Poldark Production: Music, Locations, Costumes, Etc.

[Nampara]

I created this thread in order to have a place to discuss aspects of the 2015 Poldark series that do not relate to individual episodes or even to the storyline in general. Any creative or technical topic that does not fit into a story-related thread is welcome here.

 

I'd like to start by discussing the music by Anne Dudley, which is wonderful. (I should note that I'm a serious amateur musician who has played a lot of film and theatrical arrangements. I pay a lot of attention to TV and movie scores.) I was very surprised by the impact the music has had on me. The 1970s Poldark had a melodramatic main theme and then just rather bland underscoring that was typical of British dramas of that era. I don't recall the music's being a significant contributor to my enjoyment of the program. But Dudley's work is just beautiful, and it reinforces the strongly emotional, romantic tone of the story.

 

In the 2015 opening credits, the main theme is first stated by a solo violin played aggressively. It's an urgent, questing statement. Then the theme is recapitulated by the string orchestra -- softer, more subdued, graceful, but still passionate. Finally, the solo violin and the orchestra recombine for a brief closing. Now, this may be a corny interpretation on my part, but I hear the first statement of the theme as Ross's question to the world, and the recapitulation as Demelza's answer. Ever since that idea occurred to me, I can't hear the opening music any other way.

 

I haven't purchased the soundtrack album yet, but I will shortly. One irksome aspect of the compilation, however, is the omission of "I D'Pluck a Fair Rose" sung by Demelza. Why on earth? That was a really bad misjudgment on someone's part. Also, another great piece of music appears to be missing. This piece is played at several points during the program, such as the scene in which Ross and Demelza dance at Jim and Jinny's wedding. The source music in the scene (a reel played on bagpipes) is gradually replaced by the orchestral score, again featuring a solo violin. We hear energetic dance rhythms on the fiddle with a steady reduction in tempo to a wistful, almost melancholy conclusion. This short cue is gorgeous, and I would be very disappointed not to have it on the soundtrack. I guess I'll find out for sure later whether it's on the album or not, but can anyone confirm its presence or absence? Thanks.

[NumberCruncher]

I have the soundtrack, Nampara and to answer your question, the short piece you asked about unfortunately isn't included. I, too, wondered why they didn't include Demelza's song from the Trenwith scene. Even with these omissions, however, the soundtrack is wonderful and well worth the cost.

[Nampara]

Having purchased the Poldark soundtrack album, I can now agree with NumberCruncher and recommend it wholeheartedly. It offers much beautifully crafted music. I was not previously familiar with composer Anne Dudley, but if I had to compare her to someone, it would be Howard Shore, composer of the monumental Lord of the Rings scores. Dudley too combines lush orchestral passages with heraldic solo instrumental motifs that add "ethnic" flavor and help create a sense of place. It's amazing how much television music has improved over the last generation or two. It used to be that for most programs, only the opening theme (sometimes a goofy but catchy jingle) seemed the product of significant musical labor. But now television composing, at least for "prestige" dramas, is treated as seriously as film composing.

 

Two technical criticisms: First, I don't like the sequencing of the album. There are two main approaches to soundtrack sequencing: either have the tracks appear in the same order as in the movie or show, or mix them up with the apparent purpose of creating tension and relief. I much prefer the former method, which I believe shows more respect to the score as a whole, and also makes it easier for the listener to figure out what a particular track is about. Unfortunately, the Poldark soundtrack album uses the second approach. For example, the show's opening theme is track 6. Does that make sense to anyone?

 

I also wish that the names of the selections were more precise about the action in the program to which they correspond. Some are readily identifiable, such as "The Blue Dress" and "Resurgam" (both of which are lovely), but something like "Daring to Hope" could apply to half the scenes in the series. It can very hard to pin down the locus of a two-minute musical cue within a 480-minute program just by listening! A good title should identify its scene plainly: such as "Uncle Charles' Funeral" rather than "A Somber Day," or "Demelza Comes to Christmas Dinner" rather than "Introductions" (these are hypothetical examples). (This can create spoiler problems, I admit. John Williams' score for Star Wars Episode I: The Phantom Menace includes a track called "Qui Gon's Noble End." Because the soundtrack album was released before the movie, everyone who saw the track list learned that Liam Neeson's character bit the dust.)

