Better still, will the Schlegel sisters give him some authentic conversation as an equal, rather than continuing their constant dissection of people, as Helen describes it – just another way to say ‘gossiping’?

If, unlike me, you’ve read the novel you’ll know this answers to my questions and far more, but the TV series will follow its own track. The selection of scenes to condense it into screenplay makes that inevitable. I believe the Schlegel sisters will become more self-aware and will start mixing empathy with philanthropy. HG Wells often wrote about the Schlegel sisters kind of philanthropist – the type who helped the poor by doing what they felt was best for them without giving them the choice. How he hated them. I haven’t read the novel and don’t know if it stirs up such strong reactions in readers, but the television series certainly does.