Franny Moyle's book "Desperate Romantics", subtitled "The Private Lives of the Pre-Raphaelites", deals less with the art of the Pre-Raphaelite Brotherhood than it does with their changing relationships with one another and their relationships with women. Although it is fairly racy in its style, it is nevertheless a work of non-fiction, so Moyle was obliged to stick to historical fact. Peter Bowker's television series, however, although it is based upon Moyle's book, is heavily fictionalised. It concentrates upon the three main members of the Brotherhood, William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti, their associates John Ruskin and William Morris, and the women in their lives. Edward Burne-Jones appears as a relatively minor character, but Ford Madox Brown is omitted altogether.
The main female characters are Ruskin's wife Effie, who later married Millais after a sensational divorce, Rossetti's muse, mistress and later wife Elizabeth Siddall, Hunt's muse, mistress and later fiancée (whom he never married) Annie Miller, Fanny Cornforth, another of Rossetti's models who also became his mistress, and Jane Burden, who married Morris but had an affair with Rossetti, by then a widower. Hunt's model and later wife Fanny Waugh is omitted, as are her sister Edith (whom Hunt married after Fanny's death) and Burne-Jones's model and mistress Maria Zambaco. Ruskin's curious relationship with the teenage Rose la Touche is dealt with in much less depth than it is in Moyle's book. (Perhaps Bowker, although otherwise happy to deal with his subjects' sex lives in some detail, was less happy to explore the controversial possibility that Ruskin may have been a paedophile).
Some of the series' departures from historical fact are relatively minor; the model for Holman Hunt's "The Hireling Shepherd" was not Miller but Emma Watkins. In a scene set in the 1850s we see Millais's notoriously sentimental "Bubbles" which was not painted until 1886. William Morris was quite a small man, not the tall figure depicted here. Others are more fundamental, the most important perhaps being the invention of Fred Walters, an imaginary member of the Pre-Raphaelite Brotherhood, although partly based upon the real-life Frederic Stephens. Like Stephens, Fred is a critic and journalist who uses his position to promote the work of the PRB, but he is also depicted as an innocent, idealistic young man, forever falling in love with women, particularly Elizabeth and Annie, who refuse to return his affections. (Annie's analysis is that Fred is "too nice" and that women like a man with something of the rogue about him). Bowker sometimes also follows Moyle into controversial conclusions which are not universally accepted; not all biographers, for example, would agree with her that Elizabeth Siddall's death was a suicide or that Annie Miller and Fanny Cornforth were prostitutes.
The acting is generally of a reasonable standard, the best performances in my view coming from Rafe Spall as Holman Hunt, a man torn between his artistic idealism and his genuine religious beliefs on the one hand and his fiery temper and the earthy, carnal side of his nature on the other, and Amy Manson as Lizzie. Lizzie is sometimes wrongly portrayed as a weak, passive figure, but Amy shows that she was a strong, determined young woman with artistic ambitions of her own. I was less impressed by a pre-Poldark Aidan Turner as Rossetti, played here as a man as carnal as Hunt, if not more so, but lacking Hunt's drive and work ethic, content to idle away his days without doing any significant work and forever depending upon his friends for "tin" (as he called money). Samuel Barnett's Millais contrasts oddly with his two painter colleagues; he emerges as a young man just as innocent as Fred, but with the difference that Effie returns his affections in full.
The series did not always find favour with the critics, although their criticisms tended to concentrate on its historical inaccuracies or on its failure to explain the philosophy of Pre-Raphaelitism or how the movement contrasted with the sort of art which had preceded it. Others took exception to the frequent and explicit sex scenes or to the jarring modern-style music. There is certainly some merit in such criticisms, and yet I couldn't help feeling that if you were looking for a fictional series about a group of free-thinking, free-living and free-loving nineteenth century artists, "Desperate Romantics" is actually quite a good one. 6/10.
