- [Narrator] Today, join us for an inside look at the new MASTERPIECE drama, "The Forsytes."

- [Horsfield] "Forsytes" saga itself, is very much about how secrets that happen in one generation have an impact, all the way down to the second and third generations.

- It really is like stepping into a different time, a different world.

It's very beautiful.

There's a lot of kind of really strong female characters in it, and I can't wait for you to see who those people are.

- [Davenport] The thing you have to remember about the Forsytes is they're not aristocrats.

They've only just got here.

And so there is position and power and wealth.

But it's all quite new and it's all quite fragile.

- [Horsfield] The books are amazing, but they're very much written from a male perspective.

And I thought, well, this is an opportunity to basically explore the hinterlands of the female characters.

- [Narrator] "The Forsytes" is a bold new re-imagining from writer Debbie Horsfield, known for her work on "Poldark," and chronicles the lives, loves, trials and triumphs of the Forsyte family.

(dramatic piano music) - Marriage at the time, of course, was quite a transactional thing.

- [Griffin] He thinks, you know, she's an incredible woman.

He just has this sort of small feeling that she sometimes tries to shape him into this man that he knows he's not.

- [Gibson] There's a lot of relationships in the show that are seen to be very complicated.

I think that's just the nature of this period.

It's just scandalous.

- [Tomlinson] I think there's new actors and new characters that are going to steal the public's heart.

- [Narrator] Today in our sneak preview, we'll go behind the scenes as we hear from the cast and creators in "The Forsytes: An Inside Look."

(music crescendos) The series begins in 1877 with a lavish wedding, where matriarch Ann Forsyte introduces us to the family.

- [Ann] The illustrious Forsytes.

(gentle piano music) Or, so we like to think of ourselves.

The groom, my grandson Jolyon, newly returned from his escapades in Europe to take up his role as heir to the family firm.

(piano and string music continuing) Much to the frustration of his cousin Soames, an ambitious soul unwilling to play second fiddle to anyone.

- [Horsfield] The thing that really attracted us to the story is that it's about family and it's about generations of family.

- [Gaur] I see it as a story about love.

- [Jolyon, Sr.]

I wish your mother could have lived to see this day.

(triumphant romantic music swells and crescendos) (door slams) (murmuring of crowd) (gentle music continuing) - It's about reputation, really.

Reputation was such a big thing.

Uhh, anything which threatens that.

Then the whole kind of facade crumbles.

- [Ann] Frances was a widow, queen of high society, handpicked to cement our status among the London elite.

(string orchestral music builds) Of course, every family has its rivalries, its intrigues.

But on this great day of celebration, we put them aside.

(orchestral music swells and crescendos) - I think she thrives when she comes into the Forsyte family.

I, I think she was born to do this.

She understands how to manipulate her power to get the things that she wants.

- [Griffin] His family expect him to, to be this person that, you know, he essentially he is not.

He doesn't quite know what, again, what to follow, if it's his head or his heart.

(distant crowd murmuring) - Go and be presented.

(low murmurs of crowd) - Grandmama Ann is the head of our family.

(gentle piano music) - Do I have to like you?

- No.

- Because I don't like anyone.

- It's a good decision.

- People are expected to fulfill a predetermined role and behave in a certain way.

- [Moyer] I think within our sort of social strata, one expects people to, to follow certain rules.

(low murmuring) - Grandma, this is June.

(soft orchestral music) - Do you know what a Forsyte is?

A Forsyte is someone who knows the value of stock and family and repute.

(soft violin music) You must never ask questions, never contradict, and never, ever fail to come up to scratch.

- [Jolyon Jr.]

(exhales loudly) Don't scare her.

- [Ann] She needs to know what she's letting herself in for.

(Ann chuckles) (violin music continuing) (piano concludes) - A lot of the relationships in the show are established by way of just the family that you're born into.

What's your position in this hierarchy?

What's your position in this system?

Where are you expected to go?

- You could have had her.

I would have made an offer.

- I'm obliged to you, Pa, but when the time comes, the bride will be of my choosing.

- [James] Well, quite frankly, why would you want to burden yourself with an eight year old brat?

(loud thud) (distant chamber music) (murmuring crowd) - [James] Hmmm... - My late husband invested with Forsyte and Co.

So you might think this is a natural progression.

I'm a prime asset changing hands.

And June has long needed a father figure.

(violin concerto music) - [Narrator] And from the family wedding in 1877 we jump ten years to 1887.

And that's when the story really begins.

