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Archive for the ‘Downton Abbey’ Category

TomhollanerDrthornefirstshot
The first shot of Tom Hollander as Dr Thorne in the film’s first scene with

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Stephanie Martini as Mary Thorne, where she asks the question [visible in the subtitle] as a prompt for Hollander, Prospero-like to tell us and her not just many chapters of history but what is held back until near the end of the book’s plot-design (ITV Dr Thorne, 2015, scripted Julian Fellowes, director Niall MacCormick)

Friends and readers,

Julian Fellowes has managed to turn the novel Michael Sadleir ended his ground-breaking study of Trollope on (the book that first attracted respectable attention to Trollope — with preferring Dr Thorne to The Way We Live Now) into an embarrassment. A telling travesty. Reviewers veer from lamenting the very existence of this throw-back to picturesqueness as a travesty to earnestly showing how it has eliminated just about everything that counts in the novel. Viv Groskop of The Guardian suggested we take a drug to forget this disgrace. The courteous and judicious Alison Moulds of the Victorian clinic demonstrated the central matter of the tale, medicine and illness, comic and tragic, is left out. As might have been expected, Philip Hensher of the Telegraph demonstrates that the point Fellowes gets across (and by implication, Trollope’s) is that it’s impossible to cross (ontological?) class boundaries.

As it happened when the film aired on British TV, I was teaching the novel to a group of retired adults genuinely engaged by the book. Two British, the rest American. Contrary to Hensher (and like a number of scholarly critics, e.g. James Kincaid), they are persuaded this is an obsessive attack on the mindset that erects uncrossable boundaries and about the hurt (Mary made a taboo person) and damage, indeed death (Sir Roger’s and Sir Louis’s) the behavior enacting this idea incurs. Miss Dunstable’s role is to expose the hypocrisy of the social codes as we watch money and power throw people away, ruin their lives (e.g., Mr Romer, the liberal barrister who tried to help Roger Scatcherd, the railway contractor and banker) into parliament). I had hoped to screen the film until I saw that (worse than Downton Abbey where all deeper issues may be skimmed over, but at least suggested) Fellowes was simply not going to allow any depth to this, among Trollope’s most emotionally direct of all his novels. I admit there was no character they hated more than Lady Arabella and Fellowes fed this by giving full vent to her as the villainess who experiences a mortifying comeuppance (rather like Miss O’Brien and other upper level servants in Downton Abbey). She is in many scenes endlessly repeating her mantra, but then she is presented simply as winning out, having her way in the end. Rebecca Front was given this thankless role as she was given an analogous sycophantic snob in Andrew Davies’s recent War and Peace.

Trollope’s novel utterly resists treating it as light satiric comedy or “fairy tale romance” (which Fellowes in the feature labels his film and by extension Trollope’s book).

Arabella

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As Hollander squirms and twists his body to avoid the barrage, the scene becomes a tasteless joke

So why bother write about? Fellowes’s erasure and corrections reveal where the power of the novel lies and where there are cranks for us in Trollope’s attitudes.

In all the Fellowes’s films I’ve seen thus far he abjures all flashbacks, voice-over, soliloquy, montage, filmic epistolarity (where a character writes or reads a letter that is voiced by the actor who is played the character who wrote the letter) or any techniques that demands we go into the vulnerable psychology of any character to the extent of questioning a norm or value asserted. Trollope’s first four chapters are a daring retelling of deep, intermediate general past, and individuals personal histories (which he ironically apologizes for). He then recurs repeatedly throughout the novel to these pasts so that when the character in a social scene reveals his inner psychology, we realize the context which has given rise to this self normally hidden to us in our daily lives the social scenes. I had not realized how the novel is continually working through, back and forth, deeply layered intertwined time until I watched this film adaptation. In most of Trollope’s novels we recognize his gifts for showing the private self unable not to reveal itself in the social scene for those with eyes to see and understand (Trollope’s narrator and occasional preternatually perceptive characters like the Signora Neroni and Miss Dunstable). Here in Trollope’s seventh book he was consciously adding to that by making the character a product of a particular time, relationship, literal and social space.

