Other interests aside, my true passion is literary analysis and I am pleased to get back to that again. In this case the analysis will be of S3E5 because I want to argue that what we see going on between Martin and Louisa in this episode represents well the kind of “push me, pull you” interaction they have throughout the show, including during S6. The theme of control is also very much a factor in E5. (Please excuse the length of this post. I always try to keep my posts as brief as possible, but sometimes I find that difficult because I’m also trying to do a thorough job.)
In order to put E5 in perspective, I think we need to start by looking at E4. In this episode Carrie Wilson stirs up Louisa’s jealousy about Martin’s love life. We will see much more of this during S4 when Edith appears; therefore, it’s important to acknowledge that it’s been there for quite some time. From S1 on we’ve seen that Martin is smitten with Louisa. (Despite Martin Clunes’ claim about their initial plan, my impression is that it was immediately apparent that the relationship between ME and LG was going to play a central role in this series. I have no doubt that Caroline Catz increased that likelihood or changed the nature of it, but there was always going to be a tension between these two characters.) During S1 they create regular conflicts between this couple over their differing views of how to treat patients, ending with a harrowing effort to save Peter Cronk during which Louisa witnesses firsthand Martin’s capabilities as a doctor and a person. Martin even ends up looking compassionate to her in relation to Adrian Pitts. We applaud Louisa’s decision to defend Martin while agreeing with her that he has a knack for saying the wrong thing at the wrong time. Unfortunately, he undermines his own desire to have Louisa as a love interest by the end of the series, setting up what happens between them in S2 and beyond. The final episode of the regular season of S2 ends pretty much the same way S1 ends — Martin spoils whatever close bond they appear to be developing by insulting Louisa.
By the time we reach S3, things between Martin and Louisa have stabilized to some degree. Nonetheless, Martin continues to do damage to their fragile relationship despite obviously being anxious to find a way to connect with Louisa. The writing of S3E4 is once again attributed to Jack Lothian and I find some analogy to Shakespeare’s “The Comedy of Errors” in it. (If I’m right, Jack Lothian has fun using his knowledge of Shakespeare on this show.) In general, the play and this episode are filled with constant misinterpretations amongst the characters as well as suspicions of straying attention between the men and women. Jealousy is at the heart of the play and is also important in E4. Louisa has spent much of S3 vexed by Martin’s reticence to do anything that will reignite their affair. When she sees Mrs. Wilson making moves on Martin and hears Mrs. T.’s comments that men are often vulnerable to women like her, she is provoked. Here’s where we get a scene in which Martin has trouble interpreting what Louisa is saying. As in S6E1 when Louisa’s position on having a honeymoon is totally unintelligible to him, Louisa’s reaction to his acceptance of her invitation to Penhale’s party at Carrie Wilson’s hotel makes little sense to him. Louisa has no idea that Martin has just turned down a similar invitation from Mrs. Wilson and is suspicious when M accepts her invitation so quickly. Rather than being satisfied that he has accepted, she finds his quick acceptance troubling and probably believes his unspoken motive is to go to Wilson’s hotel. This is one of many times when he has no idea what she wants him to say. Of course they are interrupted by the phone and a so-called emergency and Louisa leaves without knowing whether she’ll see Martin later or not.
It turns out that Martin has more than one reason that brings him to Wilson’s hotel. He has run over her precious dog and decides to bring the dead animal to her. When he arrives, Aunt Joan derails his initial plan and we’re not sure what will happen either with the dog or with the party. But the party goes on and Martin is still left holding the dead dog wrapped in newspaper. As he enters the party area, we begin another series of misinterpretations as Louisa’s immediate delight at seeing him there is undercut by Martin’s focus on finding Mrs. Wilson so he can hand over her dog. Mrs. W shows up and immediately offends Louisa because she thinks Martin wants to have some time alone with her. Once she finds out his real purpose, and Louisa is there to witness someone else bearing the brunt of Martin’s lack of tact, things change rapidly. Now Louisa and Martin can have a moment alone and Louisa can show concern. However, she once again jumps to conclusions when Martin asks her what she’s drinking, assuming that he’s judging her for drinking wine. Soon they are standing apart from the group and find concordance in their assessment of Mrs. Wilson as narcissistic, hypochondriacal, and extremely annoying. Once again Louisa proffers an invitation, this time to a concert, and Martin accepts immediately. He even makes a nuanced comment when she warns him the musicians are amateurs when he says “everyone has to start somewhere.” Things seem to be going well until Louisa turns her head toward the window and Martin attempts to kiss her head only to have her jump away and ask him what he’s doing. Aren’t we witnessing a tender and possibly emotional moment generated by Martin that is met with rejection from Louisa? Just then Penhale makes an announcement that forces Louisa to leave precipitously, although she mentions the concert date to Martin just before walking out the door.
