I can't remember when a movie has haunted me more than this one, at least since Brokeback Mountain, which has a similar resolution to the first part of this Masterpiece Theater miniseries. I was so sad after seeing Brokeback Mountain that I never wanted to see it again. But something about Man in an Orange Shirt keeps drawing me back again and again. Having the second part to help resolve the hurt and pain is part of it. But it's the first 17 minutes I'll remember most, in which two main characters meet in WWII Italy and, two years later, resume their relationship. The editing, the score, and two very attractive and believable lead actors are perfection. There's also a love letter, key to the plot, that will bring tears to your eyes, it's that beautifully written.
This two-part miniseries leaves many questions, such as what happened in the 60-year interval between episodes. The second part, set in 2017, answers many of them if the viewer watches and listens closely for clues. The two parts are so different, it might seem that there are two different directors. The first one plays out cinematically like a movie from the '40s or '50s, with lush colors, a stirring theme, the thrill of a long-denied romance explosively consummated, and a somewhat melodramatic conclusion that leaves the viewer wanting more. As an intentional contrast, the second part follows present-day stylistic conventions, with quick edits, repeating motifs, more sex scenes, and some dark and intensely personal confrontations. There's an interesting dichotomy raised by pitting these two episodes against each other: How can same-sex relationships survive a world that overwhelmingly condemns them, and what happens organically when the legal condemnation is removed but the prejudice remains?
All of the acting is superb, which is to be expected from the venerable Vanessa Redgrave, but the other lead actors (who don't yet come close in name recognition) are impressive in their very difficult and heartbreaking scenes. At the top of my list is Andrew Jackson-Cohen, who is the definition of leading-man material. I'd seen him in lighthearted or action fare, but this man deserves to be cast in more dramatic roles like this. I can't fathom why he didn't garner a ton of acting awards.
If you can, watch the BBC original. There are many short snippets of dialog and reactions that make the story feel much less rushed and add greater understanding of the characters' motivations.