Since Fellowes resists all deep wide explanation that filmic techniques can offer (including in-depth dialogue), all we have as opening for the film is some dialogue of nasty excluding of Mary from Frank’s coming birthday party by his (in this film) by his stupid dense and clumsy sister, Augusta (Gwyneth Keyworth) egged on by the apparently frigid manipulative Lady Alexandrina de Courcy (Kate O’Flynn). We then launch into Frank’s proposal to Mary to marry him, her “no,” and stay in the superficial linear time of the present, with the party, and Lady De Courcy’s nagging Frank (Harry Richardson, who plays the part of a privileged sheltered and thus idealistic male aristocrat — true to the book) to chase the rich Miss Dunstable (Alison Brie) now an inanely giggling rich American. (I read that the ITV people were told they would get no American funding unless they had an American character in the cast.) As in Downton Abbey Phoebe Nicholls is given the distasteful role of an utterly ineffectual despicable older woman bully. (She is paid well for it.) Fellowes just loves to invent this kind of female monster. But he must tell the important past or the present story makes no sense. How to do it? he is reduced to having Hollander as Thorne in the very first scene he appears, Prospero-like, tell Stephanie Martini as Miranda, just about everything in one go of her sordid Scatcherd family background. Since there is too much to tell, Thorne and Mary get together twice more (after the said party) and again in the second episode after her other uncle, Sir Roger Scatcherd’s death. What’s done for compression leaves the effect of a story turned inside out.

Far from admitting to anything serious in the novel, in the feature released on the DVD, Fellowes says he regards the book as a fairy tale romance. What he has done is chosen the scenes susceptible to being presented as light satiric comedy. I had not realized before what an experimental novel this is in its use of layered past and movement within different times and memories.

Then Fellowes has the problem of the book’s hinge points which he feels he cannot eliminate. Scatcherd must die so that Mary can win the property. In the novel Scatcherd dies from alcoholism and we read a rare protracted death scene in a Trollope novel. The man has drunk himself to death because he has not been accepted by his true peers because of his lack of surface manners, he regrets deeply what has happened to his son who has been similarly ostracized and exploited, but can do nothing about it. The unhappy man his son has become results from cultural realities beyond his reach. Trollope captures perfectly the mood of someone near death, and shows us that real kindness to such a person is to take seriously what they have to say and respond to it — as Dr Thorne does and Sir Roger’s son does not. He is devastated when the powerful remove him from the place in Parliament he has worked hard to win.

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Lady Scatcherd (Janine Duvitski) over-hearing her husband talk to Thorne

I’m told that Ian McShane is a great actor; well he’s thrown away here. He is presented as foolish jackass. His alcoholism is made a joke of in order to us to laugh at elections as such. The working and townspeople are of course fools, and McShane directed to play the part archly until he falls into a pigsty. (Fellowes might tell us, have you not been watching how popular Donald Trump is?) In the book’s death scene, the pain of Scatcherd’s isolation is made worse because Thorne himself has invested so much in Mary, he cannot get himself to allow Scatcherd to know or to see her after Scatcherd first offers all his money to her and his son, if Thorne will encourage a marriage with that son. This horrifies Thorne who is as exacerbated by the class structure of the place as anyone. He wants above all that his darling niece-daughter be a lady, live with ladies and gentleman and turn to him. And how does Fellowes treat this matter at the center of the second episode? For a moment I had a hard time believing that Fellowes was allowing Thorne allow Mary to come over and nurse Scatcherd so we could get this emotional bath of sentimentality instead and listen to McShane as Scatcherd say he is consoled for his “misspent existence.”

