The House Of Elliot

(Series 2, Episode 7)

Review by Emma Shane

©October 2006

The episode, one of the most memorable of the entire second series, if not the programme overall, opens sombrely with Eve setting off for Florence Ranby’s funeral. It’s such a packed episode that some of the more minor subplots are all too easy to overlook. For the benefit of those who haven’t seen Episode 6, Florence was Head Of Workroom, but was knocked down by a car and killed at the end of the previous episode.

In the church are all the staff, the camera lights on Madge and Tilly, as well as Beatrice and Evie.

Out in the graveyard, Madge and Tilly go up to Florence’s husband Alfred to offer their condolences, he is totally furious with them, effectively telling them they caused Florence’s death, by disobeying her. He is almost as angry with Beatrice and Evie for not noticing or caring what was going on.

Back in the Workroom, the girls, under Madge’s uncharacteristically fierce instructions, aided by Tilly, are removing the paper coverings from their work to carry on with it. Betty is hesitant about removing the paper from the last item Florence was working on; but Madge is firm, they are to carry on. In the previous episode Judy Flynn had given Madge a livelier edge, more like a school ringleader, but now she’s more like a hard teacher.

In their home Beatrice is sitting in the dark, brooding about Florence’s funeral, when Jack enters.

Meanwhile back in the now deserted workroom, Evie is putting Florence’s cutter scissors away in their case.

Back at their home Jack commiserates with Beatrice, and offers to talk to Joseph about his suspicions concerning Ralph Saroyan.

In the flat Evie is looking at sketches, particularly the prints Alexander gave her.

The next morning out in the street Agnes is late for work and nearly bumps into Mabel the flower seller, who tells her to “Either look where you’re going, or go where you’re looking”. It’s a nice little touch, and the significance of all the little elements of the street scene, such as the reporter sitting in his car watching people going by in the hope of a scoop are very subtle, you wouldn’t notice them unless you already know the plot.

In The Workroom, Agnes rushes in late, earning her a reprimand from Madge. The sisters enter, and call Madge and Tilly into their office, as they exit the girls mutter to themselves wondering which out of Madge and Tilly will be put in charge, or if someone new will be appointed to replace Florence.

In Beatrice’s Office, the sisters, well Beatrice does most of the talking, tell Madge and Tilly that they have decided to promote Madge to Head Of Workroom, and Tilly will be Head Seamstress overall, “If you’re sure you can manage” says Beatrice. Tilly assures them that she can now, she’s gained more confidence, and isn’t working with Florence, she hastily adds that she doesn’t mean to be disrespectful, but she did not find Florence easy to work with. The sisters merely say “Well if you’re sure you can manage”. Madge says that although they can mange, they could do with someone to replace Florence as “Cutter”, especially now they are doing so much more tailored daywear. The sisters assure Madge they will look into it, in the meantime, Madge says she can manage for the present.

In the Vendeuse’s office Alice is showing Lady Elizabeth Montford (played by Elizabeth Garvie) some new designs when Beatrice enters. Elizabeth Garvie is one of those actress’s with a knack for warming an audience to her character, and she has rather interesting eye-catching fine eyes. (Her “fine eyes” stood her in rather good stead when she starred as Elizabeth Bennet in a television adaptation of Pride And Prejudice). It is Elizabeth who introduces the dominant theme of this episode, with an almost throwaway remark, about having to watch what she wears these days, because it’s always being reported in the press.

Cuts to a brief scene between Elizabeth and Beatrice now in Beatrice’s Office.

Evie encounters Lord Alexander Montford, who has come to collect his wife, in the waiting room. He assures her they know he is here. Evie tells him how much she likes the prints he gave her.

In Beatrice’s Office, Elizabeth mentions that there is one other important reason she has come to see Beatrice, besides looking at the new designs. Her cousin Teddy, The Duke Of Bridgewater – “Far too young to have taken on a Dukedom” (says Elizabeth) has recently married, and Elizabeth has suggested that Teddy’s wife Gwendoline should patronise The House Of Eliott. “She needs guidance” explains Elizabeth (attempting to explain to Beatrice that Gwendoline doesn’t yet fit very comfortably into her position as a Duchess). We are soon to discover just what an un-Duchess-like Duchess, Gwendoline is.

Cut to The Waiting Room, where Elizabeth and Beatrice enter, and Elizabeth suggests to Alexander that he should show Evangeline round The Houses Of Parliament. Evie seems thrilled at the idea.

A little later, Jack calls to pick Beatrice up, and offers to talk to Joseph (their book-keeper) about his suspicions concerning Ralph Saroyan.

