Anna (Joanne Froggatt): ‘How was dinner?’
Lady Mary (Michelle Dockery): ‘Uphill … you don’t think I’m aloof …’
Anna: ‘Do you want me to answer truthfully or like a lady’s maid … [ — Anna thanks Lady Mary for intervening to keep Bates with her and Lady Mary tries to probe and Anna says she just can’t talk about it — ].
Mary: ‘If you described him and ought you to see Dr Clarkson just to make sure?’
Anna: ‘I’m glad there’s honesty between us again but I can’t talk about it’
Mary: ‘Even to me … because you’ve helped me God knows …in the past and now I want to help you.’
Anna: ‘I can’t talk about it, milady. not even to you … ‘
Dear friends and readers,
I call Part 7 of this fourth season strangely moving because it is. I know its weaknesses, the worst being the refusal to focus on Anna’s inner life, to show us what she has felt when she would no more go to bed with Bates than any other man. The intimate relationship between these two women is not dramatized before us. As in Part 5, it’s Bates’s inner life — seething — Mary probes for a moment:
I’ve watched it 3 times now though, each time feeling the building tension slowly increase as the four more openly-felt stories are woven into the design of the tapestry. I like the sense of deeply felt relationships between the pairs of characters and they so move me because it’s what I’ve not got now and so yearn for. The Downton characters keep faith with one another and are kind to one another. This emotional attitude may be epitomized briefly and sharply by fleeting scenes of Miss Baxter (Raquel Cassidy) and Molseley’s (Bernard Gallagher) growing sense of alliance and support; he notices Thomas’s (Rob James-Collier) trying to pump her and wants to know why, sits near her, acting as a short of shield.
First of all the one we begin with, the story of the assault-rape of Anna (Joanne Froggatt) in this part needs to be told to now this person, and now to that, as the Bates’s lives have changed: they are unwilling to endure the relative lack of safety when their other is not nearby.
Bates: ‘I won’t go’
Anna Bates: ‘I see so you’ll leave his lordship in the lurch and probably lose your job and all this to help me. Go home and pack.’ [Still shows her cracking up alone in the hall; she is afraid to be alone, be without him now]
This story threads in and out, and although disturbing because it’s all about how the family first want Bates near to Anna to protect her from another assault (so as beyond Mr Green only Anna and Mrs Hughes know who did it); and then how those who know work to deflect Bates’s desire to murder the rapist: Mrs Hughes in particular, wouldn’t mind if he did. The last shot of the episode is sharply on Bates’s face as he realizes it had to have been Mr Green (Nigel Harman) since Green has just been stupidly boastful at the kitchen’s dinner table, sneering at the memory of the opera singer, saying to avoid the screeching he “came downstairs” for a “bit of peace and quiet.”
Similarly Edith’s realization, confrontation with her pregnancy, her telling her London Aunt and their avowed mutual determination “to do away with” as a baby whatever is there. Their visit to and flight from an abortion clinic. For all its drawbacks, the depiction of Lady Edith’s choice not to have an abortion in the face of knowing how she will be driven to give up her child because unless she consents to be ostracized she and her child will be continually humiliated in public gets to the crux of life’s difficulties. Lady Rosamund’s veering back and forth between horror at the abortion and acceptance, and then intense dismay at the idea Edith will keep the baby and deep sympathy allows us to experience the real risks, costs, pains. The continual parallel shooting of them is emotionally arresting.
These are interwoven with scenes in the library between Edith and Lord and Lady Grantham (Elizabeth McGovern) where we are expected to believe they never thought of what makes Edith nauseous and just plain ill, debilitated. I cannot believe her parents would not see the obvious, dumb though Lord and Lady Grantham often are:
The third is the courtship of Mary: fairy tale-three suitors: two are childhood sweethearts, Lord Gillingham (Tom Cullen), and Evelyn Nadier (Brendon Parks); a third, Charles Blake (Julian Overden) a new-comer among them, empowered to study clever and money-making business practices in an effort to keep Downton viable as an over-grown farm business. If you watch the scene where Lord Gillingham returns to Downton unexpectedly and he and Mary walk down the stairs, you see their skin blench, how much their bodies move in akimbo rhythms. Their love come out of their open faces. Mary is beginning pig farmer, and the night she and Blake visit the pen after dinner finds the pigs almost dead from lack of water. They are a muddy fire brigade, bonding over the pails and then again after cleaning up a bit scrambled eggs and wine in the kitchen:
If you watch the film with care, and slow down the scenes between Mary and Gillingham, you see they are in love — and quite naturally, far more than Mary and Matthew ever were in a gut way. (Dan Steevens was being groomed for an estrangement eventually — if you watch parts of Christmas Season 3 carefully you see this). The sparring of Blake and Mary is fun and also the pig incident (showing she can be earthy) but he is no egalitarian – his thoughts are all about aristocrats and his annoyance with them for losing their estates. It’s The Portrait of a Lady stuff before Jane Campion pointed out the fallacies of the heroine chased by endless super-acceptable heroes
To conclude, this thread, Blake is led to respect Mary and she to trust to his integrity. But this romance means more as it is part of the larger (across the whole series) question of what is to become of places and landscapes like Downton. The probably untenable idealism of this story is Downton ends up supported by supporting others. We are to believe the money works out, just.
