The Shadow of the Tower (1972) s01e07 – A Fly in the Ointment

“In the Shadow of the Tower” has been getting really good, but it hasn’t done anything like A Fly in the Ointment in the ointment before. When I grokked the format—different directors, different writers, maybe not everything from King James Maxwell’s perspective (though tellingly zilch so far from Queen Norma West’s perspective), I was kind of hopeful, kind of apprehensive. The show’s from 1972; it’s had almost fifty years to get discovered and rediscovered and I’d never heard of it.

Because Ointment delivers on all the potential of the concept, more than I’d ever imagined; Ointment is a comedy episode. It makes fun of British people, it makes fun of them being pompous and ignorant, it makes fun of them so stuck-up compared to Europeans, it makes fun of them being lazy rich. It’s freaking awesome. And it’s got the Major from “Fawlty Towers” (Ballard Berkeley) playing… a fifteenth century version of the Major. It’s awesome.

And it’s a lot more open than the show’s ever been before. They’re not in dreary England, the episode takes place in Rome and other sunny places. Moira Armstrong’s direction is fantastic. Julian Mitchell’s script is just the right amount sarcastic humor, right amount straight humor, right amount exposition. And because of the now anthology style of the show, you could potentially watch it separate from everything else. Maxwell shows up, but basically for a cameo. It’s all about the guest stars.

There’s John Welsh as this English nobleman who’s plotting against Maxwell, forced to collaborate with Eastern Mediterranean types with their loose morals and sexy art. He’s a rich idiot, who everyone entertains because he’s a rich idiot. In his entourage (of conspirators), there’s also Christopher Sandford as his randy lovestruck dandy nephew who’s hanging around for the old man’s money and drinking and whoring while he waits, Donald Eccles is an archdeacon who’s also an idiot and in the group, and finally there’s Peter Bowles, who starts real quiet and ends up giving the second best performance in an episode of outstanding performances.

Thanks to Ointment, no matter what else “Tower” does, it’s under-regarded. It’s amazing.

The Shadow of the Tower (1972) s01e06 – The White Hart

The episode starts with guys conspiring to overthrow Henry VII (Robert Maxwell) with the help of foreign money and a pretender king… in other words, “In the Shadow of the Tower” feels like itself again. If itself again means it feels more like the first three episodes than the two before this episode. It’s actually not a return to that original form, even if some of the same pieces are in play. For example, Queen Norma West returns, just with zilch to do. She’s scenery in Marigold Sharman’s scenes, something for Sharman to talk off.

The main story—and where the episode gets very different from anything coming before, especially the episodes with the same type of stakes—is about Sir William Stanley, who’s almost definitely a traitor of some sort. A conspiring one. Maxwell’s on to him, slowly but surely because Maxwell’s too trusting—the scene where Maxwell tears Stanley (John Franklyn-Robbins) down is fantastic. It’s just a shame Franklyn-Robbins isn’t any good. He’s very close to actively bad, hurting the many scenes he’s in this episode.

So Franklyn-Robbins is Sharman’s brother-in-law and Sharman is Maxwell’s mother and the King’s mother doesn’t want her in-law executed or even threatened with execution for treason. Maxwell doesn’t agree with her assessment of the situation, which doesn’t lead to a rift, just an oft-repeated exposition dump about Maxwell’s responsibilities as king.

It should be a great episode. If Franklyn-Robbins were any good, it’d be a great episode. Instead it’s just pretty good, with John Elliot’s script sometimes a little slow but a really good performance from Maxwell this time out. Even though the scripts aren’t giving Maxwell explicit character development, his character is developing through the performance as the series progresses. There’s definitely a “don’t question the Tudor king” attitude about the show, which is kind of weird but then the English have bought into the idea of not questioning their history just like the rest of Western civilization so maybe it’s not.

The Shadow of the Tower (1972) s01e05 – The Serpent and the Comforter

This episode is peculiar. It has a new writer, new director, same production design, same King (James Maxwell), but in this episode, Maxwell’s end credit is just as “The King,” not “King Henry VII.” Because it doesn’t matter who he is. He doesn’t need to be the king. He could just as easily be Pontius Pilate. If there is a Jesus homage, it’s more functional than anything else, like writer Hugh Whitemore wanted the framework but not too many of the details. So I guess Maxwell couldn’t just as easily be Pontius Pilate.

David Bowie is Pontius Pilate. And Maxwell is no David Bowie. And David Bowie is no James Maxwell.

Anyway.

The episode’s about Maxwell getting interested in this condemned heretic, played by Peter Jeffrey. Unbeknownst to Maxwell, one of the soldiers guarding Jeffrey also gets interested. David Ashton plays the young soldier. Ashton doesn’t understand what heresy means while Maxwell is just looking for a debate. He’s a privileged, bored White man with a wife and baby at home; of course he wants to debate some guy who’s condemned to death.

It’s been very interesting to see how Catholic the English are in the “Tower” era. Hearing Maxwell harp on about the greatness of the Catholic Church is strange, almost disconcerting. Though that reaction’s probably a combination of history major and BBC-watcher, your mileage may vary.

So Maxwell, defender of the Catholic faith, debates Jeffrey, who just wants to go back to Jesus’s teachings from the Bible and knock it off with all the corrupt Church stuff. Maxwell “wins” the debate by dismissing Jeffrey’s reliance on empirical evidence; of course it doesn’t make senes if you see it, God made it that way not to make sense so you wouldn’t try to figure it out.

But the real emotion comes with Jeffrey and Ashton. See, Ashton’s got an impressionable young mind and a good heart and he bonds with Jeffrey, which does Jeffrey some good, but also not.

There’s an unfortunate voice over sequence but it’s the early seventies so it can be forgiven. Nothing really matters since Jeffrey can act through anything. He’s phenomenal, spell-binding, whatever. You hang on every word. It’s a heck of a downer but a damned good one.