I guess it’s about time I say something specifically about E8. It’s too bad the therapy was such a disappointment, and was a failure in so many ways. Nevertheless, somehow Martin and Louisa do find their way back to each other in E8 and it’s worthwhile seeing how that is accomplished.
I’ve already established that Jack Lothian is the writer I consider the best on this show. In my opinion his episodes are the most well conceived and demonstrate outstanding knowledge of story writing as well as of literature. He has written several of the opening and closing episodes of many series, and I believe he methodically connects themes and actions in these first and last episodes to create a coherency that operates on many levels. The last episode of S7 is another example of his striking ability to allude to classical works of literature as well as many other forms of storytelling while consummating the characters in both humorous and complex ways. Each series ends with dialogue that is ambiguous yet satisfying. I enjoy the process of analyzing what he’s doing as he coordinates the action and the dialogue to achieve a successful outcome, plus I get to laugh a lot.
That S7 would end with a reconciliation seemed inevitable to me because I could not imagine this show not completing its mission as a dramedy. If S6 had been the last of the series, it would have been a transgression of all that the show had worked to develop for the previous five series. S7 had to redeem it. In fact, my view is that Lothian includes reminiscences from both S5E8, S6E1, S6E8, and S7E1 in S7E8. He also sustains the primary themes we’ve come to expect, i.e. the difficulty Martin and Louisa have communicating with each other, whether people can change, and the importance of Martin’s skills as a diagnostician and surgeon in saving people’s lives while also keeping his relationship with Louisa alive.
S7 begins with Martin waking up in bed alone wishing he can find a way out of the predicament of losing Louisa. Similarly in the final episode we begin with Martin waking up in bed alone, and hoping again to get out of the predicament he’s in. (BTW, I haven’t figured out how he fell asleep. Was he given a sleeping potion? Otherwise it is doubtful Martin would have felt like sleeping with his mouth duct taped and his hands tied to the bed. He hasn’t been sleeping well in his cottage and now he’s in an even stranger place. But never mind; we can let that go.) It doesn’t take long for him to figure out how to release himself from the bed. He then goes through a series of comedic escape antics including tiptoeing like Sylvester the Cat across a loft area while below Annie Winton speaks to Louisa on the phone and doesn’t see him, making his way down the back stairs and overhearing Jim Winton talking to his son as he sits on the bed, and hiding when the son looks up after he hears a noise. All of these actions have a cartoonish air about them. (FYI, Sylvester shows a lot of pride in himself, and never gives up. Despite (or perhaps because of) his pride and persistence, Sylvester is, with rare exceptions, placed squarely on the “loser” side of the Looney Tunes winner/loser hierarchy. He often sneaks around while his owner “Granny” talks on the phone. In this episode Martin never stops trying to escape from the house through doors and windows. Martin’s persistence is reinforced by Mrs. Winton’s comment that “when you love someone, you never give up.”)
In this mostly amusing and never very convincingly dangerous episode, we also have shades of myths and legends, possible totems from voodoo, and a couple of chase scenes with the last one ending at the entrance to a mine reminiscent of Westerns, including an empty whiskey bottle as a clue. We’ve sometimes speculated that this show is playing with the tropes of Fairytales, and I’ve written about how they undercut those tropes. I’ve wondered as well if they were having some fun with the popularity of the Harry Potter series. Although we don’t have any real witches, goblins, or wizards in this episode, Martin tells Mrs. Winton that he’s not in the business of miracles, he animatedly gesticulates as if he’s casting a spell while denying that he’s a wizard, and says that he can’t conjure a cure. (I must say here that many patients do think doctors can perform miracles and cure almost anything, and some treatments almost seem miraculous. In this episode, we could be tempted to call Martin’s ablation of Jim’s neck mass a miracle.) Ruth has told Louisa that the fight or flight response is not just a myth. Thus, we have more than enough allusions to the mythical and magical than we need to recognize its place in this part of the story.
