Unlike the other plays from this collection that we’ve seen so far, I don’t think this had any afterlife on the big screen, which is a bit sad; though it’s a very small story of the sort the small screen might seem better suited to, the story might also have benefitted from a bit of expansion. Like I said, it’s small stuff, revolving around a small inn in a small Irish village, run by brother and sister duo Liam and Shevawn. It was interesting to see this after It’s a Wonderful Life, cos it’s a similar story of people frustrated by life and circumstances; both have obviously have dreams of better things, but Liam has essentially given into his bitterness while Shevawn fights to rise above it. Inspiration comes in the form of one of their guests, a man trapped in an evidently failing marriage who falls in love with Shevawn. And that really is about it; as narrative material it’s light enough that it could float away, and yet it also seems to be, I don’t know, a bit too quick. I said No Time for Sergeants felt like the material had been compressed to fit the hour slot, and I felt something similar about this, hence why I said it might’ve benefitted from being longer, giving the build-up of the relationship a bit more room to breathe. It’s nice, but while I was watching I will confess to wondering why it had been picked as an example of “classic” live drama. And then suddenly in the last few minutes, payoff and resonance; in the last conversation between Liam and Shevawn, we realise that her flirtation with the other man, however brief it may have been, has strengthened her, and her determination for her and Liam not to end up like the other sniping old brother and sister duo we see might just get her through after all.
A Wind from the South (1955)