This post about the Politics of Poldark has proved consistently popular. Please note, this was originally written and posted in May 2015 after Season One and doesn’t deal with any later events in the show
As with a great many of these sorts of things, I came to the 2015 adaptation of Winston Graham’s ‘Poldark’ novels late (i.e. after they had finished airing and we got them on DVD). I was not keen at first. “Oh good – another BBC costume drama about poncey aristos doing their best Colin Firth-impression” is not a phrase I’m likely to utter. However, I was delighted to be proved wrong. From early in the first episode, I was entranced. Not – in the way that apparently the middle aged cohort of Sunday night fantasists obsessed with Aidan Turner’s pecs are – but by the choice of subject at this particular juncture in political history. Brave does not begin to cover it. We’ve all heard the BBC criticised for bias – in Scotland for a pro-union stance, in England for its slavish adherence to Tory policy or for being the ‘Bolshevik Broadcasting Corporation’. I’ve always taken a neutral stance on this alleged bias – firstly, I’m sceptical that an organisation as Byzantine and disparate as the BBC is capable of maintaining a coherent party line (I struggle with believing in organisations to be that organised.) And, also, because I think if you’re being attacked for bias from all sides, then you’re probably on the right lines. But make no mistake – ‘Poldark’ is brave. In an age of austerity, with food bank usage topping 1 million people, (http://www.theguardian.com/society/2015/apr/22/food-bank-users-uk-low-paid-workers-poverty) for the nation’s broadcaster to produce an adaptation centred on a man of noble birth concerned with the survival of his workers to the extent that he will take on starving miners as farm hands and use his societal position to raise capital to put his people back to work is pretty ballsy.
The point of business is not just to make money is like a refrain for Ross Poldark and he outrages his contemporaries with this standpoint. He stands up for poachers and petitions not only the court for clemency, but also the owner of the pheasants, because of the context of the boy poacher’s circumstances. He is acutely aware of the hardships of subsistence living in his period for normal people. Poldark even tries to form what amounts to a Fairtrade workers’ collective to gain a fair price for the tin mined in the region. “I’m disgusted by my class,” he tells the lovely Demelza (another waif saved from a poor home life by Poldark at a time he can ill-afford to pay for another mouth to feed), “not all of them, but most.” In short, the character of Poldark is like a socialist hero of another age – one who actually believes that by working together we can all get richer. At a time when the top 1% are stretching away from the other 99% across the developed world, I can scarcely think of a more suitable hero than a man who is willing to see poverty and hardship as the result of circumstance rather than sloth and ingratitude and well done to the BBC (and Mammoth Screen who have undertaken the lavish production) for daring to offer the nation a compassionate hero – even if he does spends too long topless scything and staring out of the window in moody contemplation.