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Have you ever encountered a TV series which, from the first episode on, became an irreplaceable allotment of your identity, titillating you in ways impossible to recount but felt profoundly? FLAMBARDS was that resplendent a series. Status in the years surrounding the First World War, the legend depicts how Christina, a young orphan sent to live with her cousins and uncle at a decaying country estate, Flambards, comes of age amid the conflicts, passions, loyalties, and tragedies which follow from her fresh life. Her uncle Russell, wheelchair-bound for life due to a fox-hunting accident, compounds his pains through heavy drinking by the fireplace, and takes his sole pleasure in life from the vicarious adventures in the hunting field which his rugged son Imprint shares with him. They are callous to their servants, and cannot understand anyone who does not section their absorption in the world of hunting, hounds, and endless leisure. Mark’s brother William could not be more different. Gentle, sympathetic to the servants and the spot of their class, and passionately devoted to the make, building and flying of planes, he too is injured while keen in the one sport he hates – fox-hunting – and must now dart with a limp. Christina, in her leisurely teens like William, prefers his gentle company, yet thrills to the excitement of the fox-hunt. And she soon learns that her mountainous inheritance, due when she is twenty-one, has been earmarked for the restoration of Flambards – and that she is to marry Heed, who, among other brutalities, has provoked the firing of Violet, the kitchen maid, after making her pregnant! The rest of the series portrays the growing attraction of Christina and William, their hasten from Flambards into the world of the early aviators, and the disruptions in their novel life resulting from the memoir slaughter of the First World War. Everything in this series is unbiased right: the casting of Christine McKenna and Alan Parna by as Christina and William, the stirring footage of restored early airplanes in blooming flight (state to the haunting background music of David Fanshawe, itself worth the eleven-and-a-half hours you’ll use loving this series), the tenderness of the scenes where William and Christina recognize their adore for each other, the portrayal of a bygone age of English social life serve form FLAMBARDS a series with something for everybody. But what lifts this series into the realm of the incredible for me is its unaffected embodiment of human goodness and innocence, of nobility and the dauntless, and of how these qualities can depart us mild, in a time when we need them more than ever. I’ve seen dozens of TV shows since I first caught episode 6, “Icy Light of Day,” on PBS during a collegiate summer vacation almost twenty years ago. None have found their procedure as terminate to my heart as FLAMBARDS. I hope you agree. And I wish you the very best. END
Have you ever encountered a TV series which, from the first episode on, became an irreplaceable portion of your identity, titillating you in ways impossible to recount but felt profoundly? FLAMBARDS was that comely a series. Place in the years surrounding the First World War, the record depicts how Christina, a young orphan sent to live with her cousins and uncle at a decaying country estate, Flambards, comes of age amid the conflicts, passions, loyalties and tragedies which follow from her recent life. Her uncle Russell, wheelchair-bound for life due to a fox-hunting accident, compounds his anxiety through heavy drinking by the fireplace, and takes his sole pleasure in life from the vicarious adventures in the hunting field which his rugged son Note shares with him. They are callous to their servants, and cannot understand anyone who does not fraction their absorption in the world of hunting, hounds, and endless leisure. Mark’s brother William could not be more different. Gentle, sympathetic to the servants and the jam of their class, and passionately devoted to the effect, building and flying of planes, he too is injured while spirited in the one sport he hates – fox-hunting – and must now dart with a limp. Christina, in her slack teens like William, prefers his gentle company yet thrills to the excitement of the fox-hunt. And she soon learns that her titanic inheritance, due when she is twenty-one, has been earmarked for the restoration of Flambards – and that she is to marry Stamp, who, among other brutalities, has provoked the firing of Violet, the kitchen maid, after making her pregnant! The rest of the series portrays the growing attraction of Christina and William, their run from Flambards into the world of the early aviators, and the disruptions in their recent life resulting from the legend slaughter of the First World War. Everything in this series is honest right: the casting of Christine McKenna and Alan Parnaby as Christina and William, the stirring footage of restored early airplanes in sparkling flight (status to the haunting background music of David Fanshawe, itself worth the eleven-and-a-half hours you’ll exercise loving this series), the tenderness of the scenes where William and Christina recognize their fancy for each other, the portrayal of a bygone age of English social life attend get FLAMBARDS a series with something for everybody. But what lifts this series into the realm of the unbelievable for me is its unaffected embodiment of human goodness and innocence, of nobility and the brave, and of how these qualities can disappear us unruffled, in a time when we need them more than ever. I’ve seen dozens of TV shows since I first caught Episode 6, “Wintry Light of Day,” on PBS during a collegiate summer vacation almost twenty years ago. None have found their plot as cessation to my heart as FLAMBARDS. I hope you agree. And I wish you the very best. Raze
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