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November 5, 2006: To the Ends of the Earth, Part 3
What an incredible conclusion to an astonishing story. Edmund Talbot’s complete evolution from snarky, coldhearted brat to loyal, fiercely compassionate populist has been warming — and great fun — to watch.
What a wonderful friend he’s become, and to such a broad and fascinating collection of people. All his friends on the Pandora had a chance at 15 minutes of heroism in this last installment of William Golding’s sea trilogy. Summers, of course, was a model of honorable and brave human behavior, even going so far as to go down with his ship (in an amazing fire-and-explosion scene, punctuated by three seconds of solid white screen and eerie silence). He’s a working-class hero even John Lennon would have loved. Mr. and Mrs. Prettiman went from self-satisfied social lecturing (or “educationist” — what is that?) and imperious maternal martyr to a showing of fierce emotional intelligence, kindhearted loyalty and self-sacrificing caretaking. Even Captain Anderson revealed a good side — his steely professional confidence during the glacier scenes were, well, chilling.
The ice scenes were my favorite, by the way — the terrifying creaking of the boat; the dark, Dickensian palate; the beautiful, painted-on sea of ice and its mirrored reflection in the sky of thick clouds. These scenes were better than in the book, I dare say.
But of course Talbot becomes the biggest hero of all. His amazing moral transformation shows a belief in the good side of human nature that’s pretty surprising considering its author. The depth of the effect this boat journey had on him seems to surprise even Talbot himself — and once safely on his estate in Australia he seems completely obsessed by memories of it. (Considering Talbot’s unflinching desire for Marion, after only a single day spent with her, he seems to have a rather obsessive nature, no?) By the end, his days are spent living in the past, although I don’t agree with Mrs. Prettiman: the happenings and characters aboard the Pandora were not simply “a series of events”; they did indeed become a metaphor for the human condition. Of course they did, silly!
And of course at the end Edmund and Marion are reunited — in a ridiculously brief scene, but I guess I’ll take it — and William Golding actually gives us a Hollywood happy ending. Considering the intense love that existed between these two characters, I say: There’s nothin’ wrong with that!
Next week’s Masterpiece Theatre isn’t theater at all – it’s Prime Suspect: The Final Act. If you’ve never caught Helen Mirren in her breakthrough role as investigator Jane Tennison, now’s your chance before everyone’s favorite lady bulldog retires. She might not be theater, but she’s a masterpiece.
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Nov 6, 2006 8:12 AM
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I too agree that this last installment was the best of this trilogy.
I wish that Summers had not gone down with the ship. He was my favorite character by far. I mean he was just made captain, he did have that look of satisfaction on his face that he was right, fire down below.
Edmund's finniest hour, going after Summers to try and help him. When he jumped in the row boat, he was determined to help his friend. It's like his scars from the fire, are a reminder of his loyalty and bravery.
Dodging the ice was also my favorite part. I think it played so well on screen, it really was nerve wrecking.
The ending was unbelievable, I just couldn't buy that love for Marion. I thought the ending was rushed, and low and behold there she is. But, after all that, it had to have somewhat of a happy ending.
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Nov 6, 2006 11:33 AM
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That was a great episode. I had a little trouble figuring out the dialog sometimes, but managed to get the gist of it. I agree that the iceberg scene was thrilling; it kind of taps into a primal fear - the darkness, the bottomless ocean, and an immovable object looming. Can't get any creepier than that. Seeing this trilogy makes me want to read the books, because I'm sure the written characters have a lot more depth, although I have no complaints with the film versions.
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Nov 7, 2006 10:38 AM
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