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Harriet, fresh from the trial, tries to get away from it all and ends up stumbling over a recently killed body in Have His Carcass. Unable to resist a crime (or, for that matter, Harriet), Lord Peter is soon on the case. In Gaudy Night, Lord Peter is still proposing at frequent intervals, and Harriet, though unable to say yes, is also unable to send Lord Peter entirely away. But enough with the romance. As Wimsey heads off for some foreign service work, Harriet visits her Oxford alma mater and lands smack in the middle of a poison-pen scandal. Harriet's status as a mystery writer, naturally, means she's the one who should investigate. Sayers clearly had fun writing this one, using Harriet to gently tweak her own profession, at the same time both parodying and defending the cloistered life at a women's college. --Ali Davis
The first two stories are reasonably faithful to the books, and although the "Gaudy Night" episodes are sort of a Dorothy Sayers Lite, they do make a good introduction for someone who is not familiar with the books. These episodes introduced me to Dorothy L. Sayers (my favorite author along with Jane Austen) and in that way, have greatly influenced my life.
The casting and the acting of these is perfection (thank you Edward Petherbridge, Harriet Walter, and Richard Morant!)- there is no cheekiness that bothers me about the Ian Carmichael versions of some of the other novels.
My only complaint is that they couldn't do "Busman's Honeymoon" for this series (someone in Hollywood wouldn't release the copyright - but have they done anything with it??? NO.)
HOORAY!!!
I have already written reviews of the individual performances separately, and will focus here on matters that affect the entire set. For reference, these performances cover the period from Wimsey's successful efforts to free Harriet from suspicions of murdering her lover to Peter's proposal to her at Oxford several years later.
Both of the stars of this series do remarkable work. Petherbridge is almost too perfect for the role, and has managed completely to supplant my own imagined version of Lord Peter completely. My only quibble is that he seems more a man in his fifties rather than the forties I thought was Wimsey's age. Since I am in my fifties myself, I found this quite easy to forgive. As for Walter's depiction of Harriet Vane, she really is exactly as she should be. Richard Morant's approach to Bunter, Lord Peter's man, is more problematic, being well acted, but not quite in character. As far as the lesser characters, the casting is, for the most part, impeccable. The few exceptions to this rule are still more than acceptable.
What makes the novels unique for their time is that Sayers wrote them are not simply as mystery stories with a romantic aspect. Instead, Harriet Vane is in almost every way Lord Peter's match, a strong, intelligent, and independent woman who balks at marriage first because she does not wish to succumb to gratitude, and latterly because she does not with for her own depth of character to be subsumed under Lord Peter's. This dilemma is used by the author not simply to entertain, but to expand on the role of women in post World War I Britain. And here lies my major complaint about an otherwise delightful set of entertainments.
For whatever reason, the director (Christopher Hodson) decided to overemphasize the romance at the cost of other elements. In the case of "Strong Poison" and "Have His Carcase," this sin only extended to the modification of the endings to create a certain romantic suspense. In "Gaudy Night," unfortunately, Hodson made significant changes from the novel, and left out several elements as well. The result of this 'Hollywoodizing' is that the less familiar one is with the novels, the more enjoyable the performances are. If you are a long time Sayers fan, though, you may find yourself slightly dissatisfied. Purist that I am, I have rated the set at four stars rather than the five that it otherwise richly deserves.