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Created by: Katherine Jakeways
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ppropriately for a story about family dynasties, A Woman of Substance comes with a substantial legacy to live up to. Originally a 1979 novel by Barbara Taylor Bradford, it was first adapted for TV as a 1985 miniseries that broke British viewership records and earned an Emmy nomination. Now, the classic drama has been remade with some of the biggest names on British television. Over four decades on, can this new interpretation live up to the same standard?
A Woman of Substance opens in 1970s New York, where wealthy mogul Emma Harte (Brenda Blethyn) is fighting to maintain control of her business empire as rumours of ill health leak to the press. Embattled in her high-rise office, she recalls her humble beginnings and what it took to get to the top. The bulk of the story then moves to Northern England in the 1900s, to the estate of the upper-class Fairley family. A teenage Emma (Jessica Reynolds) works as a maid to support her struggling family, but dreams of breaking free from a life of servitude thanks to her talent for dressmaking.
Things become complicated when she secretly falls for the Fairleys’ son, Edwin (Ewan Horrocks), who promises to sacrifice his life of privilege to live happily with her. However, when she falls pregnant, Edwin turns her away, fearful of his father’s reaction. Jobless, pregnant and heartbroken, Emma resolves that she will never struggle again and moves to a nearby town to begin working her way up in the world of business. However, as Emma’s fortunes rise, so does her desire to destroy the Fairleys once and for all.
Over eight episodes, A Woman of Substance evolves into a pleasing howl of feminist and class vengeance. Emma’s determination not to let the misdeeds of powerful men go unpunished succeeds through a modern lens, giving a contemporary feel to the nearly 60-year-old novel and shifting its moral compass.
One of the most magnificent aspects of A Woman of Substance is its gorgeous set design and lavish costumes, which immediately immerse the viewer in the time period. It takes a cue from Downton Abbey’s success, recognising that truly enveloping the audience allows for greater investment. That investment is paid off in a flurry of emotional showdowns and tearful revelations, not to mention an element of sex that perhaps would have been scandalous at the time of the first adaptation, but, in a post-Bridgerton world, is almost expected. It’s also wildly melodramatic at times, but that’s part of its charm.
The Fairleys’ portrayal in the series is a double-edged sword. It’s hard to think of a more self-absorbed, cruel and elitist group of people, even when viewed in the context of the era. On the plus side, they do provide the perfect fuel for Emma’s quest for revenge.
This upper-class family destroyed her life without even noticing and indeed seems shocked that their former maid would have any feelings at all. Particularly brilliant in this regard is Emmett J. Scanlan as Adam Fairley, a selfish and uncaring patriarch who prioritises his own needs over those he loves. It’s the sign of an excellent villain that your skin crawls every time they are on the screen, and in this regard, the actor achieves his goal magnificently, particularly in a drama as heightened as this one.
The downside is that it’s harder to feel sympathy for the family’s various subplots that arise over the course of the series; Adam’s crumbling relationship with his troubled wife Adele (Leanne Best) and secret affair with her sister Olivia (Lydia Leonard), as well as Edwin’s continuing guilt over his past actions, are rendered more irritating than heartrending. Most of the other characters are present to inspire or support Emma and they do so to varying degrees of success. Irish actor Niall Wright is impossible not to fall for in the part of Mac O’Neil, Emma’s kindly colleague who sticks by her throughout despite his unrequited love for her. Will Mellor and BAFTA winner Lenny Rush are heartbreaking as Emma’s father and brother, respectively, while Mara Huf does her best with the small role of Paula, the granddaughter of the older Emma.
Despite limited screentime, two-time Oscar nominee Brenda Blethyn, makes the most of every second. She plays Emma as someone hardened by battle, unfazed by conflict and comfortable in her legacy. The character also feels like a sympathetic version of The Devil Wears Prada’s Miranda Priestly, with her pointed put-downs leaving you in no doubt about how she went from strength to strength in a male-dominated world, as well as the consequences of a life spent building an empire.
Reynolds will be best known to many viewers as Malva Christie from the sixth and seventh seasons of Outlander, but she is a powerhouse that provides the beating heart of the show. While her character development is informed by a lot of dialogue, the Irish actress pours herself into every moment, portraying the hurt as well as the fear behind her determination. Emma could very well have been a flat heroine whose drive is something to be admired, but we also see the flipside of that single-mindedness. Her need for revenge dictates every relationship she has and Reynolds infuses every scene with both steeliness and vulnerability.
A Woman of Substance may not hit the same heights as the best period dramas out there, but at its best, it offers some delicious intrigue that makes you eager to stick with it until the end. A shocking cliffhanger beautifully sets up the forthcoming second season, where hopefully, Blethyn will be given more time to shine.
– Courtesy: Collider.com
Rating system: *Not on your life * ½ If you really must waste your time ** Hardly worth the bother ** ½ Okay for a slow afternoon only *** Good enough for a look see *** ½ Recommended viewing **** Don’t miss it **** ½ Almost perfect ***** Perfection