During this episode Martin is required to leave Portwenn and drive into the wilderness where danger lurks. As Martin approaches the Winton’s front door, the camera lingers on a gargoyle type sculpture. For me this figure looks most like a Griffin, a legendary creature that is a mixture of a lion and an eagle, both kings of their species. The Griffin has been used in literature, most providentially in Dante’s Divine Comedy, and I wouldn’t be surprised if Jack Lothian had this in mind. In Dante’s allegory, after Dante and Virgil’s journey through Hell and Purgatory has concluded, Dante meets a chariot dragged by a Griffin in Earthly Paradise. Immediately afterwards, Dante is reunited with Beatrice. Dante and Beatrice then start their journey through Paradise. We could call Martin’s stay at the Wintons a journey through Hell/Purgatory that ends in being reunited with Louisa (Beatrice) after which they begin their journey together in the Earthly Paradise that is otherwise called Portwenn. (Like Martin, Dante carried his love for Beatrice throughout his life. She represents beatific love.) Allegory, myth, folktale, cartoon, take your pick.
This episode also recollects the scene in S6E8 in which Martin races to the airport in Penhale’s Jeep to rescue Louisa. This time it’s Louisa rushing to rescue Martin and asking Penhale to drive. Both times Penhale delays due to a humorous interruption; with Martin it was his costume, with Louisa it is a useless conversation with Buddy. Ironically, if only Buddy could talk, he could have led them to Martin. Buddy is most like the loyal, but powerless, sidekick at this point. Both times Penhale is somewhat helpful while being his usual oddball self. The scene with Louisa and Penhale sneaking around the Winton house and stopping to discuss the meaning of raising a fist reminded me of the three stooges and is a funny interlude in what is supposed to be a serious rescue effort. Then Penhale tries to enter the house through the bathroom window while Martin is trying to leave through the same window. When they are discovered, Penhale’s taser has not been recharged and is worthless. Now we’re in the zone of comedic Westerns during which a gun is jammed and won’t fire at the crucial moment. (They’ve associated the taser with Westerns with the music they use in the episode where Joe first receives it. In S5E8 Ruth told Joe he isn’t Clint Eastwood, and now we have reconfirmation of that!)
We also have a connection to S7E2 in which Martin is surprised by Louisa’s appearance and says he wasn’t expecting her so early. Well, the Wintons aren’t expecting Martin so early either, and the fact that he is so prompt leads to more trouble and the loss of his medical bag. Martin’s medical bag has been his constant accessory throughout these series and we would think the Wintons would consider it important, but as in S6E1, he’s able to improvise. He also recuperates his image by helping their injured German Shepard as opposed to wanting to euthanize Buddy. And Mrs. Winton’s comment that he has a gentle touch recalls the one made by Barry in E1 when ME discovers that he has a condition that needs immediate medical attention. He tells Martin he considers him a good guy.
Furthermore, in E1 Morwenna speaks of playing the role of a victim needing to be rescued, which of course is exactly what Martin does in E8. Martin is even wearing the same suit and tie in both episodes, and now that I’ve seen E8, Ruth’s comment in E1 as she looks at a picture of Martin wearing a tie as a child that Martin has literally not changed is true in more ways than one.
It is this episode that most reflects the title of E7, “Facta Non Verba,” because here we have actual deeds that speak louder than words. The deeds begin with Mrs. Winton calling the doctor’s office and demanding that he come to her house, which he dutifully does. Next she holds him at gunpoint. He makes an attempt at escape only to run into Clemo Winton who simply takes him back to the house. Meanwhile, back in Portwenn, Louisa has put together a lovely meal with a lot of Martin’s favorite foods. This time she isn’t going to serve him sausage or scotch eggs. She obviously is already planning to make this a reconciliation dinner. Here is another occasion when Martin and Louisa’s efforts to talk are interrupted. In E1 they are unable to connect due to poor reception and Dr. T’s rules cause Martin to miss Louisa’s 4:30 call; in E8 the Wintons disrupt their scheduled conversation. (Throughout this series they continue to be interrupted whenever they attempt to talk in any meaningful way. I should mention that comments on the blog post about therapy point out that any talk they might have had would probably have gone poorly anyway, which is even more evidence that any move they make to have a long talk ends in failure.) Martin doesn’t show, no talk ensues, and Louisa is determined to find him.
When she comes up empty handed the following morning, she calls Mrs. Winton who claims Martin left the previous evening, then she finds Penhale and they retrace Martin’s steps to the Wintons. Louisa will not be stopped from this point on and notices Martin’s shoes, finds his car, and confronts Mrs. Winton.
So we have the deeds leading up to Louisa finding Martin and Martin really trying to read the notes from the oncologist, and finding a possible mistake in the diagnostic procedure. Soon we have more action when they look for Jim Winton and find that he has left his bed. They figure he’s headed to the mine and they all run after him. Martin suggests Louisa stay behind several times, but this time Louisa won’t let Martin out of her sight and tells him “I came here to get you and I’m not going home without you.” Ahh, more indication that Louisa has decided to have Martin move back in with her.
