The Times, November 27, 1980, by Joan Bakewell
"Adaptation with real qualities"
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This page yesterday: "The changes one makes in adapting 
books should, if the adaptation is an honest one, relate all 
the time to the reason one chose to do it." Thus, David 
Edgar writing of his adaptation of *Nicholas Nickleby*. I am 
sure *Love in a Cold Climate* is on commercial television 
for good commercials reasons, because it is based on famous 
books about the famous Mitfords and will therefore gather a 
good audience.

Simon Raven's adaptation, however, I take to be born of a 
long familiarity with the Mitford prose style, considerable 
pleasure in the wit, a sympathy with the class background 
and as direct a dealing with events and catastrophes as the 
Mitford sisters have displayed in their various lives. These 
are the best of reasons, Edgarwise, as this is one of the 
best adaptations.

To attribute style to television drama, especially a series 
unfolding in the earlier years of this century, is too often 
merely to compliment the designer on an accurate assembly of 
old cars, Tiffany lamps, crepe dresses and little veiled 
hats. Nostalgic chic has become an accepted cover for thin 
substance, as beguiling and glib as a modish restaurant with 
poor food.

Not so, here. This adaptation, production and direction are 
rooted in real qualities. The casting is strong. Judi Dench 
gives Lady Alconleigh, in the novel almost too shadowy a 
figure, the weight of true maternal caring, neither 
ambitious nor even perceptive, merely a strong and lovely 
presence. And we watch week by week as all her chicks come 
to grief. Michael Aldridge makes me like Uncle Matt far more 
than I did in the novels. Vivian Pickles's Lady Mountdore, 
after lapsing into caricatured frumpishness is now back on 
the rails under the swooping campery of Michael Cochrane as 
Cedric. Rosalyn Landor's pale and willowy Polly and Lucy 
Gutteridge's dark and foolish Linda are both adrift in a 
world unfit for bright and eager young women with plenty of 
money.

They love and leave all the wrong men but their own 
friendship, the bonds between the women, survive. At the 
core of the series, emerging more strongly with each 
episode, is the story's teller, Cousin Fanny.

Ordinary, plain, sensible Fanny...it sounds a thankless 
task. Isabelle Amyes transforms it into something 
outstanding.



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