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“Very well,” says Hollander, and the puzzled angel appears, at which McShane says he thinks he will now cope better with “what is to come … ”

Beyond erasing all the material hung from the present time romance story (including its use of excruciating and satiric letter presences), Fellowes has done a Nahum Tate, a David Garrick! Nahum Tate was the man who rewrote King Lear to give it a happy ending; Garrick-like was the the man who rewrote Romeo and Juliet so as to make the lovers wake up to bid sentimental tearful farewells before they lie down to die. He reverses Trollope’s Dr Thorne’s refusal to allow Sir Roger to see or be seen by his sister Mary’s grown daughter, lest he, Dr Thorne, be dispossessed of what has made his existence meaningful, before he dies, even when Scatcherd threatens to leave all his fortune away from her (without which Mary has only the interest from 800£ in the funds, all Dr Thorne has managed to “amass” from his village doctor practice). Perhaps he thought no one reads Dr Thorne, or if we read it, we don’t remember it. Is there no limit to the man’s contempt for his audience?

Well yes.

Fellowes almost unexpectedly turns Scatcherd’s son, Sir Louis (Edward Franklin), the character pitied by Trollope’s narrator just a little, but most often despised, caricatured, sneered at, presented as a money-hungry creditor (as if he has no right to look into the arrangements Dr Thorne has made to keep Squire Gresham afloat all these years) — into the tragic hero of the film story. A chunk of its second episode and full third of the last was given over to a mortifying plangent rendition of Louis’s pursuit of Mary Thorne, his excruciatingly inept presence at a dinner party and then death (not from delirium tremens) but a suppurating bleeding lung (reminiscent in its stagy-ness of Hugh Bonneville as Lord Grantham near death for a few seconds in Downton Abbey) because he galloped across the landscape out of anguish at her rejection and fell off his horse and punctured his rib cage with the horse’s saddle. This subtextual slapstick is not in Trollope.

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Among the character’s last lines is “she thought me a buffoon,” but Fellowes has not lifted him out of that

Fellowes has highlighted a problem his predecessor film adaptors managed to finesse. What are we to do with Trollope’s shameless stigmatizing of lower class males trying to “ape” gentlemen as ultimately slime to be expelled? In 1983 Alan Plater, scriptwriter of Barchester Chronicles (and thus the linchpin person) cast the part against type by hiring Alan Rickman and then had Rickman play the part with a self-controlled dignity, guarded rage, subtle manipulative ability (though out-maneuvred by Susan Hampshire as the irresistible erotic Signora Neroni). Before that a full 40 years ago (1975) in The Pallisers Simon Raven similarly endowed Trollope’s anti-semitic depiction of a Jewish hypocritical murderer, the Rev Emilius (Anthony Ainley) with a seething intensity of ambition that the amoral Lizzie Eustace (Sarah Badel) was too stupid to flee from. Fellowes, though, wanted to grant the character a full burden of human gravitas earlier, but could not pull out enough depth to invent longer scenes to show this. All we get is his screeching at his mother, Lady Scatcherd, how could you prefer Frank to me? Lady Scatcherd (as in Trollope) is otherwise mostly caricatured but as Lady Scatcherd’s preference for the heir is too much even for Fellowes (and he feared too much for pious viewers) Fellowes made her feeling acceptable by having her much earlier on insist how she loved both equally. To this low is Trollope brought and for those who know the text exposed.

I grant Fellowes much of the dialogue used in the film is in the novel — he chose the surface dialogues. He transfers the powerful epistolary narrative chapter where Augusta is treacherously persuaded to give up a possible happy marriage with the De Courcy solicitor, Mr Gazebee (Nicholas Rowe) on the grounds of his lack of rank into pantomime comic moments of dramatic startle. Her great cousin-friend, advisor has grabbed Gazebee for herself.

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Augusta is made into an “old maid” buffoon

There are a lot of silences. Another actor-character thrown away is Richard McShane as Squire Gresham; he wanders around looking sheepish by the end behaving as if by not cold-shouldering others he’s doing enough. In the book it is his unexamined snobbery and self-indulgence in the book that wasted the Gresham fortune; the ambivalent and interesting friendship with Thorne and their dialogues are gone. Istead Fellowes has Hollander as Thorne giving Brie as Miss Dunstable sly glances. Yet the man avoids montage so the explanation at the end must be gone through in words character by character.

