NORTH AND SOUTH Book Two based on John Jakes's second volume LOVE AND WAR – produced by David L. Wolper again, with brilliant music score by composer Bill Conti and accurate script adaptation by Douglas Heyes. However, some important changes influence the episodes considerably. The cinematographer Steven Larner is replaced by Jacques R. Marquette. Two of the cast, Parker Stevenson and Mary Crosby replace John Stockwell and Wendy Fulton. Most importantly, however, director Richard T. Heffron is replaced by Kevin Connor whose direction style is noticeably different from the very beginning.
Nevertheless, these changes do not influence continuity seriously. The essence of LOVE AND WAR are the characters of NORTH AND SOUTH facing the historical period of the Civil War (1861-1965) that shook the American nation. Combination of fiction and history, literary source and historical facts is characteristic of the storyline.
Episode 1 opens in June 1861 at Washington D.C. with two notes that supply the storyline with the documentary element and capture the concept of war's politics:
"In the two months since the capture of Fort Sumter, Jefferson Davis has assembled the force of 22,000 Confederate soldiers at Manassas who are determined to fight for the South's independence..."
"Lincoln has amassed 40,000 volunteers who share his commitment to preserve the Union. Both sides anticipate a short war and a victory of their cause..."
Yes, 'friends' are doomed to act as 'enemies.' The link between the families is bound to be torn for the time being. Orry and Charles leave South Carolina as officers of the Confederate Army, the 'good-bye' at Mont Royal hardly recalls that day in June when young enthusiastic Orry Main was leaving for West Point; the recently married Brett Hazard (Genie Francis) with her personal servant Semiramis (Erica Gimpel) feel the anti-southern sentiments in the streets of Washington D.C. Both sides are commissioned and yet, there are different people who see the war differently: some see it as a chance to fight for honor, pride, a certain lifestyle, others see it as a moral and political duty, yet others see it as a means for their financial profit, including villainous Elkanah Bent (Philip Casnoff) who sees the war as a chance to smuggle prohibited luxury goods. With sophisticated support for his foxy plan comes Ashton as his aid and mistress.
Old characters are strangely changed, transformed in a way, new characters emerge and represent certain backgrounds that manifests the American situation of the time. The characters of slaves are more developed, more highlighted, more seen as 'people' rather than 'things' while historical characters constitute a backbone of the viewpoints and perspectives incorporated in the storyline. There is one thing common for all of them: no matter what side of the war they support, all hope that it is going to be a short war...
Apart from some undeniable flaws, including some less clever lines (George saying to his sister Virgilia: "You haven't changed") and some longueurs,' the following moments are worth attention in this episode:
In NORTH AND SOUTH Book Two, we encounter the slaves in a different way than in the first volume (with some little exceptions like that of Grady's) - they have more screen presence, they say more lines, they even express their feelings. The openness is expressed quite soon in the scene when Orry leaves Mont Royal Cuffy says: "Don't worry, I'll take care of everything." This interesting approach is influenced by the historical moment the storyline represents. This causes us to look at the South's situation from a twofold perspective: the victory of the South means ONLY the victory of the whites. Different feelings arise in slaves. "The indigestible lump of slavery" (Bruce Catton) will soon come to an end. This aspect will develop in consecutive episodes with such characters as Semiramis, Ezra, Cuffy, Washington.
Love and war rise together and within the madness of cannons and shooting, events leave a lasting trace in characters.
Nevertheless, these changes do not influence continuity seriously. The essence of LOVE AND WAR are the characters of NORTH AND SOUTH facing the historical period of the Civil War (1861-1965) that shook the American nation. Combination of fiction and history, literary source and historical facts is characteristic of the storyline.
Episode 1 opens in June 1861 at Washington D.C. with two notes that supply the storyline with the documentary element and capture the concept of war's politics:
"In the two months since the capture of Fort Sumter, Jefferson Davis has assembled the force of 22,000 Confederate soldiers at Manassas who are determined to fight for the South's independence..."
