Ewan McGregor stars in this BBC adaptation of Stendahl's classic novel.

The handsome young Julien Sorel (Ewan McGregor) believes that he has a better chance of furthering his position in society if he chooses to enter the church (the black) rather than the army (the scarlet), and is found a position by his mentor Father Chélan as tutor to the children of the powerful Monsieur De Rénal. Julien finds favour with the children, rapidly becoming a beloved member of the household. However, when his relationship with Madame De Rénal (Alice Krige) goes beyond the professional, Julien's future is dramatically altered.

Scarlet & Black - Netflix

Type: Scripted

Languages: English

Status: Ended

Runtime: 60 minutes

Premier: 1993-10-31

Scarlet & Black - Captain Scarlet and the Mysterons - Netflix

Captain Scarlet and the Mysterons, often referred to as Captain Scarlet, is a 1960s British science-fiction television series produced by the Century 21 Productions company of Gerry and Sylvia Anderson, John Read and Reg Hill. First broadcast on ATV Midlands from September 1967 to May 1968, it has since been transmitted in more than 40 other countries, including the United States, Australia, New Zealand and Japan. Characters are presented as marionette puppets alongside scale model sets and special effects in a filming technique that the Andersons termed “Supermarionation”. This technology incorporated solenoid motors as a means of synchronising the puppet's lip movements with pre-recorded dialogue. Set in 2068, Captain Scarlet presents the hostilities between Earth and a race of Martians known as the Mysterons. After human astronauts attack their city on Mars due to a misunderstanding, the vengeful Mysterons declare war on Earth, initiating a series of reprisals that are countered by Spectrum, a worldwide security organisation. Spectrum boasts the extraordinary abilities of its primary agent, Captain Scarlet. In the first episode, Scarlet acquires the Mysteron healing factor of “retro-metabolism” and is thereafter considered to be virtually “indestructible”, being able to recover fully from injuries that would normally be fatal. Captain Scarlet, the eighth of ten puppet series that the Andersons produced during the 1950s and 1960s, was preceded by Thunderbirds and followed by Joe 90 and The Secret Service. In terms of visual aesthetic, the series represented a departure from Thunderbirds on account of its use of non-caricatured puppets sculpted in realistic proportions. Re-run a number of times in the UK and purchased by the BBC in 1993, the 32-episode series has entailed tie-in merchandise since its first appearance, from dolls to original novels and comic strips in the Century 21 Publications children's magazine, TV Century 21. In comparison to Thunderbirds and other earlier series, Captain Scarlet is generally considered “darker” in tone and less suited to child audiences due to stronger on-screen violence and themes of extraterrestrial aggression and interplanetary war. The transition in the puppets' design has polarised critical opinion and drawn a mixed response from former production staff, while the concept of an indestructible protagonist has also been called into question. However, the series has been praised for its inclusion of a multinational, multiethnic puppet cast and its depiction of a utopian future Earth. Having decided to revive the series in the late 1990s, Gerry Anderson supervised the production of a computer-animated reboot, Gerry Anderson's New Captain Scarlet, which was broadcast in the UK in 2005.

Scarlet & Black - Voice recording - Netflix

Character dialogue was recorded on a fortnightly basis, with lines for up to four episodes taped at each session, at the Anvil Films Recording Studio at Denham in Buckinghamshire. Each actor, regardless of the size of their contribution, was paid 15 guineas (£15 15 shillings) per episode with repeat fees. The cast were not given the opportunity to tour the Century 21 studios in Slough until all their work was finished and therefore had no visualisation of their characters during the recording itself. This was to the regret of Liz Morgan: “We all said that we wished we had seen the puppets before doing the dialogue, as it would have been helpful to have something physical to base the voices on. I knew that Destiny was French and that Rhapsody had to be frightfully 'Sloaney,' but that was about it.”

Scarlet & Black - References - Netflix