June has become a vibrant young woman and is beginning to join the ranks of the women of the Forsytes.

(waltz music concludes) - Explain to me why drawing is such a necessary accomplishment for cultured young ladies.

What possible use could it be?

- It's exactly what your grandfather said to me when I joined the family firm.

- [June] But you used to love drawing.

- I love many things.

- [June] Will you draw me, please?

Just a quick sketch.

(birds twittering) (windy park ambience) (soft orchestral music) (birds twittering) - [June] That is me.

Exactly me.

- [Moore] June is... generally speaking, a ray of sunshine.

She brings energy wherever she goes.

- [Timmer] There's just something so delightful about June.

She brings such a freshness to this story.

So I think she is something of a North Star.

- [Louisa] Your mother is very beautiful.

- Well... I don't take after her.

- Perhaps you favor your father.

- Stepfather.

- Is he a good one?

- [June] Oh, the best.

Without him, I'd have run away to sea.

- What would you be if you could choose?

- Free to go where I like, meet who I want.

Choose my own gowns.

(laughs) - [Tomlinson] You've got powerful women, but powerful in different ways.

And some of them don't quite know how powerful they are.

- [Middleton] Women had to be very clever about how they express their power, or where they found their power.

Frances and June have that thing that every mother-daughter has, which is June wants to break free from her mother's hold over her.

- If I seem to dictate, that is only because I was also once your age, and I thought I knew best.

- And did you?

- I did not.

- [Gaur] There is some element of control from Frances, but it's not a punishing control.

Frances, of course, is somebody who's very adept at keeping up a front and keeping a facade.

So for me, that is a great way to tell the story of family versus individual desire and how not always having the perfect family means having the most happy individuals in that family.

- So glad you could join us, Lady Carteret.

- Oh my dear, to be seen in the company of the illustrious Forsytes?

Who wouldn't leap at the chance?

(crowded party murmuring) - Hm.

- [Middleton] Frances is able to exercise her own power in her relationships and in her influence, because she is very respected and because she's intelligent.

- Course I know little of business.

But might there ever be a circumstance or a need for Jolyon to step up would he then not see the necessity of acquiring a little more steel?

- [Annis] The Forsytes are not aristocracies.

They're not people who just were born into this.

They were a self-made family that have made good and now are struggling to hold on to everything that they have.

- [Horsfield] The character of Ann, she is the matriarch of the family.

You have the sense that she has conformed to the expectations of the age, but actually she is quite a mischievous character.

(soft orchestral music) - On my wedding day, I stood in this very room brimming with hope.

(music continuing) My whole life ahead of me.

- And then?

(melancholic orchestral music continuing) - I became a Forsyte.

- This is a world in which, you know, men take all the public positions of power.

In private, Ann is very much in charge because her family money paid for all this.

- You owe him this.

Have you forgotten how he salvaged your reputation and set you back on course after you'd been caught floundering?

- [Davenport] He's not a fool.

He knows which side his bread is buttered, James.

(soft crowd murmuring) (distant dog barking) - Have you met Mrs.

Parker Barrington?

She's back in London.

I'd be happy to introduce you.

- Oh, no, no need.

(chuckles) I knew her in Geneva when she was first married.

Sweet girl.

Husband, an absolute stick.

- [Simon] I think Ellen Parker Barrington would describe herself as tenacious, not a fool.

She has an extraordinary mind.

Incredible intelligence.

- I owe those who have not been as fortunate as I to challenge ignorance and injustice.

(dress shop bell ringing) - [Hannah] Mrs.

Barrington!

- [Ellen] Hannah, what a lovely surprise.

Oh, my dear Louisa.

Oh!

- [Tomlinson] The history of Louisa's relationship with Ellen Parker Barrington isn't really kind of explored within the series, but we realize that they've known each other for a very long time, and that she has helped support Louisa and to get her to the place that she is now.

- [Barrington] You've done me the honor of (uptempo string music) inviting me to join your campaign.

And while I suspect that the scale of my donation may have influenced your choice.

(muffled laughter) (scattered applause) I hope I may have something more than guineas to offer.

- [Simon] Louisa represents everything that Ellen is trying to do for women who've had a really difficult start.

She's incredibly proud of Louisa, as well as being hugely fond of her.

(foreboding string music) - [Tomlinson] I think the, in terms of how much power women had in history at this time, they were so dependent on the men.

But at the same time, it's that silent power, which is so interesting.

You know, the boys, are the front of the company.

But it's all about what goes on behind the scenes.