 

By the way, I addressed the problem of the "missing" music described in my first post by converting YouTube edits of "I D' Pluck A Fair Rose" and the fiddle piece to MP3s and adding them to the end of the soundtrack album in iTunes. This is not a perfect solution, because the pieces end a little before what I perceive as their conclusions (though I did get all of Demelza's actual song), but it's good enough.

[justmehere]

Demelza's Song is available as a singular download. It does have an orchestral arrangement rather than just her voice as it was in the show. 

[Nampara]

Demelza's Song is available as a singular download. It does have an orchestral arrangement rather than just her voice as it was in the show. 

 

Just to be clear, that version of the song is a cover, not the original TV series recording. It's by an outfit called "Demelza's Strings" and does not have Eleanor Tomlinson as the vocalist. It's not a bad performance, however.

[crowceilidh]

I wish I understood some of the costume choices.  Are they trying to look very provincial?  And why, show?  Why oh why that fucking awful tricorn on Dwight Enys?  He looks like a clown.

 

Also, Ross please stop wearing your collar open so often.  It looks daft.

[shandy]

Never mind Tricorns, I'm surprised at the lack of wigs! Although the wig wearing era was coming to an end, I'm quite surprised to see almost regency styles for the men in far flung Cornwall.

[Llywela]

Never mind Tricorns, I'm surprised at the lack of wigs! Although the wig wearing era was coming to an end, I'm quite surprised to see almost regency styles for the men in far flung Cornwall.

I suspect the costume department has fudged a number of things - the aim being to appeal to a modern audience, I guess, rather than to get the detail exactly right. Because no modern audience could identify with these characters if they were dressed exactly right for the 1780s, clearly - 1810s, maybe, but 1780s a step too far...

[DHDancer]

So, I've been thinking about this modernization thing.  IF they wanted to modernize it for today's audiences, why didn't they just modernize the whole thing?  Why continue to have this be 18th century?   I once saw a modernized Othello and it worked quite well: shakespeare's words, but set in modern Africa with jeeps and guns and things....

[Nampara]

So, I've been thinking about this modernization thing.  IF they wanted to modernize it for today's audiences, why didn't they just modernize the whole thing?  Why continue to have this be 18th century?   I once saw a modernized Othello and it worked quite well: shakespeare's words, but set in modern Africa with jeeps and guns and things....

 

1. The producers do not want to "modernize" the story. For a big chunk of the audience for a show like Poldark, much of the appeal (particularly the romantic appeal) comes from the historical setting. That appeal would lost if the tale were transported to the 21st century.

 

2. Making certain elements of the production design more attractive to the tastes of contemporary audiences is a long way from full-scale modernization of the story. It's just a tactical creative decision, apparently deemed acceptable because Poldark is fiction, not a documentary. For example, why does Demelza display shaved legs (see episode 4)? How many real English women in 1787 shaved their legs, particularly women with working-class origins? Some anachronistic elements of grooming and dress are evidently deemed essential to hold the appeal of today's audience.

 

3. Poldark isn't Shakepeare or Aeschylus, so I'm not sure that transplanting the story to a different time period would yield any great insights into the characters' psychologies, or shed more light on contemporary social issues. (Moreover, the link between the socioeconomic challenges of the Poldark milieu and similar problems facing us today is already abundantly clear from the 2015 version.) Also, this is only the second adaptation of the story, so there's no reason to "go experimental" with the staging yet. But who knows? There have been many attempts at modernized versions of Jane Austen novels, so perhaps Winston Graham will be next. Maybe the 10th television version of Poldark will be set in 1960s New York City ....

[Nampara]

To follow up on my own last post, I want to mention something that I'd been meaning to post here. The episode 4 recap in The New York Times noted that Ross gave Demelza a version of the "you complete me" speech at the end. When I read that comment, it occurred to me that the movie Jerry Maguire can in some ways be viewed as modern-day, loose (very loose) interpretation of the Poldark story. Jerry rebels against the interests of his own class (rich sports agents) and is ostracized for it. His status-hungry fiancée dumps him, and his business is on the verge of economic failure. The only person on his side is a lowly secretary who left his former agency to join him on his quixotic quest for athletic justice. He impulsively marries her to keep her around, but it's only afterward, following some significant personal and professional challenges, that he actually falls in love with her.

