During the writing of the episodes, the writers and the producer decided that the series should end on a lugubrious note. It was agreed that the protagonists would eventually fail to escape the inevitability of marching against the enemy. It is certainly a bold move considering the primary purpose of Blackadder is to produce comedy which ranges from simple visual gags to intelligent and sarcastic commentaries on a period of history. History, however, must sometimes be treated with respect and it is certainly the case with the First World War. Such was the compromise, the duty, that befell the team.
An obvious challenge presented itself for to often in the history of art have Comedy and Tragedy failed to blend harmoniously. When the final hours of shooting neared, Rowan Atkinson said "I just remember feeling the impending doom of my character. I remember feeling this strange knot in the pit of my stomach. And it as the first time, as an actor that I had felt the predicament of my character: I was going to die at the end of the week."
At the beginning of the passage above, Captain Darling, in a rare moment of confession, candidly expresses his fear of what is to come. He had so far been work comfortably behind a desk and now he must face the harsh realities of the war. He reveals what was to be his future after the war had he not been taken up in this madness: going back to work, being with his friends, marrying the woman he loves. How deeply moving these lines are when one thinks of the multitude of letters from soldiers to their beloved in which similar longing were put into words.
Before blowing his whistle, Blackadder's last words are "I mean, who would have noticed another madman round here?". They fade away not long after going over the trenches and a beautiful field of poppies slowly appears. In these last moments, the dreadfully bleak set on which the scene was shot, the deaths of the characters, together combined with the sad music and that still with the poppies, create a bitter yet brilliant ending to a great series.
The critics were unanimous in their praises, yet some historians bestirred themselves saying that the series was generating misconceptions and reinforced myths about the war in the public consciousness.
Despite these perhaps unfair judgement the episode was received several distinctions and is still regarded as one of the best in British TV history.
There is another instance where Historical Fiction, as far as British television is concerned, breaches the boundaries of time and pays tribute to men and women of a specific epoch. I am referring to Dad's Army's last episode.
The homage was performed once again by iconic celebrities of the time:
-The charming and irreplaceable John Le Mesurier
-The beloved 'grandad', Clive Dunn
-The unstoppable Scotsman, John Laurie.
What is, I think, also remarkable about Dad's Army, is that the characters are portrayed by men who had themselves played their parts during the Second World War. Including Arnold Ridley, a veteran of the First World War who was wounded no less than three times during the Battle of the Somme and was once more wounded during World War II. To know this and watch such heroes raise their glasses to their fellow Englishmen (and the Scots) is quite moving.
This type of Historical Fiction is perhaps a rarity that is only to be found in Great Britain, it can be silly sometimes, it is tremendously self-deprecating, but, in the end, no one can say it does not respect history or the people. Quite the contrary, it is the voice of the people.