(organ music crescendos) (exhales) - [Gibson] All the characters in "The Forsytes" saga, women umm, characters are very intriguing to unpick and unpick their personalities.

- You're a romantic?

(Irene laughs) - My stepmother says I'm utterly unfit for decent society.

- Your crime?

- I dance.

- The polka, the waltz?

- The ballet.

- Ahhh.

- [Gibson] Ballet was considered scandalous because, I mean, ballet dancers are wearing very exposing clothes.

They use their bodies in a way that women shouldn't.

(dramatic piano music) There's a certain level of youthfulness in her and fire that, um, Soames sees, and it's a delicacy that he's not really tasted before.

(laughs) - [Narrator] As we take an inside look at "The Forsytes," a recurring theme with many of the characters is romance.

(romantic violin music) We see it with Soames and Irene.

New love blossoms in every episode.

Philip and June and married couple Jo and Frances.

(romantic music swells) - [Horsfield] Romance, it's one... it's the stuff of life, isn't it?

It's the thing that, that we all, we all long for, yearn for.

We want those happy endings and yet there's always conflict.

There's always challenges.

- [Middleton] There are many different shades of romance in this story.

Between Frances and Jolyon, there is a very stable, loyal love.

There is also passion between Soames and Irene.

There's a very pure first love that we see happening with young June, my daughter, in the show.

(upbeat classical music) (thudding collision) (sustained vibrato note) - [Moore] June's relationship with Philip is he offers something that's exciting and new, and she's young and it's first love.

(romantic piano trills) - I do beg your pardon.

Are you hurt?

- Do I look like a damsel in distress?

- [Flatters] To the heads of the Forsyte family Philip is probably looked down upon.

I think the brilliance of Philip's character is that doesn't particularly get to him too much.

He doesn't need to appease anybody.

- [Moore] June has so much love to give, and she's um ready to sort of fly the nest a little bit really, yeah.

- [Philip] A friend to man to whom thou sayest.

- Beauty is truth.

Truth, beauty, that is all you know and have.

- [Philip and June] And all you need to know.

- [Flatters] With Philip, there's a refreshing freedom to who he loves and who he chooses to love.

- [Moyer] In terms of romance, there is this lovely relationship between my son, Jolyon, Jr., and Frances that has been to all intents and purposes, an arranged marriage, (wistful piano music) but that has been incredibly successful.

- Rumor has it on your grand tour, you've blazed across Europe, leaving a trail of broken hearts.

And why not?

- [Middleton] Frances and Jo have a very loving relationship.

I think they've been loyal to each other.

Jolyon loves June like his own daughter.

They have a very joyful exchange.

I think they feel like a very strong family unit.

- Handpicked to ready you for rule.. (soft violin music) - If only I was the ruling type.

- You are, my love.

- [Griffin] Jolyon loves Frances wholeheartedly.

He thinks you know she's an incredible woman.

They know each other very well.

They know i- they they're happy being vulnerable with each other.

And they feel they can be th- their complete selves around each other.

(outdoor park rustling) (birds in distance) (propulsive orchestral music) - [Orpin] He's walking home from work one day and just locks eyes with the most magnificent woman he's ever seen.

- [Soames] Uh, Let me give you my card, Miss?

- [Heron] Uh, Heron.

Irene.

(romantic music swells) - [Soames] Soames Forsyte.

- [Gibson] Irene has a very romantic relationship with the character of Soames.

- They're beautiful.

Oh.

Thank you.

(laughs) - I hope they might speed you on your way to Paris and the fulfillment of your desires.

(they both laugh nervously) - [Orpin] He kind of just meets her and immediately falls in love at the drop of a hat, and throws caution to the wind in favor of how he feels in the moment.

- It's true that Paris has a somewhat shady reputation, (Irene scoffs) though I myself found it captivating.

- [Irene] You've been?

- [Soames] In my youth and would not be averse to visiting again if you were there.

- [Gibson] And their relationship is obviously very well known to the original fans of "The Forsytes Saga," but we've kind of reintroduced their love in a way of seeing how they actually fell in love.

So it's been really nice to explore that side of it and have fun.

- [ Horsfield] There are what appear to be "happy- ever-afters" but the course of true love is never going to be running smooth.

And it doesn't in these stories.

- [Frances] We're a partnership, a family.

Let's not complicate or compromise.

We can put all of this behind us and go on as before.

- [Jolyon Jr.]

I don't think you understand.

I can't go on as before.

- [Middleton] Though, I think we really get to see the full spectrum of, of what love means to all of these different people.