The maneuvering for control between this pair is magnified throughout this episode and will continue into the next. Louisa wants to maintain Martin’s interest in her while also backing him off at times, and Martin wants to be agreeable to her while also having trouble getting out of his own way. Awkwardness abounds on both sides, but we think we are heading in a good direction until the next episode and its constant fluctuations as to who is making the right moves at the right times.
The first time Martin sees Louisa in S3E5 is while Pauline is taking a blood sample and doing a poor job of it. Louisa mentions their date and wonders what to wear. Martin does the gentlemanly thing and says he’s sure she’ll look nice. So far, so good. His day takes a detour when he discovers Pauline has given him the wrong notes for the patient he’s examining. But this scene gives us a little insight into what’s to come in that Martin asks the patient who initiates sexual activity between him and his wife. He observes that usually one is keener than the other. Beyond the truism of this observation is the hint that who the initiator is takes on importance. Initiating something also indicates an effort to take control. To me, the key to this episode and to the relationship between Martin and Louisa is the issue of control — who has it, who doesn’t, what should be done about it, etc.
When we next see Louisa, she is dressed for the concert and putting on the finishing touches. It’s clear she has taken great care in how she looks. She goes downstairs and opens the front door before Martin can get there. She could have waited for him to knock, but has preempted that. She hopes for, but doesn’t get, a compliment on how she looks. Despite his earlier flattery, he neglects to say something here and actually makes things worse by wondering if her shoes will be a problem. (We learn later that women’s shoes seem to be a preoccupation of his.) She tries to prompt him by remarking how his suit looks, but this could be seen as a sort of role reversal. They arrive at the concert where they sit on the grass. Before intermission it’s Louisa who sneaks glances at Martin and initiates contact by putting a flower in his lapel; after intermission we see Martin peeking at Louisa. It’s a nice way to balance their attraction to each other while also indicating the back and forth nature of it. His reaction to the flower is typical Martin in that he is not pleased, but he leaves it there.
The flower is still in his lapel when they go inside for intermission. At this point Martin makes one false move after another: he’s sullen and unfriendly towards Holly, then offends Joan’s friend the caterer. Louisa is surely unhappy about his behavior and Joan notices. Joan goes right to the heart of things when she sarcastically asks Martin “you being your usual charming self?” Nevertheless, they return to their place on the grass for the second half of the concert and Louisa notices Martin looking at her. The sexual tension is rising. Soon we see them leaving the concert and walking down a path to the car surrounded by other concert goers. As in S1E6, Martin wants to take Louisa’s hand. This time he follows through and appears to feel triumphant when he does. However, once again Louisa takes charge, draws him aside, passionately kisses him and receives the same response as before — Martin takes refuge in medical speak and particularly insensitive comments. CC plays the scene perfectly as she looks at Martin in disbelief and anger. It’s kind of the last straw for the date even though with Louisa hope springs eternal. Louisa, too, responds similarly to her reaction in S1E6, this time by marching off in a huff. It’s somewhat amusing to see her so convinced that her kisses will be returned in kind yet always end up with the same Martin, who is incapable of letting go. In this case she is stuck riding home in the car with him, but she gives him the silent treatment and soon tells him she doesn’t want to see him anymore. We can see the oscillating power struggle here pretty clearly: Louisa has initiated the date, initiated the compliments, and initiated the kiss, while Martin has instituted his influence by remaining “his charming self” and all that that implies, as well as having a breakthrough of sorts by taking Louisa’s hand. (I have to say that I think the best response Louisa could have had to Martin taking her hand would have been to simply let him have this moment and walk to the car hand in hand with him. Naturally, for the purposes of this show, she doesn’t do that and her reaction underscores the basic control issues always at stake between them. She is also always battling her instincts and emotions.)
