The past is a foreign country. They do things differently there.
If those words sound familiar, it’s probably because you’ve either sat through a secondary school English class or you’ve spent an evening captivated by one of the various screen versions of L.P. Hartley’s 1953 masterpiece. But honestly, the BBC The Go-Between adaptation from 2015 hits differently. It isn't just another stuffy period drama where people in waistcoats pine over tea. It’s a brutal, sweaty, and deeply uncomfortable look at how childhood innocence gets absolutely wrecked by the whims of bored aristocrats.
Most people remember the 1971 film starring Julie Christie. It’s a classic, sure. But the BBC's take, directed by Pete Travis and written by Adrian Hodges, brought a certain visceral heat to the screen that the older version sometimes lacked. It captures that stifling Norfolk summer of 1900 where the air feels too thick to breathe. You’re watching Leo Colston, a young boy from a modest background, get recruited as a "postman" for a secret, illicit affair. He’s the "Go-Between." He thinks he’s part of a magical game. He’s wrong.
What Actually Happens in the BBC Version?
The story follows Leo, played by Jack Hollington, who is invited to stay at Brandham Hall, the grand country estate of his wealthy school friend, Marcus Maudsley. Leo is an outsider. He’s poor, or at least "lesser than," and he’s desperately trying to fit in. Then he meets Marian Maudsley (Joanna Vanderham). She’s beautiful, she’s wealthy, and she’s engaged to the scarred war hero Lord Trimingham.
But Marian is also having a frantic, lustful affair with Ted Burgess, a local farmer played by Richard Madden (yes, Robb Stark himself).
Leo becomes their messenger. He carries notes back and forth between the manor and the farm. To the adults, he’s a convenient tool. To Leo, he’s a protagonist in a romantic epic. The BBC production does a stellar job of showing the psychological toll this takes. It doesn’t shy away from the fact that Marian and Ted are, quite frankly, behaving selfishly. They use a child to facilitate an affair that could ruin lives, and they don't seem to care about the confusion or the moral weight they’re placing on his small shoulders.
The Casting Masterstroke
Casting is everything in a period piece. If the chemistry isn't there, the whole thing falls apart like a wet biscuit.
- Jack Hollington as Young Leo: He manages to look both curious and haunted. You see the exact moment the light goes out of his eyes.
- Joanna Vanderham as Marian: She plays Marian with a mix of genuine affection for Leo and a cold, aristocratic entitlement. You want to like her, then you realize she’s kind of a monster.
- Richard Madden as Ted Burgess: Madden brings a raw, physical energy. He’s the foil to the refined, injured Lord Trimingham. He represents the "earthy" side of the story that eventually crashes into the rigid social structures of the time.
- Jim Broadbent as Older Leo: This is where the BBC version shines. By framing the story through an older Leo looking back, Broadbent provides a soulful, tragic weight. He is the living proof that the events of that summer 50 years prior never really ended for him.
The Themes That Make It Uncomfortable
Let's be real. BBC The Go-Between is basically a horror movie disguised as a costume drama.
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The heat is a character itself. The production design emphasizes the blistering sun of the 1900 "Great Summer." Everyone is sweating. The collars are too tight. The social expectations are even tighter. This isn't the "pretty" version of England. It’s the version where social class is a cage.
Leo is trapped between two worlds. He isn't a farmer, but he isn't a lord. He’s a "go-between" in every sense—between classes, between lovers, and between childhood and the harsh realities of adulthood. The tragedy isn't just the affair itself; it’s the destruction of Leo’s capacity to trust or love. When he finally witnesses the "shameful" act in the hayloft, it isn't just a shock. It’s a psychic break.
Why This Version Matters in the 2020s
You might wonder why we need another version of a 70-year-old book.
The answer lies in how we view "toxic" relationships today. Modern audiences are much more attuned to the power dynamics at play. In the 70s version, there was a lot of focus on the romantic tragedy of the lovers. In the 2015 BBC version, there’s a much sharper lens on the exploitation of Leo. We see him as a victim of grooming—not necessarily in a physical sense, but in an emotional and psychological one. He is groomed into secrecy, into lying, and into a world of adult consequences he can't possibly navigate.
Breaking Down the "Foreign Country" Quote
"The past is a foreign country; they do things differently there."