(dramatic violin swells) - [Narrator] When we return, we'll continue our behind the scenes look at the new MASTERPIECE drama, "The Forsytes."

We'll examine all the detail that goes into building this drama as we discuss everything from the period costumes to the incredible sets and locations in... "The Forsytes: An Inside Look."

- [Narrator] Welcome back to "The Forsytes: An Inside Look."

Today we're on a behind the scenes tour of "The Forsytes" on MASTERPIECE.

Coming up, we'll visit all the amazing Victorian era sets and locations used in the show.

But first, whether it's the incredible costume design or the lush beauty of the hair and makeup.

Every scene of "The Forsytes" will make you feel the elegance of an era.

(violin melody concludes) - [Frances] Hurry with your breakfast.

We have an appointment in town.

- Where?

- The dressmaker.

Your gown for the ball.

(uptempo orchestral music) - [Horsfield] Working on something that was set in the late Victorian era, the requirements of both costume and makeup are so precise.

It is amazing to work with people at the top of their game.

- [Ede] I loved Debbie's script.

The challenge has been to make the 1880s into something acceptable for a modern audience.

(footsteps in grass) (distant chamber music) - [Lady Carteret] What a flattering gown.

Miss Louisa?

- Alas, no.

I was obliged to discontinue our arrangement.

Service was disappointing.

- [Vaughan] When I first read the script, I was, like, enthralled.

I loved it.

I, I loved how three dimensional these characters are.

- [June] The sheer extravagance of this ball, of my life, of, of this place.

- [Moore] From June's perspective, they are so scared of her breaking the mold too much.

There's this containment.

- [Gibson] I'd love to live here.

I mean, look at this.

I would happily go home in this.

I feel absolutely beautiful in this getup.

- Are you prepared?

- For what?

- The Forsyte family.

- [Ede] Of course, we have all the Forsytes who are stuck in the great aim, which is to be more socially accepted with the aristocracy, presumably, than they are at the moment.

- Olivia sends her regrets.

She's visiting the Fitzgeralds.

She and young Anthony have formed an attachment.

- [James] Oh, how delightful.

That was quick.

- Poor Cyrill finds it all so confusing.

Shall we find you a little treat?

- Why don't you?

- [Emily] There we are... - [Davenport] I've paddled around in these waters before over the years.

The clothing helps, which is good, because this is who these people were.

- [Ede] There is something about this period for men that makes them look incredibly smart.

We did try and peacock them up a bit with their rather brash and elegant waistcoats.

(orchestral music swells) I think visually I'm simplifying the period.

We've cut out the extremes of 1880s Britain.

We've loosened it.

- That gown was a triumph.

- [Emily] Almost a disaster.

But the girl worked wonders.

- [Tomlinson] I worked with Nick Ede, the costume designer, about 11 years ago.

I then called him and I said, look, I don't know the first thing about dressmaking, so help me.

- [Louisa] So what I've done is create the impression of a corset without the whalebone structure.

- Where did you learn all this?

- Well, I used to be a lady's maid and would have to repair her dresses.

- [Tomlinson] I sat with the costume house and I just watched how they work.

And I wanted to, to make sure there's a very marked difference between herself and the rest of the characters in the show.

- [June] And you would you be anything other than the best kept secret in London?

- Ahh, f- I'm content.

- Hm.

- [Ede] June, I've tried to dress her in younger, fresher clothes to begin with, but 18 was the turning point for any young debutante.

- [Moore] The older generation are trying to contain the rebellious side of the younger generations of the Forsytes.

And that doesn't work, does it?

Because they just want to push back.

(crowded party noise) (chamber music) - Ohf, have you read "Frankenstein?"

- Uh, no, I... - [June] You'll find you have some sympathy for the creature.

No will of its own, forced to do another's bidding until, of course, it rebels.

(chamber music) - [Vaughan] So when I was reading the script, the idea was to create a mood with hair.

The most complicated hairpiece would be Frances.

There's times when she's had over 20 pieces on her head.

Some small, some big, because she is the most elaborate of our characters.

- Shall we see you at the Parker Barrington's?

If you prefer to keep a low profile I do understand.

(laughs) - [Ede] She has the most comprehensive wardrobe of anybody on this picture because it's her armor.

She wears clothes to impress.

And also, I think to a certain extent, put people in their place.

- To ignore some of the damage done by these women to decent, upstanding families is an obstacle to many who might wish to contribute.

- [Simon] I think what happens is that you do a lot of work trying to get to the heart of your character and bring them to life.

