Why did this never happen to me?
Holding thickly-mittened hands with a young (enough to be my grandson) man in perfectly edible yellow jumper, perfectly accessorised with a scarf in avocado green, only slightly made up, hair only slightly enhanced by styling products… And they’re at a skating rink and she’s got that sweet fair-isle jumper on and that kooky hat and ah, don’t they look nice together and it’s Christmas and all…
Except it isn’t. I’ve been stuck in front of the television set in the middle of a hot, sticky afternoon watching the second half of a film of some romantic novel called Winter by Rosamunde Pilcher. Furthermore, to land on Winter, with all its Christmas frippery, I had to bypass a session on Christmas Crafts on the crafts channel. What’s going on? It’s not even July.
And why did I get stuck in front of the TV on a June afternoon? Wasn’t I half way through planning a story (sheets of green file-paper are scattered on the floor around my computer even now); the cats were due to be fed; four games of WordsWithFriends waiting for me to make my next electronic move. I had worthier things to do.
Could it have been the snow? It looked so real, so crisp, so glistening… Was it the country house with the long, gravel driveway lined with snow-loaded fir-trees and snow-capped stone statuary? Could it have been the romance? Not a lot of romance in my life – maybe I’m starting to yearn for it in my second adolescence – a kind of balancing out? Could it have been the soft-focus… everything? Could it have been the acting?
No, it definitely wasn’t the acting. Despite the fact that the film contained at least four famous actors that I recognised from other things – in which they had been able to act – in Winter they seemed to have switched off normal acting in favour of prolonged, soft-focus, emotionally-charged, silent staring at one another. The stared at one other over grand pianos; on the snow-laden steps of the that country house; over expensive pairs of white skates; reflected in huge ormolu mirrors in London flats with lilies in the foreground; in the stable over chestnut horses; in the drawing room over the half-restored paintings… You could tell they were thinking deep and moving thoughts. But about what?
There are several schools of acting – the Shakespearian kind where everything is enunciated at you, and charged with great import – the Patrick Stewart/Ian McKellen school, as it were. There’s the Australian soaps style where everything is either gasped or screeched at you and goes way, way up at the end of every line. And then there’s the John Wayne/Hugh Grant strategy – look and sound exactly the same whether playing a cowboy, an Irish leprechaun, a deep-sea diver or a restrained but lovelorn eighteenth century gentleman. Oh, be a trifle bandier (having just got off the horse) when being a cowboy, possibly, and allow the fringe to foppishly flop a bit (having ridden post-haste from Bath) for the eighteenth century. This was the soft-focus-looking-somewhat-wistful school.
So why didn’t I just turn it off? Well, I suppose I’m having a slightly bad day. Some days you just seem to need a too-small, saggy sofa and a romantic film. You need to dine on yoghurt, hacked-off lumps of cheese and cream crackers, and drop a lot of crumbs on the carpet. You need to shed a tear when the patriarch lies prostrate at the bottom of the slippery stone steps in his wine-coloured smoking-jacket – like a rheumaticky, white-haired snow-angel. “I always did like the snow,” he remarks with a faint but rueful chuckle, before expiring.
One of the things reviewers keep pointing out about Jean Lucey Pratt, whose diaries I reviewed in a recent post, was that she “read widely, but not well”. And it’s true – the many, many novels she mentions in her diaries are all also-runs: long-forgotten stories written by long-forgotten novelists of the forties and fifties. I think this is a bit unfair. Better to read widely than not at all. And as a writer you can learn just as much, probably more, from a bad book as from a good one. And she enjoyed what she read. What’s wrong with that? Maybe I need to defy my inner critic and read a Rosamunde Pilcher. Then I might then understand what was happening in the film.
I just checked out the works of Rosamunde Pilcher online. Apparently Winter is only one of a suite of soft-focus romances called the Four Seasons. So there is a Spring, a Summer and an Autumn featuring the same characters. Fortunately, the others have been shown already. Winter (in June) must have been the last one. Or unfortunately.
I mean, she does this all the time – slightly pensive, slightly sideways, anticipatory, innocent and yet… wondering…