Martin makes a vain attempt to explain his reaction, but she’s not looking for an explanation of his scientific interests; she wants a sign that he feels something for her. As usual, Martin is left wondering what went wrong. Both of them seem tearful and regretful. The fact that Martin spends the night unable to sleep emphasizes his desolation. We can only assume he’s been trying to ascertain what he could have done differently without the capacity to come up with any answers. He appears to be making an effort to be introspective, something he has a lot of trouble doing. (If his breakup with Edith continues to be a factor for him, we might imagine that he feels bereft that a woman he loves has once again rejected him.) This time he decides to take action and leaves his office with the intention of talking to Louisa. In effect, he is running after her; however, he chickens out and it’s just as well because Holly’s arrival would have interrupted them anyway. His plan to take control has gone unconsummated.
Later that day he returns to a state of deep consternation while sitting on the couch. Louisa’s rejection has been quite a blow and he is uncharacteristically lost in thought about it. Joan walks in at that moment and observes that Louisa seemed fed up with him at the concert. In her view, Martin and Louisa can never be a couple and he should simply move on. It isn’t until she’s expressed that view to Martin that she notices how upset he is. Meanwhile, Louisa asserts to Holly that her date with Martin is the end of their relationship. Their future as a couple seems doomed.
The time for despair passes quickly as events take over. Holly slips and hurts her back, putting in motion a series of incidents that bring Martin and Louisa into contact again. After they get Holly to Louisa’s house and into Louisa’s bed, Martin tells Louisa he has to check on Holly the next day. After Martin returns home Joan appears at Martin’s kitchen door again and reaffirms that in her mind Martin and Louisa are like chalk and cheese, and that “we are what we are, we can’t change.” But Martin disagrees and is sure he can change. He equates change here with talking rubbish, by which he means acting more concerned about others, but the important matter is that he is asserting his ability to control his behavior and he sets out to prove it. An accident, or event that we can’t control, has led to Holly needing a place to stay and forced Louisa to offer her home. It has also meant that Martin is forced to tend to Holly at Louisa’s house and that Holly cannot leave despite being scheduled to rehearse somewhere else. No one has control over any of these situations.
The change in behavior that Martin attempts only makes Louisa think he’s acting weird. Martin reacts with one of the most emotional outbursts he has with Louisa because he feels like nothing he does satisfies her. He tells her, “I don’t know what you want.” EXACTLY!
The next morning Louisa returns to find Holly out of bed against doctor’s orders. Holly’s determined to assert control and leave, but soon she falls again and this time her injury is life-threatening. Martin arrives in a hurry and the previous altercation between Martin and Louisa is put aside so they can work together to treat Holly. Holly’s accidents have been the catalyst to bring Martin and Louisa together twice, demonstrating how Fate is beyond our control. This time it takes both Martin and Louisa to handle the situation and there is a kinder, gentler exchange of who’s in charge. Martin’s aversion to blood makes him nauseated and Louisa asks if she should take over; Martin recovers and manages to remove the piece of glass lodged in Holly’s back; Louisa tries to help by filling a syringe but drops the vial of medicine; Martin calmly finds another way to save Holly; and they reconnect over Holly’s revivified body. As Holly is loaded onto the ambulance, Louisa makes clear that she has had a resurgence of respect for Martin. She’s shaken but tells him he’s an extraordinary man. It is here that he finally takes control and decides he can’t leave without asking her to marry him. She, in turn, can’t believe her ears and asks him to repeat his proposal. (Asking him to repeat nice things he says is another amusing recurring scenario throughout the series.) Louisa accepts his proposal and runs to jump into his arms. Their embrace is emotional on both parts and is one of several scenes like this where they are both overcome with emotion. Thus, the episode ends with the exchange of control between these two being equalized.
Included in this episode is Pauline’s addiction to gambling, another loss of control. Significantly, Martin intercedes between Pauline and her mother to give Mum a lecture on how Pauline’s gambling is an illness not a weakness, and that it controls her. He demands an admission from Pauline that she is an addict and her commitment to attend a support group to get treatment. By the end of S6, he’s made the same demands on Michael in regard to his OCD. Martin definitely recognizes that many psychological conditions are out of the control of those who have them and these people would benefit from therapy.
S3E5 contains so many of the primary forces in the show. It emphasizes the issue of control and how Martin and Louisa constantly tangle with it. In addition, their emotions are a factor with Martin exhibiting more emotion than usual. Many of the set pieces that are used in the show appear here as well, making this episode very representative of the show as a whole.
Originally posted 2014-08-01 15:57:54.