the next in the series of small screen masterworks…
by Allan Fish
(UK 1971-1975 3,172m) DVD1/2
What are we going to do with Uncle Arthur?
p John Hawkesworth d Bill Bain, Derek Bennett, Raymond Menmuir Simon Langton, Herbert Wise, James Ormerod, Cyril Coke, Lionel Harris, Christopher Hodson, Joan Kemp-Welch, Brian Parker w Alfred Shaughnessy, Jeremy Paul, Charlotte Bingham, Julian Bond, Raymond Bowers, Terence Brady, Maureen Brady, Joan Harrison, John Hawkesworth, Elizabeth Jane Howard, Deborah Mortimer, Rosemary Anne Sisson, Anthony Skene, Fay Weldon, Peter Wildblood created by Jean Marsh, Eileen Atkins m Alexander Faris art John Clements, John Emery, Roger Hall
Gordon Jackson (Angus Hudson), Angela Baddeley (Mrs Kate Bridges), Jean Marsh (Rose Buck), David Langton (Richard Bellamy), Simon Williams (James Bellamy), Rachel Gurney (Lady Marjorie Bellamy), Hannah Gordon (Lady Virginia Bellamy), Meg Wynn Owen (Hazel Forrest), Nicola Pagett (Elizabeth Bellamy), Lesley-Anne Down (Georgina Worsley), Christopher Beeny (Edward Barnes), Jenny Tomasin (Ruby Finch), Pauline Collins (Sarah Moffat), John Alderton (Thomas Watkins), Jacqueline Tong (Daisy Peel), Raymond Huntley (Sir Geoffrey Dillon), Karen Dotrice (Lily Hawkins), Joan Benham (Lady Prudence Fairfax), Anthony Andrews (Lord Robert Stockbridge), Ian Ogilvy (Lawrence Kirbridge), Gareth Hunt (Frederick Norton), Anthony Ainley (Lord Charles Gilmour), Charles Gray (Sir Edwin Partridge), Cathleen Nesbitt (Lady Mabel Southwald), Keith Barron (Gregory Wilmot), George Innes (Alfred), Nigel Havers (Peter Dinmont), Celia Imrie, Freda Dowie, Ursula Howells, Robert Hardy, Georgina Hale,
If ever a series came to define prestige British television in the seventies, it must surely be Jean Marsh and Eileen Atkins’ extended variation on Noël Coward’s Cavalcade. It tells the fortunes of the inhabitants, both masters and servants, of 165 Eaton Place, London, from 1904 to 1930, encompassing the Edwardian era, the Titanic sinking, World War I, the roaring twenties and the Wall Street Crash. It encompasses every form of drama and melodrama, played out in an inimitably reserved fashion. In many ways, 165 became a microcosm not just for the period of British history it related, but for the audiences of British television of its era. Even now, it is profitably reshown on satellite TV in the UK and on Masterpiece Theatre in the US, not to mention on DVD. It became a byword for quality and, thirty years on, that quality remains basically undiminished.