The next scene finds Jack and Joseph talking in a pub, plotting how best to find out about Ralph Saroyan’s dubious business dealings. It is complicated by the fact that there is no longer anyone working at Saroyan & Gillespie Bank, whom Joseph would trust. However, at least Joseph is relieved to learn that Jack trusts him, and his instincts.

It is morning, and Ralph Saroyan, on his way to call at The House Of Eliott, passes Mabel’s flower barrel, he buys a button-hole from her.

Meanwhile their home Beatrice is frustrated with Jack, who protests “I’m fixing the car as quick as I can”. Aden Gillet is really rather good at these sort of touching little domestic moments. I don’t find him wooden, and I think he’s got rather a flair for this sort of early 20^th century middle class man, role (which he seems to play a fair amount – well some fourteen years later he is currently playing one on the West End stage). Beatrice leaves in a huff to get a bus.

At The House Of Eliott, Alice is placating Ralph Saroyan, who seems to take rather an interest in her, they both like roses.

In a busy street, Beatrice is walking along when a car pulls up, it is Jack, having got his car working, he gives her a lift the rest of the way.

Meanwhile Alice and Ralph are still making conversation. On learning that she recently lost her husband and has not been out much since, he suggests having tea together. At which point Beatrice arrives, apologising for her lateness.

Once in Beatrice’s Office, Ralph becomes his usual smarmy superior self, complaining that the sisters do not take advantage of their credit agreements with their suppliers, but pay them on the dot. He suggests it would make more sense, if they have Wint (Joseph) bring the cheques to him at the end of the month, so he could sign them and send them off at a more suitable time. This rather significant (well significant to the ongoing plot) detail almost gets overlooked given the impact of the next two scenes.

In The Street a smart blue motor car, with figure badge on the front of it, probably a Rolls Royce, pulls up. A uniformed chuffer whose name does not appear in the credits (although he was addressed by a name in the scene) opens the door. A tall well-built attractive woman, with curly hair, in a cream coat, with matching hat, steps gracefully out; and makes her way up the steps. There is something about her that grabs your attention, even if you aren’t so familiar with the actress. Gwendoline Duchess Of Bridgewater, played by Louise Gold, can sure make an entrance (as one might expect from a musical comedy star).

In the fitting room, Gwendoline is getting out of her outdoor clothes, surrounded by a number of the staff, to whom she is talking loudly with great charisma. She has a vivacious enthusiastic manner. A true character whom you just can’t help warming, to and being captivated by. “I want complete kitting out” she says. “Elizabeth suggests I put myself entirely in your hands, for Teddy”, on seeing their slightly puzzled looks she clarifies “Teddy, my husband, the Duke Of Bridgewater”. Her quick brown eyes alight on a switch of red material. She exclaims how lovely it is. But on seeing the looks on the faces of the sisters she understands and rejects it in favour of something a little less loud, a more refined subtle pink. She urges the sisters not to worry about offending her if they criticise her taste. She knows she’s got a lot to learn about that.

In Beatrice’s Office, Beatrice is entertaining Alfred Ramby, who has come in which a large bunch of flowers, which he has brought for Madge and Tilly, as an apology for his outburst to them, he felt he was out of order speaking to them like that. He also wishes to apologise to Beatrice and Evangline for the same. Beatrice gives him Florence’s Cutting Out Scissors. She is hesitant about mentioning Florence’s name. But Alfred tells her not to be. He says people think that will hurt him, but actually he prefers to hear Florence referred to by name. In response to Beatrice’s enquiries. He says he is coping, taking it one day at a time, and that his employers have been very good about letting him have time off. He adds that he’s a tailor. Evie enters just as Alfred is leaving. Beatrice conveys Alfred’s apologies to Evie. Given that he is a tailor, Beatrice wonders if Alfred would consider working for them. Evie worries that he wouldn’t have the sort of couture experience they need. To which Beatrice says “And he probably wouldn’t want to work here, too many memories.” Evie reminds her sister that she is away this afternoon, “Your houses of Parliment treat” says Beatrice.

At The Houses Of Parliment, Lord Alexander Montford is showing Evie around, but she seems to have done her homework, and know almost as much about its history as he does. In one of the meeting rooms, he is about to kiss her, when three colleagues enters, so he hastily says they are just leaving.