The last of the four serious stories, however brief and continually cut and recombined, Tom’s embedding into the family to the point he is no socialist and drives with Lady Isobel Crawley as a pair, brings us back to class, ethnicity (Irish versus English):
and then is invited to go to a political rally for a Lloyd-George type, which never takes places — since Mrs Crawley had to go to France for her son’s proud-wisdom, and her romantic walk about the balconies. He meets Daisy Lewis (Sarah Bunting) young woman schoolteacher while at the political meeting, and is just the type who would fit into Tom’s world and he needs company.
We begin to see the solution to Tom’s difficulty: here is a wife he would feel right to marry and whom he could bring home to the family, just, and take his daughter to live with.
The serious themes directly engaged in here are lacking utterly in the way the other two stories are developed. Yes Lady Rose MacClare (Lily James) going out with an African-English man, Jack Ross (Gary Carr) would seem to be about the racial divide, but it’s done sheerly for picturesque romance, her hat and the frisson of seeing (racialist really) the interracial kiss is the point. The dialogue is cliched and worse, he doubts he is acceptable and asks where is this going (he does not need a duenna):
And the four-way grave (Alfred [Matt Milne] and Daisy [Sophia McShea]) and gay (Jimmy [Ed Speleers] and Ivy [Cara Theobold]) couple, with their musical dance something out of Restoration comedy is truncated as if lest Fellowes would have to go into the characters’ having serious feelings, which he avoids. Fellowes just cannot get up enough absorption in his material to bring forth new varied erotic material in the kitchen: Daisy carries on berating Ivy (Cara Theobold) who knows Jimmy (Ed Speleers) couldn’t care tuppence for her. Alfred (Matt Milner) comes for a visit from his hotel in Manhattan, to see his parents and has time to spend a day at Downton.
The excuse is Mrs Patmore (Lesley Nichol) cannot bear the dissension between the hurt Daisy and apparently easy-going comfortable Ivy. She is okay in her skin at the same time as she just pushes Jimmy and his advances off without a qualm: he: “I only asked what a million men would ask,” to which she: “I only answered what a million women would answer.” Alfred is not allowed to stay the night by putting him off with a lie that Mrs Hughes Phyllis Logan) and Mrs Patmore both have the flu, and Mr Carson (Jim Carter) must foot the bill for Alfred’s stay at an inn and dinner with him.
Violet Lady Grantham’s illness, bronchitis which could turn into a dead pneumonia seems almost out of place, not part of the whole, especially as after one brief scene where Mary and Cora Lady Grantham stop by to ask if there is anything they could do, the thread spins out without reference to anything occurring in the rest of the episode. Mrs Crawley’s complete self-sacrifice for the sake of her old “enemy” who, ill as she is, carries on insulting and dismissive of her is not attached to moving Mrs Crawley out of herself and her mourning. Maybe Fellowes felt Maggie Smith’s obvious sudden greater aging these past two seasons
were there to be used as a “slice of life.”
I wouldn’t want to give it up as it humanizes the dowager and I so enjoyed their concluding moment: Violet wants Dr Clarkson (David Robb) to throw Isobel out forthwith once she is better, and when he gently reproaches her, telling her how Isobel saved her life, she does obey her better self and asks Isobel for some help and says yes she’d like company. Cut to a couple of other scenes and second from the last we see the two of them playing gin rummy late at night all warm chums. Violet: “I had forgotten how much fun this is.” They’d like it to go on. Isobel: “We can play again.” Violet: “Oh goodie …-”
This makes a sharp contrast to the previous scene of Mrs Hughes warning Green:
She: “I know who you are and I know what you did and while you’re here if you value your life you should stop offering jokes and keep to the shadow … ”
He tries to say both drunk but she’s not having any of that, then he tries thanks for her not telling Bates, which implication she rebuts by saying she didn’t stay silent for him, and the final scene of Bates’s stare at Green’s face unaware that he has given himself away.