Truly Dreadful Film

People are voting emotionally.

Am i the only one who thinks........Average?

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Everything changes and every day in every way, one may be getting better. This maxim of auto-suggestion said by Fleur (Susan Hampshire) in 'No Retreat' (19) may also apply to the test of time that only few are lucky to stand, including the products of a new medium that television was in the 1960s. One example, however, that barely changes in impact is this formidable, classic, cult TV series.Ms Hampshire in the extended 1991 interview with Richard Amphlett (the Alexandra Theatre, Birmingham) referred to THE FORSYTE SAGA as an unchanging phenomenon, a 'definite costume drama.' Labeled as 'crescendo of publicity and popularity' and seen as 'national obsession' (Cliff Michelmore) at the time of its airing on BBC, the 26 episode - series may still be regarded as soap opera but...its truly formidable unit which, in passing time, brings about even greater awe and respect. Based on Galsworthy's three trilogies (THE FORSYTE SAGA, A MODERN COMEDY, END OF THE CHAPTER), it not only fanned enthusiasm towards the literary work (raising sales' number to a million of copies worldwide) but also became one of the most cherished soap operas. Even in the Soviet Union and Poland, life stopped with its episodes being showed.Watching them almost half a century later is still a supreme entertainment. Exceptional camera-work by Tony Leggo, memorable designs by Spencer Chapman, ear-catchy music by Eric Coates and a variety of costumes by Joan Elcott predominate as pleasing to the eye and ear. Although the series is black and white and considerably stagy, everything is atmospheric and contributes to the feeling of nostalgia for the times depicted herein. Yet, what truly emerges as unforgettable are artistic personalities, warm hearts, recognizable brains, legal minds... so to say, completely memorable characters. From 'A Family Festival' (1) to 'Swan Song' (26), one can be stunned by this great variety of people that prompt viewers to feel what they feel, identify with their worlds. The eldest Aunt Ann with her elegance among a group of other 'Victorian ladies' meeting at tea; Helene Hilmer singing her love song despite conventions; Winifred described by the actress Margaret Tyzack as 'forward looking and liberal;" Phil Bossiney, the architect of 'simplicity and regularity;' Marjorie, an exception from the Forsyte chronicle, a 'nuisance' who pushes the limits of moral acceptability, and many many others inside or outside the family cannot leave viewers indifferent. The director(s) prove to have 'put actors on screen in best advantage' (David Giles). Developing the theme in a more in depth manner occurs impossible due to word limit. For that matter, reviews on single episodes will occur necessary. In this general review, I will highlight only the few most eminent character starting with Jo, surely no 'true Forsyte', as he says 'a bit of a mongrel' a prodigal son at moments, compared to Prince Rudolf of Austria by Sir Gerald Nabarro, excluded from the established order society but the one who calls our attention and sympathy from the very beginning.Played warmly by KENNETH MORE, Jolyon is a "thoroughly understandable, broad minded man" (Kenneth More in a 1967 interview). The part where Jo actually turns up creates a unique atmosphere of an exception from the rule of legal background, the rules within a sense of property that so powerfully defines this family. Mr More admitted that there was no 'struggle' to find the character because it simply developed itself as a 'decent, open, loving' observer and the one who lives his life fully. We feel at ease watching him.The intense contrast to Jo is the protagonist, the 'man of property,' Jo's cousin Soames Forsyte played with insightful psychology and powerful penetration by ERIC PORTER. His performance alone makes the series worth watching, never to be copied, never to be repeated, the artistic achievement stands in itself as towering. Eric Porter appears most to depict the fact that 'the close knitness in the family came over into private life." He sets his mind and heart on the role. As Donald Wilson, the producer observes, his character brings about a true study. As the story gets more concentrated in later episodes, Mr Porter delivers sheer brilliance contrasting and connecting the 'old man' with the 'young man.' His legal mind for whom a contract is a contract seems to be at war with most of the characters that come and go, especially women. Here, viewers still take sides...Soames or Irene, his first wife?Her musicality and the sense of art contradict with his skepticism and the sense of property. Neither is good or bad, but simply people who can not get on well with each other. Portrayed by NYREE DAWN PORTER, Irene is 'a beauty to be possessed,' a woman who does not change, described by Galsworthy as "born to be loved and love." As Ms Porter admits, she is seen through the eyes of other people. Selfish, confident, loving? SUSAN HAMPSHIRE as Fleur, Soames' only daughter, reveals something different. Richard Amphlett rightly observes: "there is little superficiality about her pragmatic and asture demeanor, and an intuitive intelligence in her mode of thinking." A woman with a passion to know, a passion to have; her feelings correspond to people she meets, a sort of 'mirror of her father' in the quest for possessive temptations and a woman who stands on her own in her quest for emancipation. The rapport (or its lack) with Michael Mont, her husband, is interesting in the context of changing times.In order to get overwhelmed by the entire series, one needs to discover the wonderful entertainment supplied by each scene so well measured, each single person who appears on the screen and provides us with memorable feelings. One needs single episodes and their great continuity.THE FORSYTE SAGA is sheer pleasure to watch for all those who can appreciate an ambitious story and can grasp true brilliance of British performances. Tastes change but genuine work remains.

