‘On the hunt for love’ is a BBC production, and as the canon mark, on a formal level it is an impeccable series whose solidity and solvency are beyond any doubt. We start from that base: A BBC period story is never going to be wrong, or never going to look wrong. The question, rather, is whether it is above its appearance, to what extent it is, or to what extent it is above other British productions, whether they are from the BBC itself or not.
Although the comparisons are sometimes obnoxious and often unnecessary. With or without them, ‘On the hunt for love’ is and will continue to be a good British miniseries, typically British that satisfy the usual audience of this type of stories about the posh of times, rarely worried about how to make ends meet. This type of period stories, which in addition to this immaculate formal aspect, also have an undeniable and timeless charm.
Like the western, for those who like the genre. Let the tics that shape your character be well matched, film by film, series by series. And by dint of insisting, as if they already belonged to the family. And with the novelty on his part, the first episode of ‘On the hunt for love’ is the best. It is in which it seems that Emily Mortimer, in her double facet of screenwriter and director, tries to loosen the corset of appearance and add to the genre a pleasant and unpredictable point of extravagance.
Seems or tries, then only seems or tries from time to time. Then you get used to it or settle in, Mortimer herself, and let yourself be carried away by what Nancy Mitford wrote, almost as if it were an impeccable account of a time as worthy of the BBC as the cast that gives it life. An impeccable, solid and solvent portrait of a young woman “on the hunt for love”, a hopeless romantic condemned to live a life by virtue of that irredeemable romantic ideal.
And this is also the case in its whole ‘On the hunt for love’, a miniseries that in the vein of ‘Dickinson’, ‘The Great’ or ‘The Little Women’ by Greta Gerwig provides, although in a more discontinuous and intermittent way, an intonation something more current to a story that nevertheless remains current through its respectful classicism. In the hands of Mortimer the tale sometimes rears its head above its appearance, but without ever staying above it.
It is and will continue to be a good British miniseries, typically British that will satisfy its usual audience, although from beginning to end it is not above (although not below) other British productions of the time such as ‘Belgravia’, which nevertheless he had twice the time. Perhaps that is her only real but, that she feels as handcuffed, self-conscious, and repressed for just three episodes as Linda Radlett herself did by her father.
By Juan Pairet Iglesias