I would say that during this episode Martin experiences many moments during which he has a lack of control. However, no matter what they demand of him, he manages to maintain some semblance of control, either by trying to reason with them or by being unwilling to buckle under while they point a gun at him. In a sense, he retains control regardless of their threats because they need him. The only thing he can’t control is Louisa’s actions, and his uncertain answer to Ruth at the end of the episode is evidence of this.
it is also quite noticeable that throughout the episode Martin and Louisa refer to each other as “my wife” and “my husband.” Not only should this identifier matter to Mrs. Winton because she is so dedicated to her husband, but also it reinforces their commitment as a couple. We’ve heard Louisa correct people many times during this series when they neglect to call her Mrs. Ellingham, an indication in my mind that she sees herself as Martin’s wife. In this final episode, that moniker is given precedence when Martin frequently is heard alluding to his concern for his wife. I find it interesting that the Wintons have one child, a son, and that parallels the Ellinghams. I wouldn’t say that Martin and Louisa find any solace in watching the loyalty and care Clemo Winton has for his parents, but it’s amusing to see Clemo try to hug Martin for saving his father’s life. What will Martin do when his son reaches out to hug him?
A final example of how this episode connects to previous ones is the procedure Martin completes on Mr. Winton’s neck. Mr. Winton’s surgery takes us back to S6E1 when Martin and Louisa carry out surgery on the caravan owner’s neck. This time the surgery is much less bloody, but there’s Martin with a makeshift scalpel cutting into a scruffy old man’s neck while Louisa assists and grimaces. In both cases the men survive against all odds and Martin comes away as the hero. Moreover, Martin and Louisa act as a team again.
We are also reminded of the talk Ruth and Martin had sitting on a grassy hill during the last episode of S6 where she explains to him that he has to change to get Louisa to return. Here Louisa comes to the realization that she doesn’t want him to change. He has acted on Ruth’s counsel throughout S7 only to discover that Louisa has concluded that she loves him just the way he is.
Louisa tells Martin that she thinks she has been obsessed with wanting people to be normal. As Dr. T said to Louisa, “normal” is a loaded word. Louisa has told Dr. T that her parents are normal, but now she acknowledges that her idea of normal is complicated and that everyone is unusual in some way. There is no true “normal.” Instead of wanting a “normal” husband, she understands that she should embrace his personality traits regardless of, or especially because of, their uniqueness. “We Are What We Are,” as Erica Holbrook has written for art class.
Martin agrees that he is unusual, and then we get his admission that he has tried but it just seems to make things worse. At first his remark seems very ambiguous. What has he tried and how has he made things worse? He may not have made things better, but his actions have hardly made things worse. (I do not think he is referring to trying to change how he feels about Louisa. Despite the ambiguity of this statement, it makes more sense that he’s talking about his effort to express himself in therapy sessions and to demonstrate to Louisa that he is working on his skills as a spouse.) I think they both say partial truths in this final scene. Louisa tells Martin that he’s never let her down, which he has, and Martin thinks he’s made things worse by trying to be a better husband. Once again he is assuming the blame and she is overstating or exaggerating what has happened between them.
For me the key confession they make to each other is when Martin tells Louisa, “I’m never going to change the way I feel about you,” and she answers, “I don’t want that.” What is an unmitigated fact is that his love for her is something he won’t change and can’t change (and he’s even powerless to change), and she admits that she doesn’t want him to change in that regard. She’s glad to know that his love for her will never change, and we all know she’s tested that.
By the end of this episode we are pleased to hear Louisa respond in kind to Martin’s assertion that he loves her. She hasn’t said it often enough.
We also see the other major characters all find a satisfying conclusion to their plights. Sally has made a new commitment to Clive, Bert is back in business with Al (which may be better for Bert than for Al), Al’s Bed and Breakfast has been given new life and he’s headed for another relationship with the doctor’s receptionist, and Morwenna has gotten her pay rise while Martin has averted another showdown with a disgruntled receptionist. Portwenn can now return to its previously calm state. It looks like Penhale will be staying on and continuing to keep the place safe. And that’s a wrap!
(Not for the blog, just for this series. More posts coming soon.)
Originally posted 2015-11-20 06:55:03.