This classic mini-series looks as good today as it did when it first premiered in 1967. I rate it a 10 out of 10 because of (1)cogent, witty scripts that follow Galsworthy's original storyline and (2) the fine acting and perfect casting choices that were made. The Forsytes are depicted as a rich, bourgeois English family from the late 1800's to 1926. They have a hereditary tenacity that, in the end, both makes and breaks them. Epitome of the family ideal is Soames, "the man of property," who treats his beautiful wife Irene as a possession. Irene, however, hates him and pines to be free of the cage that is her marriage. Ultimately this mismatched pair divorce, but not before their rupture has split the Forsytes right down the middle in a multi-generational family feud. And then, 20 years later, Soames' daughter Fleur and Irene's son Jon meet and fall in love---with tragic consequences. Fleur, a true Forsyte, is stubborn and tenacious in her obsession with Jon, even after he and she have married other people. And ironically, in the end Soames will be redeemed by his unselfish devotion to the daughter that is, at heart, so much like himself...What more can I say about this series? It's a masterpiece. Eric Porter, as Soames, brings this complex character to life and despite Soames's essentially un-lovable nature, makes him both pitiable and endearing. Irene, portrayed by Nyree Dawn Porter, is beautiful but remote as in the books. Nyree does a good job with Irene, certainly not an easy role to play, and viewers may well be conflicted as to which side to take in the ongoing Soames vs.Irene Conflict. (Myself, I rooted for poor Soames all the way!) Susan Hampshire, then a very young actress, is a sensation as Fleur, the spoiled little Daddy's girl. And Nicholas Pennell is also wonderful as Michael Mont, her long-suffering husband.I would recommend this version of The Forsyte Saga to anyone who hasn't seen it. It's far, far superior to the recent Masterpiece Theater remake, which falls woefully short. The modern remake is plagued with miscast actors, bad scripts and a general disrespect for the books on which it's supposed to be based. The remake tries to change, i.e. rewrite much of what John Galsworthy, a Nobel Prize-winning author, scripted! Bad idea. Whereas the 1967 mini-series hits a home run by faithfully following Galsworthy's original, brilliantly plotted storyline. This earlier version is a real winner and is still remembered fondly after 44 years!

I totally agree with all the previous viewers who lauded this original television masterpiece which gave birth to the many great mini-series that followed. The recent 2002 color version pales in comparison. How can anyone even attempt to replicate the brilliant performances of Eric Porter, Nyree Dawn Porter, Kenneth More and Margaret Tyzack in the original. Eric Porter well earned his Best Actor BAFTA award as Soames Forsyte and I found Damien Lewis' red haired, smirking Soames portrayal in the recent version irritating. What can you say about the enduring beauty, radiance and performance of Nyree Dawn Porter as everyone's Irene. I felt sorry for poor Gina McKee trying to even attempt to equal the original and quintessential Irene. The two unrelated Porters will always be remembered as Soames and Irene. My only quarrel, a minor one, is the strange disappearance of two rather important characters. Annette, Soames second wife, who is never seen in the final episodes, either at her daughter Fleur's wedding or at the birth of her grandchild. The grandson Kit, is never seen after his birth. He was often mentioned but never seen. I urge everyone who have only seen the 2002 version to look in on the original. The DVD contains many excellent special features including critical debate (Soames vs Irene), cast comments and public reaction.

I was absolutely delighted to have an opportunity recently to see the original `Forsyte Saga' on the ‘Ovation' channel on cable TV in Australia.Forget the recent remake and after about ten minutes you'll certainly forget that this is thirty-odd years old and made in black and white. Maybe its high-class soap opera but even so its all class.Truly a saga spanning four or five generations, the story is dominated by Eric Porter's Soames, the cold venal rapist who eventually commands our grudging respect and the truly beautiful Irene played by Nyree Dawn Porter, Soames' victim who later finds love. And then there's Susan Hampshire's pretty but totally selfish Fleur, drawing you eye whenever she's on-screen. Incidentally, Nicholas Pennell plays Fleur's husband as if he was Wilfred Hyde-White in My Fair Lady! There are many other major characters, all well portrayed and you'll really care what happens to them.Even the make-up of the two Porters is worth a word of praise as they age convincingly.A minor criticism I could make is the rather eccentric recording of the sound. The dialogue level soars and drops as if the microphones were concealed in flowerpots like the early talkies. Doors slam loudly and there are unidentified knocks and bangs in the background.See this masterpiece of television if you can, I don't think it has been bettered.