Ronan Vibert, Vibertology, Scarlet Pimpernel, Robespierre, BBC


	*~ Series Two, Film 3* *n. A Good Name* *- TV Series (BBC) 2000: Ronan Vibert content: approx 30%* Dir: Simon Langton Wri: Rob Heyland Other Cast: Caroline Carver Claudette de Bridoire, Mark Umbers Lord Sidney, Danny Webb Libersac, Samantha Beckinsale Nana, Simon Kunz Nodues


	Plot/Comments: The *best episode of the second series* (the writing is head and shoulders above the other two episodes): mistaken identity, duels, family skeletons, courtroom tension, and plenty of Shakespearian tragedy and hubris. While the character of Robespierre was fleshed out more in the second series, it is this episode which provides Ronan Vibert with plenty of long, intense, theatrical scenes, showing The Incorruptible's utter isolation: as his grip on the course of the Revolution tightens, his private life, and the 'weaknesses' associated with it, crumble and evaporate.


	Acase of mistaken identity results in Lord Sidney, oversensitive aristo poet, being kidnapped as the Pimpernel and spirited to Paris, where the Mob bay for his blood. Claudette (a French aristo with a penchant for Rousseau and large dogs, as per Robespierre), recently rescued by the Pimpernel and ergo in love with Lord Sidney, attempts to free him *cunningly disguised as a boy. Both face certain death at the Guillotine if the real Pimpernel fails to save both them and his reputation... ...Except Claudette is not an aristo, but adopted: her real mother (Beckinsale) having been knocked up by The Incorruptible himself in their youth.*


	Faced with this shattering revelation, Robespierre tries in vain to rescue his own daughter from the claws of the Revolutionary Tribunal (a tense and desperate courtroom scene, which leaves him exhausted and emotionally desolated). But the deadly Libersac, a snake of a man vying for Robespierre's power, aims to use this new weakness to expose him. *An unlikely truce between the Damned Elusive and the Incorruptible is needed to save the day...*


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	Ronan content: This epsiode is brimming with good Ronan scenes, but in an attempt at brevity, we'll look at four (not in order). The last Libersac-Robespierre scene shows a contrast to his courtoom breakdown: he is clear calm, controlled and the master of politely coersive, one-on-one politics. As the scene ends on a close-up of Ronan, we are unsure where his loyalties lie, and this contiunes as he prepares to watch Claudette's death: the script, and the acting is cunningly left ambiguous: Robespierre is continually changing, but will his ambition rule his heart?.

Typical Ronan Character Quotes:

"They want money or blood. And as we have no money and a surfeit of blood...blood it will have to be. But not mine. Not yet"
"Bring me the Pimpernel and we will save your neck...for another occasion"
"You are not even an acorn to my oak. You are but a small branch growing in my greatness: if you try to cut me down, you will fall with me"
"I've thought of many things lately: thoughts a dedicated servant of the People should not have. It's frightened me how easily -- even attractively -- different my life would have been with a wife and child"
"Oh, I have feelings. Only feelings for France, the Republic, the People. I am the People"
"Lost and found...and lost again" (as he fails to save his newfound daughter from the guillotine)

Trivia:
Samantha Beckinsale is the
half-sister of Kate Beckinsale,
who is married to Michael Sheen. Vibert worked with both Sheen
and Beckinsale in Romeo and
Juliet, and with Sheen in Peer Gynt.


	The second scene with Grant (in Karl Malden-nosed 'disguise') brings the shocking news that the "loathsome arachnid" once had "a brief flirtation with the opposite sex" that bore fruit: that Claudette, who Robespierre aims to put to death as an Enemy of the People, is actually his own daughter. Before this news breaks, Robespierre, now looking pale and drawn, with dark shadows under his eyes, regards the Pimpernel with clear loathing and resentment. As he hears of the new family development, his automatic denial is hollow and desperate. When the musketed and oafish guards respond to his call for help, his expression shows that Robespierre realises that he is utterly alone in facing this predicament, and perhaps life in general: *his very Incorruptibility isolates him from people and the People. This theme is continued when Robespierre visits the humble home of his childhod sweetheart (Beckinsdale): as he uncomfortably takes in the dirty, laundry-strewn room, he reassures himself "I am the People"*, blocking out his emotions and vulnerability.


	The major scene in the episode is Robespierre's failed attempt to save Claudette, who is unaware of her true parentage, from the Revolutionary Tribunal. As he pleads with her in closeup "I can save you, but I need your help", she spits at him in loathing and repeatedly condemns herself to certain death. The wily Libersac uses Robespierre's own laws and writings against him to convict her, and he becomes increasingly desperate: his uncertain, defensive body language, weakening voice, and darting eyes all reflect his inability to cope with the premise of his own (previous) words being used to sentence his daughter. As the blood-frenzied mob carry away Claudette, *Robespierre is left without strength: physically exhausted, emotionally dissipated, pallid, and sweating*. He drops into a chair, his hand slowly cradling his head, and slowly sliding off the famous wig (revealing very short, slightly spiked, grey-brown hair with close-cropped sideburns). He vigorously, angrily rubs his hair and scalp in frustration, clearing his thoughts, and also in an action of rare physical comfort. Robespierre is totally alone. He sits in the deserted courtroom with very darkly-shadowed eyes, the fingers of his right hand blotched with black ink (great attention to detail in the makeup). He is suddenly roused by the appearance of the Pimpernel: another scene with Richard E Grant, and we finally get face-to-face shots, which, combined with their low voices, physical isolation, and Ronan's childlike, confused Robespierre, give a feeling of theatrical intimacy. Grant accuses him of being "intoxicated with the unfamiliar liquor of sentiment", and Vibert responds in the numb, uncomprehending, skittish and childish manner of someone in deep shock.


	*In many ways this courtroom-to-aftermath scene is the most important Pimpernel scene for Vibertologists: it is pure theatre; tense, emotionally gripping, and a great showcase for Ronan.* *He would have done a great Hamlet or Macbeth.* n.Thanks to Melissa for help in getting this episode.