Published via Ecency

(source: tmdb.org)

History showed great sense of irony to the Yugoslav television audience in late 1980s. One of the most popular and the most talked about television programmes was American miniseries dealing with the historical event strikingly similar to the one that was going to occur in Yugoslavia in the near future. Some of those similarities were even recognised by producers of Radio Television Belgrade resulting in what was about to be harmless (but in light of future events rather tasteless) spoof featuring Mira Furlan. The miniseries in question was North and South, which is considered to be the most spectacular depiction of American Civil War in the history of US television.

The miniseries is actually two miniseries, aired separately in USA in 1985 and 1986, but aired as single miniseries in many other countries, including Yugoslavia. It is based on the first two novels of North and South trilogy by John Jakes - North and South (adapated as North and South: Book One and directed by Richard T. Heffron) and Love and War (adapated as North and South: Book Two and directed by Kevin Connor). The plot begins in 1842 when Orry Main (played by Patrick Swayze), son of South Carolina rice plantation owner, goes to West Point military academy where he meets George Hazard (played by James Read), son of wealthy Pennsylvania steel factory owner. Despite different backgrounds, two of them become close friends and maintain their friendship after graduation, when they fight together in Mexican-American War. In the ensuing years, two men appear to have different fortunes when it comes to love – George is in happy marriage with Irish girl Constance Flynn (played by Wendy Kilbourne), while Orry suffers because the love of his life Madeline Fabray (played by Lesley-Anne Downe) was forced into unhappy marriage with abusive plantation owner. Two families nevertheless maintain contact, George and Orry start successful business partnership while George’s brother Billy (played by John Stockwell in Book One and Parker Stevenson in Book Two) marries Orry’s sister Brett (played by Genie Francis). But the relationship between Mains and Hazards becomes strained over the increasing political polarisation between Northern and Southern states over the issue of slavery, an institution that infuriates George’s radical abolitionist sister Virgilia (played by Kirstie Alley). Things aren’t better with intrigues by Orry’s evil sister Ashton (played by Terri Garber) and even more evil schemes by Elkanah Bent (played by Philip Casnoff), who used to be George’s and Orry’s nemesis at West Point. The biggest challenge for Mains and Hazards, however, comes in 1861 when the war erupts and both friends become generals, only this time having to fight on the opposing sides.

North and South was made in time when US networks considered miniseries to be the best format for its most ambitious and prestigious projects. The epic saga covering nearly quarter of century and featuring dozens of characters, including some well-known historical figures like Lincoln, Jefferson Davis, Grant or Lee, is exactly one such project. Like the “larger than life” Hollywood epics of 1950s and 1960s, it had a large budget (many of it spent on meticulously recreated period costmes) and, especially in Book Two featured depictions of some of the most famous battles of the war, reconstructed with the help of thousands of extras, many of them experienced historic re-enactors. Grandiosity of the project was helped with the presence of many Classic Hollywood legends, like Olivia De Havilland, James Stewart and Elizabeth Taylor, that appear in small roles, as well as bombastic and memorable music score by Bill Conti.

The most important element of the success of this miniseries was its authenticity and measured approach towards the issues that ultimately had led to the war. Nearly half century earlier Hollywood in Gone with the Wind, its best known Civil War film, represented those events mostly from Southern perspective based on Lost Cause myths. If such project was made today, it would almost certainly present Civil War exclusively from the perspective of black slaves. North and South, however, allows the audience to see both Southern and Northern perspective, although it very clearly shows that the slavery was wrong and that it had to be abolished one way or another. The script does so by two protagonists that represents those views as moderates. Orry is, on the surface, embodiment of typical Southern gentleman who genuinely believes that slaves on his plantation enjoy better life than workers in George’s factory, but he is actually opposed to secession and, like many Southerners who had those views, very reluctantly choses his state over Union. George is much more openly opposed to slavery, but, unlike his sister, prefers to have it abolished gradually and peacefully, quite aware that radicalism on one side would feed radicalism on the other, thus making any sensible compromise impossible and bloody conflict inevitable.

Although it features mostly fictional characters, North and South is rather faithful depiction of actual history and those who watch the series might get brief but good view of what went on and during the biggest bloodbath in American history. Unfortunately, like many such epics, serious issues and grand history is at times burdened with too much melodrama and soap opera cliches on the brink of self-parody. One of such examples are the villains like Ashton whose depravity at times looks as an attempt to match Alexis Carrington, Joan Collins’ iconic villainess from 1980s Dynasty), while Elkanah Bent with his megalomania looks like a Bond villain whose schemes try to overshadow actual war. On the other hand, such characters are played by very capable actors, just as protagonists. For Swayze the role of Orry Main and subsequent global popularity was an important step towards true Hollywood stardom he would soon reach thanks to Dirty Dancing. James Reed (who married his on-screen wife Wendy Kilbourne in real life) is also very good. Although not exactly within lofty standards of today’s Golden Age of Television, North and South is very good miniseries (and much better than uninspired 1994 sequel Heaven and Hell) that could be enjoyed, even by Americans, who, just like citizens of certain former countries three decades ago, might see increasing relevancy of its content to contemporary political trends.

RATING: 7/10 (++)