At some kind of evening event, a bunch of people are dancing, to the tune of Irving Berlin’s What’ll I Do. At a table, Ralph Saroyan is entertaining Alice Burgone, and clearly trying to, well make a pass at her, calling her “Sweet Alice”. She stiffens at this; and says she would like to go home. He presses her to stay and have another brandy. At which she becomes firmer, apologising if she misunderstood him, but she thought they were just going out for the evening as friends. She is not ready for anything more yet. Reluctantly he abides by her wishes.

In the workroom, Betty is working on a dress for The Duchess, while Madge is looking at the newspaper. One of the girls recognises a gown she worked on in a picture in the paper.

In The Street a passing car (that same elegant blue one) knocks into Mabel’s barrow, and several containers of flowers are knocked to the ground. While Mabel is picking them up, Gwendoline approaches, having got out of her car. As soon as she sees the problem, and realising why, there is such honest concern in the actress’s facial expression, the sound of her voice, and her very warm natural reaction. It is not only totally believable, it is actually, in this scene as if she is not so much playing a character, but being herself in that sort of situation. Her first line in this scene, was spoken in a voice that even sounded more like the actress’s own, than the character she was portraying. Fortunately, as we soon learn, a few subtle changes of accent are entirely in keeping with this individual character, who is turns out is also supposed to be an ex-actress. For Mabel recognises Gwendoline as “Gwen Garland, the musical comedy star”. The Duchess does not deny it, even if she has now married well, and out of her profession. To make up for the accident, she buys several bunches of flowers from Mabel, and then heads up the steps, with the same easy elegant walk as before. Louise Gold has a lot of natural gracefulness in her movements it is surely a legacy of her own dance training as a stage-schoolgirl.

The Duchess enters the waiting room with her arms full of three bunches of flowers. She walks through to the fitting room, or perhaps the workroom, pausing only to say a cheery “Hello” to two other clients in the waiting room, both look at her retreating figure with a certain horrified disdain (and one can’t help slightly disliking them for objecting to such natural friendliness).

In The Workroom, Gwendoline has entered with her flowers, which she proceeds to hand round to the sewing-girls, among whom she most specifically includes Agnes (she actually addresses her by name). Once she has gone, Madge with gentle firmness (quite a contrast to Florence) gets the girls to go back to their work. She says “I know the Duchess is very friendly, but...” they must remember their place in society. She does however, get one of them to put the flowers in water.

At the end of the day, as the girls are leaving Agnes finds herself propositioned by a young man, the journalist, Eric Bulmer who has been hanging around watching in several of the street scenes hitherto. He offers to take her out for an ice-cream sundae.

At a cafe, Agnes and Eric are eating ice-cream. Eric asks Agnes to help him with his work, by keeping her eyes and ears open for gossip, tittle tattle, when she is working. He assures her it is just harmless fun; and a bit of extra money for them both.

There follows a scene between Beatrice and Evie in Beatrice’s Office, I think they were discussing Ralph Saroyan, or possibly the idea of spending a weekend at ‘The Cottage’ to get away from it all.

In the Vandeuse’s office, Ralph Saroyan enters with Maria Nugent. Alice is surprised to see Ralph, and says he doesn’t have an appointment. Maria Nugent (Mrs) explains the appointment is in her name, and that “He is just here to settle the bill”. “I want to best for her, you understand” says Ralph. It is quite obvious to the viewer that he is also trying to make Alice jealous (and needless to say not succeeding. Alice isn’t that kind of person).

Jack Maddox is working on a script at home, when Beatrice enters. It takes him a little while to give him her attention. But as soon as he has finished what he is writing he does. Its rather a touching little scene. One has a lot of sympathy for Aden Gillet’s character.

Through a window we see Evie turning out lights.

Cut to the interior of the fashion house, where Evie is turning out the lights, her eyes fall on a newspaper (the one Madge was reading earlier) and a photograph of Lady Elizabeth and Lord Alexander in it. It’s obvious she has feelings for Alexander.