And then when you get a situation like this where you then put on the costume, it's like you can feel yourself expanding into the character.

(squealing with glee) - Oh!

Oh!

(continued squealing) - This is Ophelia.

And we have- we have named her.

I'll give you a little so, you know, take it all in.

(crowd laughing) Put it on it to make it just... chunk up a bit and just feel like it needed a, a name.

This is all decided at, like 5 a.m., so there are quite delirious names.

(upbeat accordion music) - [Tomlinson] I think that you can really see it as well in the, in the supporting artists that we have, they all just look so beautiful all the time you know, that's when you really feel like you're part of the world.

- [Ede] So many different skills come into each garment and then you end up with something that is probably over the top, which is what it's all about.

(uptempo classical music) (crowd murmuring) - [Tomlinson] When you look around and everybody, the attention to detail... (uptempo music concludes) They're extraordinary.

- [Narrator] Part of what transports us back to 1887 are the spectacular locations and set design we see throughout "The Forsytes."

This level of quality is something we've grown to expect from a MASTERPIECE drama.

(violin waltz) - [Horsfield] With a period drama you have to be very clever about how you deploy your resources.

We have a wonderful designer who has created those incredible sets that you have seen.

(violin waltz continuing) - [Tomlinson] When you first step onto a set I have to really pinch myself and remind myself that it's just not normal.

You go through a door and suddenly you're in Louisa's shop.

- [Carteret] Thank you so much.

(shop door chime) - Oh, Lady Carteret.

(footsteps) (street noise) Oh, dear.

- We were hoping to keep Miss Louisa to ourselves.

- My apologies.

- [Tomlinson] And there's mannequins, and it's all kind of lit with a kind of hazy smoke.

And it's so beautiful.

And you're there wearing period costume.

(sustaining violin vibrato note) - [Jolyon Sr.]

So, tonight?

At what hour?

- Leave it to me.

I know how to time things for maximum effect.

-[ Moyer] We've shot at some really beautiful places.

Some of it's studio based, but some of it at old country houses.

We also shot in a stunning church in Bristol.

(dramatic piano and string music ) - [Middleton] It's always really fun to film the big set pieces, the balls, the opera.

It was just a real collaborative effort to create this sort of amazing world.

And the family members, the Forsyte family.

- [Gibson] Oh, I really liked it when we filmed at the ballet and it was just really surreal.

It was just such a cool set to film on.

(violin music) - [Griffin] Several scenes we've done outside which you know, are in Bristol, are shot in Bristol.

It's a road one day and the next minute it's got gravel on the floor.

There's horses and carriages and this place has been transformed to the 1800s.

(propulsive orchestral music) (busy street market noise) - [Flatters] I think "The Forsytes" saga does very well in terms of the dynamic between intimate, closed off scenes behind closed doors and then these grand pieces.

The grandeur that you get through the production design is something that does add this almost cinematic element.

(melancholy orchestral music) (Opera singing in Italian) - [Horsfield] We've also used locations.

Again, it's always tricky with any period drama.

You are trying to find locations which are not, haven't been touched by 21st century.

- [Irene] You needn't have gone to such trouble.

I'm happy with bread and cheese.

- [Soames] Oh, so am I. And when nature arranges a feast for the soul.

What more does one need?

(gentle flute music) - [Timmer] So you have the big, sprawling Forsyte family.

But they are also engaging with the world outside their doors.

The way in which high society enjoys itself during the summer season.

(gentle piano music) The level of detail was incredibly pleasing.

(party crowd murmuring) (gentle laughter) - [Frances] And what are Horatio's plans after Cambridge?

I hope we'll see more of him in London.

- My grandson and his sister have a very full calendar, as I'm sure you'll appreciate.

- [Partygoer] Mr.

Forsyte.

- She'd do very well for you.

Elevate us no end.

- [Annis] You step onto the set, and then you're in it.

It just starts to all come together and feel like home.

(piano music) - [Tomlinson] It's so magical.

It is honestly movie magic.

- [Orpin] Shooting this show has been like stepping into another universe.

You step onto the set, and your imagination really has to do very little, because it's like you've stepped straight into the late 19th century.

You really just don't have to worry about it.

You're immersed.

- [Gibson] I mean, look at this.

I like, I, I'd love to live here.

(uptempo classical music) - [Narrator] As our inside look comes to a conclusion.

Let's look at how the Forsytes should never, ever be underestimated.

(dramatic piano music) - Believe me, this will pass and we'll come through it stronger and more devoted than ever.

