Ronan Vibert, Vibertology, Scarlet Pimpernel, Robespierre, BBC


	*~ Series One, Film One* *n. The Scarlet Pimpernel* *TV Series (BBC) 1998: Ronan content: approx 6.6%*


	Plot/Comments: It is the height of the French Revolution and the beginning of the period known as The Terror. Citizen Robespierre and Chauvelin, his Head of Secret Police, are involved in the deepest subterfuge as they manoeuvre for power. Meanwhile the guillotine becomes slick as it begins to be used on all who are suspect: aristocrat, peasant and priest alike.


	However, there is one *monumental thorn in the side of these* *Revolutionary Frenchies* -- a figure of continuing embarrassment who stages epic and courageous rescues under their very noses -- the daring and mysterious Englishman known only as the Scarlet Pimpernel. Suspecting that the Pimpernel is an English aristocrat, Chauvelin is sent to discover the identity of their nemesis in the English court, where he meets his former lover, the beautiful French actress Margueritte, now unhappily married to Sir Percy Blakeney -- a supremely foppish English artistocrat. When Margueritte is told that her brother Armand is in danger, she reluctantly gives Chauvelin information on the Pimpernel's hideout. However, after Percy mysteriously disappears, she realises that he could be that damned elusive Pimpernel, and travels to France in the hope of warning him of her unwitting betrayal, where she is immediately arrested as a traitor.

SERIESONE:
2) Valentin Gaultier/Madame Guillotine 3) A King's Ransom/The Kidnapped King ~best in Series One

"All the boys drank absinthe"
~ Emilia Fox on making Pimpernel
see Loose Ends

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VIBERTOGRAPHY


	Ronan content: *This is a Robespierre who discusses the cut of his tailored jacket and the ultimate horror of mob violence in the same disinterested tones*; a finely-controlled master-manipulator, patiently waiting for power to come to him, whispering in shadows to discuss plots; a barely-human master politician enjoying the turmoil and betrayal of others as his key to achieving -- and maintaining -- ultimate power, and a firm hand over the course of the Revolution.


	While Robespierre gets several scenes in this episode, they do not quite have the weight of those in other episodes. This could partly be a nod to historical accuracy: at the time of the prison massacres, he had just been voted into the new Assembly after being out of official politics for a year (but was not yet on the soon-to-be-all-powerful Committee of Public Safety, as is shown here). However, in addition to the tailor/massacres scene, several other key scenes stand out: slamming down a chair in the Committee in pent-up frustration and anger; addressing and enthralling the public gallery, rather than bothering with the tribunal itself, in his role as public prosecutor to Margueritte (another inaccuracy); coldy chastising Chauvelin for his defence of Margueritte and instructing him to escort her to the guillotine, all the while clothed in shadows, and waving him away with a delicate, dismissive hand.

Typical Ronan Character Quote:

Robespierre: "Too long citizen" Tailor: "What, the trials?" Robespierre: "No, the sleeves. And the trials. Justice must be swift. We must let the people do...what has to be done…I do like the buttons" [embossed with a guillotine]

n. On the September Massacres:
This episode carries the highest rating of the series (12), due to the violence of the prison massacres.
       Expecting the Austrian army to
invade Paris at any minute, fighting-age Citizens were to be sent to the front for the final battle. However, the masses were stirred up (largely by Danton, and also Marat, who ran a hugely popular
newspaper) to protect their families from impending slaughter by the traitors and psychopaths in the prisons, who would be freed should the Austrians invade
the city.
     In taking this 'preventative action', the Mob horrifically butchered around 1300+ prisoners, including aristocrats,
murderers...and petty thieves,
prostitutes, priests, debtors, and
juvenile delinquents.
   The Girondin government was overthrown, leaving power divided between the hands of Danton and Robespierre.


	*Ronan gets a lot more freedom in the script to add both humanity and darkness to this character as the series goes on*, and by the end of the second series, we are lucky enough to see a fully-rounded character with flaws, hubris, and even shades of compassion , who is still unquestionably the villain of the piece. It is this combination of virtue, pride, and ruthless sacrifice of personal reservations to meet the high demands of his Rousseauian Revolution which has made Robespierre such an historical enigma and superb dramatic character when done properly. In this case, it is done superbly.