Keeping up with Poldark – season 3, episode 9 – the finale Kettles on, tricorn hats out, good coats at the ready: it’s time for one final fling with this year’s series of Poldark.

The final episode of Poldark’s third series opened with coastlines, rum, warbling, and even a flicked-out sailor’s telescope (not a euphemism). There were love letters with phrases like ‘press but her lips to mine, and never let love decay’ (basically the eighteenth century’s answer to sexting); George was screwing over the poor again; and Geoffrey Charles was channeling Aunt Agatha (“It’s a Poldark house! And he’s a usurper!”). This being a series finale, however, it was inevitable they’d invoke the ancient Poldark rule that no more than two people can be happy at any one time (this week it was Dwight and Caroline). I predicted a finale of adultery and clifftop contemplation, mining and murder, and though there was less of the latter, they went hell for leather on the former.

Ross and Demelza’s marriage was looking rockier than a Cornwall cliff-face. An element of emotional growth may have been teased, but as far as Demelza’s concerned her husband is cagier than ever. Then came news of his apparent chapel shifting sesh with Elizabeth, after a conversation which actually marked some kind of closure for them, though he could’ve refrained from sealing it with a kiss. Demelza’s been tempted by revenge-adultery before, but the difference this time, of course, is that Lieutenant Armitage looks like he’s just walked out of the fairy realm to while away your women with love poetry and good wine. He’d shown her the attention Ross hadn’t, and when he admitted he’d be blind in six months, well, Demelza was suckered from there. They looked unearthly as they went for a slow-mo roll in the wild grass. Unfortunately, Poldark has a real hang-up about women enjoying sex, and the showrunners just couldn’t bring themselves to have Demelza bask in the liaison. Her return to Nampara was one of wrought gazes and unspoken admissions, and although the now dually adulterous husband and wife surprisingly ended in the episode in each other’s embrace, it was a finale that felt far from resolved.

The unusually muted and reticent closing interactions between Demelza and Ross were in stark contrast to those of Elizabeth and George. In a stunning reversal of roles, it was the Warleggans – more generally known for their spite, coldness and snooty chin raising – who were at loggerheads as Elizabeth finally challenged George on his ‘vile suspicions’ of her and his standoffish treatment of Elizabeth in his sphere or out of genuine shame – one feels it’s a mixture of the two, and perhaps even more of the latter – watching the breakdown of his usual high-collared aloofness was Valentine in an effort to save her marriage. Whether his collapse was out of desperation to keep remarkably compelling. It was particularly terrific work from actor Jack Farthing, as up to this point George has been about as emotionally expressive as your common garden turnip. Of course, we know that Ross and Elizabeth really did get it on and that the young Valentine’s parentage is all but certain (he’s sprouted about four months’ worth of dark curls since last week), so it was also strong work from a persuasive Heida Reed. It’s here that the viewer realises that Poldark has been working like a magician all series long; diverting your attention to his right hand so you won’t see what’s up the sleeve of his left. Demelza and Ross began as confrontational types, but they have grown terser while the rigid Elizabeth and George have built up to this uncharacteristic outpouring.

It was just as well, as the finale’s physical conflict turned out to be a bit of a damp squib. Drake faced the worst of it, on an individual level, as his smithy was burned down and he was beaten up on George’s orders. But at least he’s made it through to return next year. The repugnant Whitworth, however, hasn’t been killed off yet, much to everyone’s dismay. I was sure Rowella was going to help both herself and Morwenna, so there was a bit of a missed plot opportunity there. The sight of enemy ships had Cornwall’s commoners up in arms, but the so-called French ‘invaders’ weren’t seen again all episode. The affray from last week’s teaser turned out to be that of a completely undeveloped granary face-off between ordinary folk including Tholly (the hook-handed pirate) and Sam (resident preacher), and the district’s hastily-convened Home Front, including Ross, Dwight and Zacky Martin. The show just didn’t spend enough time building depth of character or motivation over the course of the series to pull it off. They didn’t even come to blows; Horsfield opted for a Breaking Dawn Part 2 approach and had a vision of violence play out before Ross stalled the unrest with the promise that after months of stalling on his ability to help Cornwall’s communities, he’ll take public office the next time he’s offered it.

For all its ups and downs, however, Poldark remains high quality historical drama. Just as it falters – undeveloped conflicts, the flagging of the latter half of this series, the sidelining of Dr. Enys and the reduction of Caroline to ‘bon bons and kisses’ – it finds something to catch your eye again, whether it’s irresistible seascapes or stand-out moments of acting from cast members like Jack Farthing or newcomer Harry Marcus. The music and camerawork, particularly the use of close-ups, in this episode were amazing. Rather hilariously, the after-credits ‘Poldark will return’ scene had Ross turning around against the backdrop of a terrible CGI London. Poldark going to the big city will be about as natural as a flamingo popping out from beneath Aidan Turner’s tricorn hat. 

Series rating: ●●●●○

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