Presumably the next day, in the fitting room, Gwendoline is trying on the new pale pink dress. We first see her eyes in the mirror, the camera pans back to reveal her body, and then pulls back further to show that she was in fact looking in a mirror. Her funny narrow-shaped eyes, with the round wide sparkling brown pupils convey so much of her delightful enthusiastic character in them. She puts her hands on her hips and says “It’s what Harry Westerfield would call “Dandy”” – dropping into an American twang for the word “Dandy”. Then adds, with a very natural enthusiasm (to Beatrice and Evangeline) “Do you know Harry?”. (I can think of two current British actors who might’ve spoken with that kind of enthusiastic manner) Gwendoline proceeds to tell of a night she and Teddy, along with Harry Westerfield, and, Erica Murdoch—went out in two punts one evening. Gwendoline and Harry were in one, while Erica and Teddy were in another. Harry insisted they land on an island. Gwendoline is in the middle of her narrative, when one of the sisters sends Agnes to fetch some beading. Agnes hurries, you can see her trying to waste as little time as possible so as to hear the rest of the story. Meanwhile Gwendoline continues, telling how Teddy wanted to go home “as it was getting rather chilly”, so he and Gwendoline went back. However, Harry and Erica stayed all night on the island. Agnes arrives back in the fitting room, in time to hear Gwendoline telling of people’s reactions when Harry and Erica arrived back at breakfast next morning, having spent the night marooned in a boathouse, with Harry claiming the punt had drifted. “Did you ever hear such a thing” says Gwendoline enthusiastically, as though talking to her friends.

In the workroom, Agnes puts her work away a few minuets early, causing Betty to remark that it’s a few minutes to. Agnes asked Betty how to work a telephone box. Betty kindly explains how to do so; wondering whom Agnes is going to meet, a young man obviously, but who?

In a pub Jack and Joseph and plotting how to find out what Ralph Saroyan is up to. Joseph knows the layout of the bank well, and explains that in particular room there are documents about what he reckons are phantom companies. That is the stuff they need, and the spare key has just, gone missing. In other words Joseph has it. Jack congratulates him on his work. Joseph explains, he is no hero, but he wants to do his best. to get to the bottom of the whole thing.

In a cake shop, Agnes is with Eric, telling him the story she thought she overheard Gwendoline telling in the fitting room. Only she tells him it was Gwendoline who spent the night on the island, rather than Erica. “You little treasure” says the delighted Eric. They’ve been wondering for ages who Harry Westerfield’s mystery woman was. Had their eye on several possibilities. He tells Agnes to get herself another cake, while he goes to speak to his superiors. Then he will give her a good night out.

In the flat, Evie is putting up Alexander’s pictures, when Jack enters looking for Beatrice. However, he takes the opportunity of asking Evie about Alexander, to which Evie confesses that she can’t stop thinking about Alexander. She finds Jack a very sympathetic brother-in-law on the matter.

Next morning in the Workroom, Madge is reading the newspaper, The Daily Messenger. She reads out a story concerning Harry Westerfield, saying that his mystery woman is none other than Gwendoline Duchess Of Bridgewater “better known to our readers as Gwen Garland the musical comedy star”. Agnes is the only one not clustered round Madge, but instead trying to look busy. Meanwhile Tilly exclaims that “it’s not true”, telling them “It was Erica somebody or another”. and explaining that “our Duchess” went back to the house with her Teddy “because it was getting rather chilly”. At this point Cathy Murphy does an excellent little imitation of the way Louise Gold had said the line “it was getting rather chilly”. Now that was an interesting touch. But then Cathy does seem to be a rather likeable talented actress in her own right. Someone cries out that there are reporters in street, but Madge firmly urges the girls not to look out of the windows, but to get back to their work.

Out in the Street, Joseph has to fight his way through a crowd or reporters, just to get to work. Fortunately for him, their attention is soon diverted by that blue car drawing up. Gwendoline gets out looking severe, and rather cross. “No you do not have permission to take my photograph” she says firmly, adding “And if you print any lies about me, my solicitors will deal with you, as they are at this moment dealing with the editors of the Daily Messenger”. Louise Gold does severe rather well, but on this occasion she actually doesn’t come across quite as loud and powerful as she can, she’s actually more subtle in this scene. Though of course she still commands the audience’s attention in the scene.

In Beatrice’s Office, with both Beatrice and Evie present, Gwendoline presents the same cross severe manner, while she is standing. Anger that they can’t trust their staff. Evie tries to make peace, whereupon Gwendoline points out that the article specifically states “A source from within a well-known fashion house”, along with a photograph of Gwendoline herself at the front door of The House Of Eliott. Gwendoline sits down with a sigh, and as she does do her manner changes, somewhat, and one realises that in fact she is more hurt than angry. In fact she’s downright upset. She says “I though I was among friends. I though we had trust. How wrong I was”. And yet, she still does trust the sister’s themselves. She tells them, that “surprising as it may see, mine was a love match. I didn’t realise how much my life would have to change. I thought I could go on being Gwen Garland, with all the advantages of my grand marriage.” She goes on to say that ever since her marriage the press have been waiting for her to slip up, wanting to ruin her reputation “and for a story that isn’t even true”; She realises now she must become guarded in what she says and does. The actress’s voice seems to be almost breaking with emotion, and she cannot quite switch back into the severe mode, when she tells them that any further communication will be between their solicitors. She gets up and sweeps out. Yet, although she moves majestically (like a graceful actress), her exit is a sad one; Leaving Beatrice and Evie to exchange glances, and wonder who was in the fitting room at the time. Well there was Tilly. “It’ wouldn’t be Tilly she’s got far too much sense” says one of the sisters. They soon realise the only other person present was Agnes.

