amyghost What can you say about this? Mistral's Daughter is probably the Gone With The Wind of juicy trash novel-into-miniseries of its era. Stuffed with familiar American actors who just barely pull off their roles as French free spirited artists and models (or, as in Stefanie Powers' case, don't), and nicely spiced with a fair number of British and Continental actors whose appearances chiefly go to prove how bad most American television performers are by comparison, the series has to coast primarily on lush locale filming and some very tony production values.There are moments that render this gargantuan enterprise not completely without merit--Episode 5, in which we see Mistral's worst nature coming out in his collaboration with the occupying Nazis, which leads to the deaths of several people, and his abandoning of one of his closest associates, has some scenes that are able to evoke genuine emotion in the midst of all the surrounding soap opera; most of the credit for those can be handed easily to the very fine Ian Richardson, whose portrayal of Avigdor, the Jewish gallery owner/dealer who has given Mistral his first public artistic exposure and success (and who wins no gratitude from either Mistral or his scheming wife Kate as a result) is moving and first-rate. His performance carries far and away the most nuance and human believability of anyone in the cast--I'd have frankly been glad to see him given more screen time in trade for some of the purely wooden Robert Urich, for one example.Stacy Keach tries as the Picasso-esque Mistral--I think what failings there are in his performance stem less from thespic inability on his part than from the basic silliness of Krantz's conception of what a 'narcissistic genius' artist might be like--she gets the high notes right, but obviously can't imagine anything beyond cartoon-level 'complexity' for Mistral's less flamboyantly selfish side (oddly enough, bad a writer as Krantz is, Mistral's Daughter is probably her best-written book, likely because of the affinity with the Jewish issues woven into the plot. These themes seemed to have caused her to tone down the trashiness somewhat, and to treat her material with slightly more respect than is normal for her style. However her take on 'artist's quarter Paris' is hilariously wrong, and the film, with its apparent inability to tone down the overtly contemporary look of most of the actors, particularly a number of the female ones, along with a goodly number of historical inaccuracies, just plays up the anachronistic feel to an annoying degree).Timothy Dalton is good as Maggie's doomed great love, and initially at any rate, Lee Remick is quite credible as the smitten but always calculating Kate. Her character is turned into such an over-the-top wicked witch sort by the time of her exit however, that she comes off more like a stereotypical soap-queen evil matriarch than as anything recognizably human. Powers can work up the occasional pretty pout in her earlier scenes, but she ain't credible as either 18-year-old nymph or as post-menarche grande dame, and her histrionics in the years between don't add up to much more than a set of nicely photographic cheekbones and some sweetly glycerine tears here and there.But there are a few bits that make this a not totally worthless jaunt-- a firm grip on the fast-forward button might be advisable--and the penultimate scenes which show Mistral's artistic expiation for his wartime sins do carry some honest emotional heft (though I could wish they'd have come up with better paintings than the ones used to illustrate this), and there is the allure, no matter how silly, of the multi-generational epic device. Despite the main theme of the story dealing with great art and its primacy above all other considerations, don't expect too much high art from this production, and you might step away from it not totally unentertained.

charmadu The only reason to watch Mistral's Daughter is Timothy Dalton who appears in Episodes 2 and 3. He's the reason I'm giving 10 stars. If I could just buy episodes 2 and 3, I would. This man is like a woman's dream come true - he comes across as so sincere, so sexy, so kind, so accepting and so devoid of ego - what woman interested in men, would NOT want to be loved by a man like this? Name another actor with that level of drop dead gorgeous looks, that sumptuous voice, that dazzling charm, acting talent for days and so generous to his fellow actors! I confess envy that Stephanie Powers got to do these scenes with him and honestly, don't know how she didn't keep from jumping his bones for real. When I die, I want to see Timothy Dalton in heaven - please God!!!!

chaoscoyote As a kid I adored Stephanie Powers in Hart To Hart and would watch her in anything..even my childhood favourite; The Bionic Woman (sady, she was in the bigfoot episodes, the equivalent of 'jumping the shark' but I still liked her!) and recently I had a chance to see Mistral's Daughter again. It actually held up well to my now fairly sophisticated movie taste. I don't like to find flaws anyway, so I will leave that to those who enjoy that sort of thing. The cast was a wonderful assortment of talent. Stephanie was so beautiful and played the age range very well. I also found the actress who played Fauve, Philippine Leroy-Beaulieu to be uniquely beautiful as well. Timothy Dalton was appealingly young and handsome though rather slight as compared to my memory of him. Stacy Keach was suitably sexy and intense, a good actor, though hard to feel much attraction to such a selfish character and the hare-lip turned me off. I loved some of the paintings used in the film though! A lot of fun especially for any seasoned TV watcher as you will see a lot of familiar and young faces, Joanna Lumley is a treat, as always. As usual some of the best acting was done by the secondary roles, in this case feature film calibre roles played by; Pierre Malet as Avigdor, who was very good, sometimes heart-wrenchingly so, Stéphane Audran as the selfless Paula and the incredible Lee Remick as the cool master manipulator with a self-destructive passion for Mistral. Sure one can find faults, but why bother? Enjoy yourself!

hjmsia49 The only redeeming quality of this overlong miscast melodrama is the scenery of southern France and the voice of Nana Mascouri singing the theme song. Stephanie Powers is miscast and betrayed by a phony accent. As has been pointed out, she is too old to play an 18 year old and looks far too young as a grandmother with a college age granddaughter? Lee Remick is good although she also is ageless in her later years. The talented Joanna Lumley is under utilized and also manages to look forever young when her middle aged son (Robert Urich) finally marries Grandma Stephanie Powers. Stacey Keach's ceaseless arrogance makes you wonder what these women saw in him. Don't know how any viewer could relate to his excessive portrayal? The most credible performance is given by Ian Richardson, who makes the rest of the cast look like rank amateurs. It strains credulity that the handsome male suitors in this epic would remain ever single while they patiently await the subject of their affections to finally consent to accept them. Can anybody believe that handsome Robert Urich would remain single for decades waiting for Stephanie Powers to finally accept his endless marriage proposals? The WW2 engagement between the Wehrmacht and the Marquis is laughable. To begin with, the Germans did not occupy the Provence section of France until late in the war, it was controlled by the Vichy French puppet government. We see the French resistance staging a daylight raid on Mistral's villa to steal sheets after which they all lounge under a bridge waiting for a lumbering truckload of Nazi troops to surprise and annihilate them? If you want to see a well acted mini-series set in a foreign country, don't watch Mistral's Daughter. A far better alternative would be The Thorn Birds.