Word: bosinney
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...scion of a wealthy, stodgy London family, is ready to settle down. He meets the near penniless Irene (Gina McKee), his temperamental opposite: she loves art, he's a philistine; she is drawn to ideas, he to money. Naturally, she marries him. Soon she's making eyes at Philip Bosinney (Ioan Gruffudd), the brilliant, artistic architect whom Soames hires to build a country house. Their affair sends Soames into an obsessive rage and precipitates family conflicts that span generations. Irene is more than a love object; she is modernity. The Forsytes long for her to perk up their tired blood...
...hear that Irene "[takes] steps to prevent" having a child with Soames; we see that--in the contraceptive manner of the time--she douches after sex. But the themes (love vs. money, bohemians vs. the Man) probably appeared more vital in 1969; Soames is no less a villain, but Bosinney now seems, unintentionally, a bit of a preening artiste...
...SKELETON. This is Pritchett's revenge on Soames Forsyte (now, after 40 years, known to untold millions thanks to TV). In Pritchett's sly version, Soames would have been less likely to play the Man of Property with Wife Irene than permit an impropriety with Lover Bosinney...
...some curious reason, the director started the story with the death of Bosinney and used a flashback to recount the central action of the picture. For those who had not read the book, this must have taken much of the punch out of the plot. If this wasn't enough to do so, then the astonishingly dull seript was. Some of the lines were so trite, that I felt the way an English A teacher must when his pupils read their early themes...
...three, in its grimness and covert intensity, is compared to Greek tragedy. How cleverly the authoress has argued her parallel may be seen by this sentence: "An instinctive dread, a premonition of danger, seizes the Chorus (the lesser Forsytes) even before the appearance of this strange and unsafe creature (Bosinney). It is perhaps straining a point for the sake of consistency to carry over this symbolical hierarchy into all of Galsworthy's work: the essay manages it with but little implausibility. If the symbolistic explanation seems to quaver in some places, it is balanced by first-rate exposition...
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