Beatrice at the door of the workroom asks Madge to send Agnes to her.

In Beatrice’s Office, Beatrice and Evangeline speak to Agnes; who explains that she did not see there was any harm in what she had done. Beatrice is surprisingly firm and dictatorial, when she tells Agnes that right now they are going to The Duchess’s solicitors. “You will tell them exactly what you heard, and what you thought you heard”. I’ve never heard Stella Gonet speak in quite that severe a tone in the series before.

Meanwhile, at The Bank, Joseph sneaks into the vaults, and is looking for documents about the phantom companies.

Cut to Ralph entering the bank. On the stairs, Ralph meets Joseph, and immediately assumes that Joseph has just been bringing the cheques to him, rather to Joseph’s relief. A nice piece of acting from Stephen Churchett.

At their home, Beatrice tells Jack she would like to go to The Cottage that weekend. He says he needs her at a backers house party. But suggests Evie could go to the cottage alone, well why not? Beatrice isn’t sure that Evie will like that. Just then she remembers, Joseph has given her a package. She hands it to Jack. He glances at it, and immediately goes out, saying if he hurries he can catch Alexander at his club. He evidently, wants Alexander, as a Treasury Minister, to look at these potentially incriminating documents.

In the Street, Eric sees Agnes. She tells him his idea will probably loose her job. He says he’s already lost his this morning, and suggests a walk in the park to commiserate each other. She agrees.

In the Workroom, Madge and Tilly are wondering where Agnes is, someone suggests it wouldn’t surprise them if Agnes doesn’t return, after all she knows dismissal is awaiting her here. Betty goes on an errand.

On the stairs, Betty finds Agnes, crying.

In Beatrice’s Office, Beatrice and Evie try to comfort Agnes, who has been beaten up. She says she won’t go to the police about it, because she doesn’t blame Eric, she says deserved a beating. Tilly enters to say that a taxi has arrived. Beatrice tells Tilly to take Agnes home, “and stay with her as long as she needs you.”

In The Cottage, in the evening, Evie is playing cards. She is frightened by some noises. It turns out to be Alexander Montford at the front door. He asks her to let him in to stay the night. What an ending to an episode about gossip.

All in all a pretty outstanding episode. The House Of Eliott was remarkably well written by Jean Marsh and Eileen Atkins. They clearly did their research well. But they also know how to writing gripping drama, with some great lines. There seems to be very little television drama with such quality writing these days. They create some great, very rounded characters. But in this episode they have excelled themselves with the character of That Duchess! – She is not only a terrific meshuggeneh character. She is also a perfect role for Louise Gold, who like her character is also a musical comedy star. One wonders what came first the casting or the script! For Gwnedoline’s vivacious personality seems to be uncannily similar Ms Gold’s own. Her reactions to little things, such as Mabel’s flowers getting knocked over, seem to very natural. The natural conviction is there throughout, making her final scene an incredibly moving one. That scene, and the one preceding it, starts with the least natural but, when she is cross. And yet, although Louise Gold does severe, loud, and vivacious all very well, she is also a remarkably sophisticated actress, with an ability to play a much more subtle character, when that is what is required, which she does in her finale scene. It is the look of complete hurt on her face and in her voice, played with absolute sincerity, that makes her finale performance just heartbreaking. Gwendoline appears so genuinely upset by being betrayed, that is actually makes me want to cry just watching the scene. It might be hard for just any actress to play such a larger than life character as Gwendoline with conviction, but Louise Gold succeeds, perhaps because having such a larger than life personality herself, she is actually surprisingly natural in the character. Louise Gold is a very accomplished actress, with a wide range. Even so, when watching, as with any actor whose work one knows well, one is usually aware that she is acting, that she is playing a role. Her appearance in this episode of The House Of Eliott is one of the most convincing performances I have ever seen of hers. She managed to appear so naturally as Gwendoline Duchess Of Bridgewater, that this extraordinary character is totally believable, almost as if she were that role, rather than merely acting it. It’s an amazing performance, and well worth watching. It would be worth getting hold of the DVD of Series 2, just to watch this episode, for that acting alone.

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