(piano continuing) - I believe you.

(piano continuing) (building string and piano music) - [Moyer] I think we've done something slightly different to what people will be expecting.

It isn't 1887.

It's an... it's an idealized version of what 1887 is.

We have, you know, two weeks to shoot an hour, which is, which is for costume dramas, you know, is an awful lot.

- [Narrator] The episodes of Season One were beautifully directed by Meenu Gaur, as well as Annetta Laufer.

- [Moyer] Meenu and Annetta have done a really wonderful job of coming onto set and making sure that we all remember what's at stake.

- [Tomlinson] It's been so fabulous working with both Meenu and Annetta.

I've loved it.

We're cramming six episodes into three months.

We've had two units running the entire time.

So it's, it's been a lot.

- So we're going to do this first and this later.

- Gotcha.

- Cut, one more.

- [Assistant] Resetting!

- [Orpin] They're able to facilitate the reinvention of this classic story in a way that I think is a joy to play.

- Oh, Cyrill, how he frets when he knows I'm going out.

- Shall I stay behind and pet him for you?

- Oh, dear, no.

- [Timmer] You can really see it in the finished show.

Each individual actor is so delighting in being part of the ensemble.

- [James] I was thinking to go to Bath next month.

- [Jolyon Sr.]

What nonsense!

Harrogate's far superior if you really know your waters.

- [James] Hm, is this?

(tapping on plate) Sure this is real old Worcester?

I think my brother's been diddled.

(laughs) - [Annis] When you enter into a production like this, you sort of enter into a bubble and you just keep your fingers crossed, you know that it will work out.

And in fact they've been absolutely lovely.

There's never been a time when I haven't been able to look to anyone and have a good chat and a bit of a laugh.

It's been great.

(winsome violin music) - [Philip] June!

(melodic violin music) - Sir Philip of Culver Street?

- June, Renegade of Hyde Park.

- [Moore] I'm really looking forward to seeing how June grows with all of the things that life is going to throw at her.

(soft piano music) - [Flatters] My hopes for Philip looking forwards is no matter the sacrifices never lose sight of this idea of beauty and art.

(soft orchestral music) - [Middleton] I don't know what's in store for Frances, honestly, but I hope that she finds some happiness and she gets, ahh, the recognition she deserves.

- [Ellen] I want to thank you for joining us the other day.

I hope you are persuaded of the cause.

- [Simon] We get to see some wonderful things about her in this drama.

Quite a lot is to do with her work and what she's trying to do in terms of forging links and help and donations to contribute to helping women who are far less fortunate than them.

(soft violin music) - [Horsfield] In the late Victorian era there was such an emphasis on keeping a facade of respectability.

But inevitably, when people let passions run away with them, then there is going to be secrets.

- [Davenport] There is a huge secret in James's past.

Getting to see decisions that he made come back to haunt him could be kind of a fun thing to play around with.

(crumpling paper) (dramatic music building) - Nobody is to hear of this.

Understood?

- Of course.

- On my honor.

(door slams) - [Griffin] With regards to the show and what it has to hold and offer, many, many relationships will be rocked during this.

Marriages will be tested and hearts may be broken.

- [Photographer] Eyes on the camera, please.

(piano music) Holding it still now.

(building theme music) (building theme music) (loud flash explosion) - [Orpin] "The Forsytes" saga in three words.

Power, love, mustache.

- [Moyer] Restraint, salaciousness and loyalty.

- Heartbreak.

But that's from my perspective, June's perspective.

- Scandal covers a lot of bases.

- Scandal.

We all love a bit of scandal.

- Beautiful, chaotic.

And s- I want to say scandalous.

I'm sorry, I'm stealing that.

- Plenty of scandal in "The Forsytes" saga.

Yes, yes, we love it.

- Intriguing, challenging and audacious.

- Absolutely gorgeous.

(soft piano music) - What defines this family?

What is a Forsyte?

A Forsyte is someone who knows the value of loyalty.

(soft dramatic music swells) And family and repute.

We are tenacious.

We are survivors, and we should never, ever be underestimated.

(orchestral music swells) (orchestral music swells) (light applause) (orchestral music swells) (louder applause) (orchestral music concludes) - [Narrator] Thank you for joining us for this sneak preview of "The Forsytes" on MASTERPIECE.

(mysterious violin music) We hope you enjoy all the desire, ambition and betrayal of this sumptuous period drama.

Until next time, this has been "The Forsytes: An Inside Look."

(swirling classical music) (classical music crescendos and fades)