"Lincoln has amassed 40,000 volunteers who share his commitment to preserve the Union. Both sides anticipate a short war and a victory of their cause..."
Yes, 'friends' are doomed to act as 'enemies.' The link between the families is bound to be torn for the time being. Orry and Charles leave South Carolina as officers of the Confederate Army, the 'good-bye' at Mont Royal hardly recalls that day in June when young enthusiastic Orry Main was leaving for West Point; the recently married Brett Hazard (Genie Francis) with her personal servant Semiramis (Erica Gimpel) feel the anti-southern sentiments in the streets of Washington D.C. Both sides are commissioned and yet, there are different people who see the war differently: some see it as a chance to fight for honor, pride, a certain lifestyle, others see it as a moral and political duty, yet others see it as a means for their financial profit, including villainous Elkanah Bent (Philip Casnoff) who sees the war as a chance to smuggle prohibited luxury goods. With sophisticated support for his foxy plan comes Ashton as his aid and mistress.
Old characters are strangely changed, transformed in a way, new characters emerge and represent certain backgrounds that manifests the American situation of the time. The characters of slaves are more developed, more highlighted, more seen as 'people' rather than 'things' while historical characters constitute a backbone of the viewpoints and perspectives incorporated in the storyline. There is one thing common for all of them: no matter what side of the war they support, all hope that it is going to be a short war...
Apart from some undeniable flaws, including some less clever lines (George saying to his sister Virgilia: "You haven't changed") and some longueurs,' the following moments are worth attention in this episode:
- Orry's arrival at Richmond - the capital of the Confederacy in Virginia where he becomes a general and military aide to Confederate President Jefferson Davis (1808-1889) played by Lloyd Bridges. There is an interesting encounter with the "Marble Man" Robert Lee (1807-1970) played by William Schallert – a symbolic tactician and battlefield commander in the Civil War. Lee manifests the rather unionist views and motives that Orry Main may identify with;
- Billy Hazard joining Sharpshooters Camp near Washington D.C and getting to know a brave orphan boy Tom, who is granted a permission to become a drummer;
- the visually over-tragic barn fire set up by Justin who kidnaps Madeline and takes her back to Resolute;
- a nice contrast between patriotism and materialism executed in George vs. Stanley – two brothers of a totally different view of war (consider the scene of the luxurious party at Lehigh Station);
- Virgilia and Sam Greene at Washington D.C where she asks him a favor to make it easier for her to become a nurse. Her request meets one of the most 'fairy tale' lines found in the series: "You could ask for the moon and not even offer a kiss in return" Meanwhile, the scene is breathtaking visually;
- the finale with the first battle at Bull Run (which actually the southerners won). Apart from the panic of those who aimed at observing the soldiers, belles having a picnic versus the horror of the battlefield experienced by the soldiers, the quintessential words are said by Constance "The world has gone mad."
- Charles's encounter with Augusta Barclay (Kate Mc Neil), a belle from Virginia who smuggles drugs for the southern soldiers. Their chemistry is outstanding from the very beginning. What is more, at Augusta's house, another slave character, Washington, is being introduced. I would like to broaden this point a little bit.
In NORTH AND SOUTH Book Two, we encounter the slaves in a different way than in the first volume (with some little exceptions like that of Grady's) - they have more screen presence, they say more lines, they even express their feelings. The openness is expressed quite soon in the scene when Orry leaves Mont Royal Cuffy says: "Don't worry, I'll take care of everything." This interesting approach is influenced by the historical moment the storyline represents. This causes us to look at the South's situation from a twofold perspective: the victory of the South means ONLY the victory of the whites. Different feelings arise in slaves. "The indigestible lump of slavery" (Bruce Catton) will soon come to an end. This aspect will develop in consecutive episodes with such characters as Semiramis, Ezra, Cuffy, Washington.
Love and war rise together and within the madness of cannons and shooting, events leave a lasting trace in characters.
