The opening scene of the episode brings to mind a typically historical docudrama. What we get is the information about the Europe of the second half of the nineteenth century with the special emphasis on the League of the Emperors, the House of the Hohenzollern, the House of the Habsburg and the House of the Romanov. A league that appeared to be more beneficial for some and yet a little short of priviledges for others. The close-up we get here is the House of Hohenzollern in Germany with one man superior to all, yet unready to relish oblivion, Prince Bismarck (played brilliantly by Curd Juergens)
Indeed, Curd Juergens with his German accents steals the attention of any viewer and all the rest of the characters, though very well portrayed, appear to be slightly pushed into the background. He is the Chancellor, he is the one who can dictate certain laws to the old emperor, he is the one who represents the state, meets the ministers and has an undeniable influence upon the young prince Wilhelm (Barry Foster). Not very enthusiastic towards the Germans, he is not very popular with Princess Vicky (Gemma Jones). Basing his decisions on his two major passions, wine and politics, he occurs to be the one who can never retire. Nevertheless, even he is bound to dig his own grave... Very well played with energy, passion and commitment to the role. Who can forget his scene with tsar Alexander (Tony Jay)? Who can possibly skip the vibrant moments with young Wilhelm and their conversations about politics, affairs of state and family? Who can fail to admire the actor's performance at the emotional scene when the 'honest broker' is actually made to resign?
The episode focuses on a particularly difficult situation in the Germany of that time when one old emperor is dying, the crown prince is fatally ill and everybody looks for the best doctors to cease his pains of throat and the young prince Wilhelm (played wonderfully by Barry Foster) appears to be a proud, conceited man with ill ambition, wrong advisors and an unrestrained search for power. Although he comes to a serious conflict with Bismarck, he is a young copy of the chancellor. Their relations are brought to screen with some psychological aspects and create a sort of 'two men's worlds' illustrated from the historical and emotional standpoints.
What I like about the episode, apart from the aforementioned aspects of the two characters presented in contrast and in parallel, are the sets. Mostly interiors stand for the very emotional aspects of the plot and create a sort of illusion that whatever happens here is inside. Whenever there is a scene outside (and there are really few here), we feel a sort of freedom that some characters express when they want to escape from the very walls of power, power that may shut people down and condense (paradoxically so) their possibilities. But what is left for the member of the imperial houses outside? Pruning trees and reflecting about their past, trying, at the same time, to relish oblivion.
And one more thing that makes FALL OF EAGLES unique is the fact that you don't have to see those episodes chronologically but each of them is constructed in such a way that the script supplies a viewer with a separate story, a separate drama.
Another great episode that I would recommend anyone, especially those among the viewers who are interested in this particular period of history.