[Becks]

De-lurking to say that Nampara, I've been having the same sort of Jerry Maguire thoughts ever since the second episode or therebouts, due to the plot parallels of course, but also because Eleanor Tomlinson's performance has really put me in mind of Renee Zellweger's in that film - the yearning, the luminosity in those early episodes.  It's an unexpected but totally legit comparison, IMO. 

 

On another note re: the production's anachronistic or historically inaccurate decisions - it's interesting which things bother us as viewers, and what doesn't even register with us. I admit that the obviously modern makeup (Elizabeth and her lovely but crazy anachronistic mauve lip/cheek color combo being one of my own pet peeves) has bugged me, but I haven't been bothered about the lack of wigs, for example, even though I know we ought to be seeing more of them. This blog post  is one of the most interesting discussions of what its author calls 'historical accuracy vs. historicity' in period films/TV that I've ever seen. It deals specifically with the competing versions of the Borgia story that were made in recent years, but you don't have to be a viewer of those shows to engage - the author has a larger point to make about the intersection of historical accuracy and entertainment that provides some intriguing food for thought for anyone who digs period stuff.

 

Also, these two interviews - with Hannah Greig, Poldark's historical advisor, and Marianne Agertoft, the first season's costume designer, may be of interest.

Edited July 29, 2015 by Becks

[Nampara]

De-lurking to say that Nampara, I've been having the same sort of Jerry Maguire thoughts ever since the second episode or therebouts, due to the plot parallels of course, but also because Eleanor Tomlinson's performance has really put me in mind of Renee Zellweger's in that film - the yearning, the luminosity in those early episodes.

 

Tomlinson is so good — really makes you feel that Demelza is a one-in-a-billion person whom Ross is blessed to meet. This is extremely important, because it's necessary in order to "bring balance to the Force." Viewers ultimately must be convinced that Demelza rescues Ross as much as he rescues her.

 

I will check out the sources you cite.

[shandy]

Wowzer, that Jerry Maguire analogy - how clever! I can't get it out of my head. 

[Anothermi]

...

This blog post  is one of the most interesting discussions of what its author calls 'historical accuracy vs. historicity' in period films/TV that I've ever seen. It deals specifically with the competing versions of the Borgia story that were made in recent years, but you don't have to be a viewer of those shows to engage - the author has a larger point to make about the intersection of historical accuracy and entertainment that provides some intriguing food for thought for anyone who digs period stuff.

 

Thanks you so much for bringing all the links. I especially want to thank you for the one I'm quoting above. Very informative and thought provoking. I've book marked other blog posts by this person as I have "The Hollow Crown" on my "to see" list.

[Nampara]

Here's an excellent article on the use of visual effects in Poldark:

http://www.cgw.com/Press-Center/In-Focus/2015/Poldark-Creating-a-Period-Drama-in-a-Modern-Age.aspx

 

As is often the case with prestige dramas, particularly period pieces, computer-generated imagery and other effects are used more often than the audience might expect.

[Becks]

Tomlinson is so good — really makes you feel that Demelza is a one-in-a-billion person whom Ross is blessed to meet. This is extremely important, because it's necessary in order to "bring balance to the Force." Viewers ultimately must be convinced that Demelza rescues Ross as much as he rescues her.

I know Tomlinson has received criticism, but for me she has absolutely captured the spark that Demelza needs to have. Ironically, I had seen her as the lead in a horror movie a few months before Poldark aired and hadn't even realized that it was the same actress - nothing stood out about her there. Just goes to show what a true connection of actor and role can bring forth.

Thanks you so much for bringing all the links. I especially want to thank you for the one I'm quoting above. Very informative and thought provoking. I've book marked other blog posts by this person as I have "The Hollow Crown" on my "to see" list.

