“You belong to nobody but yourself and you know exactly where you are going.” Thus ended the Call the Midwife Christmas Special, with Sister Julienne’s (Jenny Agutter) words to the Shelagh, the former Sister Bernadette (Laura Main), on her wedding day; on a definite note of self-possession and certainty, which accurately encompasses the tone of Heidi Thomas’ latest episode.
For a period drama which engages with the social issues rather than leaving its own life in the hands of its costume department and cinematographers, Call the Midwife does not shirk away from exploring the personal. While the customary medical issues continue to assert themselves in the latest episode; a polio epidemic threatens the inhabitants of Poplar, along with the brace pre-requisite childbirths the episode is also shaped by what on the surface seems to be an unusual subject for Heidi Thomas. The untimely discovery of an unexploded German bomb in the middle of the area is somewhat unexpected, but adds to the drama of the episode by exploring previously uncharted territory and show that Heidi Thomas is a long way from exhausted of material as well as examining the series’ common theme of the effect of the Second World War on Britain in a fresh way.
As well as the events which shape the wider community, the episode also brought new light to bear on the show’s regular characters. Sister Evangelina’s (Pam Ferris) worldly wisdom was shown in further light as her profound expertise on the disastrous effect of dolly mixtures were made known to all and Sister Monica Joan’s (Judy Parfitt) impromptu recitations of Victorian poetry take an unexpected turn for the Gothic. Apart from this, though, there are significant developments in the portrayal of the characters: the beginning of the episode sees Chummy (Miranda Hart) happily settling into her role as a new mother, far from the days when she capsized her bicycle every five minutes and accidentally assaulted policemen. The tension brought about by the presence of the bomb and subsequent evacuation throw a surprising light on one of the younger nurses, Trixie (Helen George), who acts with a competence and an enduring heroism, the extent of which is rarely seen among the younger nurses on the show, and manages to help a shell-shocked man particularly effected by the trauma of the situation.
Following the example of the previous two series, the third of which is scheduled to begin mid-January, the episode continues in a vein of clear feminine competence and co-operation. Reversing what may be called the normative male:female ratio, the cast of Call the Midwife stands out as offering an obvious voice for a new look at the lives of women. Apart from it being wildly refreshing to watch something that does not endorse the objectification or trivialisation of women, the show is engaging from the point of view of portraying feminine relationships that are supportive rather than competitive and on a level that allows emotion a rare precedence over appearance.
The episode closed with the eagerly anticipated wedding of the series favourites Shelagh and the local G.P., Dr. Turner (Stephen McGann). Having postponed and somewhat re-thought their original simple and muted wedding, the pair finally marry under the contented gaze of their friends. Avoiding what could have potentially been a sappy close to the episode, the episode ends with the subtle note of hope and affection that has been driving through the previous hour and a quarter.
Call The Midwife is currently available to stream on BBC iPlayer