People misinterpret this all the time. They think it’s just about old-fashioned clothes or funny accents. But Hartley (and the BBC adaptation) meant something much more profound. It’s about the fact that our younger selves are strangers to us. Old Leo looks at Young Leo and barely recognizes the hopeful boy he once was. The "different things" they do aren't just social customs—they are the mistakes that define an entire life.
The BBC production uses a color palette that shifts between the golden, over-saturated hues of the memory and the cold, gray reality of the present. It’s a visual representation of how trauma colors our history.
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Production Details You Probably Missed
The filming mostly took place in Buckinghamshire, specifically at West Wycombe House. If the house looks familiar, that’s because it’s a staple for British period dramas. However, the way it’s shot in The Go-Between feels claustrophobic. The camera stays close to Leo. We see the world from his height. We see the towering adults and the vast, intimidating hallways.
The script by Adrian Hodges also stays remarkably faithful to the book’s darker ending. Some adaptations try to soften the blow, but the BBC sticks the landing. It acknowledges that some things can't be fixed. Some summers don't end; they just freeze you in time.
Key Differences from the 1971 Film
If you’re a purist, you’ll notice a few things.
The 1971 film, directed by Joseph Losey with a screenplay by Harold Pinter, is very "Pinteresque." It’s full of long silences and subtext. It’s intellectual.
The 2015 BBC version is more emotional. It’s more accessible. It leans into the "coming-of-age" aspect more heavily. While some critics felt it was a bit too "polished" compared to the grainy, atmospheric 71 version, others praised it for making the stakes feel more immediate for a modern audience. Honestly, both are great, but the BBC version feels more like a gut punch.
Addressing the Critics
Not everyone loved it. Some felt that Jim Broadbent’s narration was a bit heavy-handed. Others missed the specific, jagged tension of the Pinter script.
But here’s the thing: The BBC The Go-Between wasn't trying to replace the movie. It was trying to re-introduce the story to a generation that might find the 71 version too slow or dated. It succeeded in bringing out the heat, the lust, and the absolute cruelty of the British class system.
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It’s also worth noting the music. The score by Christian Henson is haunting. It doesn't rely on typical "period" orchestral swells. It has an urgency that mirrors Leo’s heartbeat as he runs through the fields with those forbidden letters tucked in his pocket.
The Practical Legacy of the Story
What do we actually take away from this?
- The burden of secrets: The film serves as a cautionary tale about the weight adults place on children.
- Social mobility (or lack thereof): It highlights how the British class system used people as disposable objects.
- Memory as a filter: It challenges us to look at our own "foreign countries" and see how they shaped us.
If you haven't seen it, find it. It’s usually available on BBC iPlayer or various streaming services depending on your region. It’s a brisk 90 minutes or so, but it stays with you for much longer. It’s a reminder that the "good old days" were often quite terrible for those without power.
What To Do Next
If you’ve watched the BBC version and want to go deeper, here’s how to actually engage with the material:
- Read the original novel by L.P. Hartley. It’s surprisingly short and the prose is devastating. The internal monologue of Leo provides much more context for his "magic" spells and his obsession with the zodiac.
- Watch the 1971 film for comparison. Seeing how Pinter handled the dialogue versus Hodges is a masterclass in screenwriting.
- Visit a National Trust property. Specifically, look for those in East Anglia or Buckinghamshire. Standing in those grand halls helps you realize just how small and insignificant a kid like Leo would have felt.
- Explore the "Great Summer" of 1900. Look into the historical context of the Boer War (which Lord Trimingham is a veteran of). It adds a layer of national trauma to the personal trauma of the characters.
The BBC The Go-Between is more than just a drama. It’s a study of a moment in time where everything changed—for a boy, for a family, and for a country on the brink of a new century. Don't go into it expecting a happy ending. Go into it expecting to feel the heat of a summer that never truly cooled down.
To wrap this up, the most important thing to remember about this adaptation is its honesty. It doesn't romanticize the affair. It doesn't make Marian a hero. It just shows the messy, painful reality of people who think they can play with fire without anyone else getting burned. Leo was the one who got burned, and the BBC version makes sure you feel the singe.
Next Steps for the Viewer: Check your local streaming listings for "The Go-Between (2015)" to experience the cinematography firsthand. After watching, compare the " hayloft scene" across the 1971 and 2015 versions to see how visual storytelling evolved over forty years. For a deeper dive into the period's social politics, research the "Edwardian Class System" to understand why Ted and Marian's relationship was considered truly impossible.