You're welcome! The Borgia blog post, IMO, is essential reading for anyone who enjoys historical film and TV. I have to admit that I'm not quite as at ease with blatant historical inaccuracies (like the actresses' makeup on Poldark) as the author is, but the question of how far it's even possible to go with historical accuracy before you confuse or alienate an audience is a fascinating one, as is whether it's better to look period or feel period. The makers of Poldark have obviously made the choice, much like the producers of other recent TV costume dramas (The Tudors comes to mind) to simply not stick meticulously to the era the story takes place in. The makers of the first Poldark adaptation didn't either, as one look at Angharad Rees's blue eyeshadow will tell you.

(You will enjoy The Hollow Crown...vibrant, powerful Shakespeare.)

A few more links of interest: PBS has a Pinterest board of artwork and items that Marianne Agertoft drew upon for inspiration when creating the costumes for Poldark. It also features photos of the actors' costume fittings that really let you get a good look at some of the details. The irreverent and informative site Frock Flicks is also covering Poldark and has had several interesting posts about various aspects of the show. A few examples:

Poldark: What’s Up With the Hair???!!! Part 1

Poldark: What’s Up With the Hair? Part 2

Just How Fashionable Are Poldark’s Ladies? Part 1

Just How Fashionable Are Poldark’s Ladies? Part 2

Nampara, thank you for the CGI article, I will be checking it out. I recall the actors mentioning the use of CGI on the dvd commentary, specfically in the area of the London/Sawle crossroads that appears several times during the series.

Edited August 1, 2015 by Becks

[Nampara]

Back to the music for a minute — here's a good article about score composer Anne Dudley:

http://www.filmmusicsociety.org/news_events/features/2015/072715.html.

A few tidbits:

The newly issued Sony Classical album has just debuted in the top 10 on Billboard's classical-crossover chart, and in the top 20 on its classical-album chart.

Good news that the Poldark soundtrack is deservedly popular.

 

"And I wanted to find a great sound for the character of Ross Poldark. I have a friend who is a terrific violinist, Chris Garrick. He describes himself as a 'non-classical violinist.' I've been dying to find something really good to work with him, and I thought, this is it."

So it appears I was at least half-right in my analysis of the main theme. The solo violin represents Ross.

 

Dudley also credits Debbie Horsfield's scripts: "She left a lot of room for music. It's not wall-to-wall dialogue by any means. There are a lot of landscape shots, lots of cutting between scenes where people are doing things without dialogue. I don't think I've ever done a TV piece which left so much room for music. In that respect, it was a joy to work on. Music was not 'confined to the boundaries,' it was a significant factor in the whole piece. We knew it would be."

This reminds of the relationship between Prokofiev and Eisenstein on Alexander Nevsky.

 

Dudley is amused that Poldark fans have been writing her to complain about the album choices, as in "Why haven't you used the theme that occurs in episode 5, 20 minutes in, it's such a lovely tune?" She adds, with a laugh: "It's really encouraging that people are listening so hard!"

 

The composer reveals that she has written a virtuoso piano arrangement of her main Poldark theme and has offered it to a major piano soloist. If that performance materializes, there may be a second Poldark soundtrack, with that track leading off the new album, Dudley suggests.

I guess we are not the only ones with track-list ideas. :)  And that's good news about a possible second album. My wife loves the Poldark soundtrack, but of course her favorite track is one that wasn't even on the album until I added it: "I D' Pluck a Fair Rose." She's a very good singer, and this kind of tune is right in her wheelhouse, so she found the lyrics online and has learned the song.

Edited August 2, 2015 by Nampara

[Anothermi]

Thanks for the link, Nampara.  The RossTheme violinist's name (Chris Garrick) made me smile. Very appropriate - even if he's associated with the lovely dog.

 

Hope the 2nd album alluded to materializes.

[HoodlumSheep]

Love the music! It's gorgeous.

[jjj]

I posted this in the Media thread, but also will note here that the outdoor town location will not be used in Series 2:  http://www.thisiswiltshire.co.uk/news/13610244.Disappointment_for_Corsham_as_BBC_confirms_Poldark_will_not_be_returning_to_town/