As a side note the production did not pay for the the use of the houses. We never see anyone going in and out. They were filmed from afar and then we found ourselves in the usual sets. One reminded me of the set from the 2009 Sense and Sensibility for Norland Park.

Ironically the film adaptation vindicates Trollope from being seen as simply material which lends itself for hijacking from the elite. Last year John McCourt asked why the bicentennial celebrations were so muted? He suggested that the kinds of things done were not the sorts of events a larger audience, especially one not equipped with tuxes and gowns could easily join into. As has been said before (John Letts among those saying this), Trollope has partly been hijacked by his elite mainstream fans. I’d maintain that more than his academic readers lean to the left. Plater wrote brilliantly radical 1970s style plays for TV and stage; Simon Raven was radical in his outlook; Andrew Davies is a humane left-leaning liberal; Herbert Herbert’s gem, “Malachi’s Cove” shows just how down-to-earth is Trollope’s appreciation of humanity.

So while I regret very much this opportunity to film another Barsetshire book was botched, it’s salutary to see the material of this Trollope novel resist the kind of treatment Fellowes tries to give it. A friend said to me this film adaptation is something Popplecourt (from The Duke’s Children) might have written. Perhaps that’s too strong, but pace what I’ve heard some fans say, Trollope’s novels are not at all like P. G. Wodehouse.

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A rare far shot of the bedroom scene: Winterbones taking notes, Scatcherd helped up from his bed by Thorne, Lady Scatcherd leaving …

Ellen

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There are, who to my person pay their court:
I cough like Horace, and, though lean, am short,
Ammon’s great son one shoulder had too high,
Such Ovid’s nose …

The Muse but serv’d to ease some friend, not wife,
To help me through this long disease, my life …
— Pope’s Horatian Epistle to Dr Arthbutnot

Dear friends and readers,

I’m glad to be able to report my review of Martha Stoddard Holmes’s Fictions of Affliction: Physical Disability in Victorian Culture has now become available on the Victorian Web. I single out Trollope’s depiction of Madeline Neroni’s ways of coping with her disability as unusual and worth thinking about.

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Susan Hampshire as Madeline having stage-managed this, Alan Rickman as Slope at the center (Barchester Chronicles, scripted Alan Plater)

Although published some 6 to 7 years ago, the book has not been superseded. It remains as relevant as it was in 2009; sadly, what is described and analyzed are attitudes of mind and feeling towards those labelled disabled widely prevalent today.

I am personally and academically interested in this topic. Just now teaching Elizabeth Gaskell’s North and South, I hope eventually to write and to publish either here on the Net or conventionally in paper an examination of Gaskell’s treatment of mental as well as physical disability in her fiction. Her perspective is that of the caregiver. There are quite a number of essays on disability in Gaskell’s fiction, e.g., by Martha Stoddard Holmes herself: “Victorian Fictions of Interdependency: Gaskell, Craik, and Yonge,” Journal of Literary & Cultural Disability Studies, 1 (2007): 29-42. (“Well at Pen Morpha”). Deborah Fratz has written one out of Ruth, as well as an excellent review of Holmes’s book: “Fictions of Affliction,” Nineteenth Century Gender Studies 3:3 (Winter 2007); “‘A feminine morbidness of conscience’: disability, gender, and the economy of agency in Elizabeth Gaskell’s Ruth.” Victorians: A Journal of Culture and Literature, 127 (2015):4ff.

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Chris Hammond, illustrator for Mary Barton and Cranford: a scene from Mary Barton where a female character is too weak to stand

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I took extensive notes on Holmes’s book as well as other essays, secondary studies and the novels of the era discussed by Holmes. A sample of some themes in Holmes I was not able to include in my review:

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William Lindsay Windus (1822-1907), Too Late (a rare depiction of TB in its last stages: Windus was attacked and the picture hurt his career badly)

Preface: Holmes asks, What cultural texts inform the meanings we give disability? what kinds of bodies raise our hackles? Which ones evoke fear, pity, desire, disgust? How does all this end in our limiting the way our bodies are allowed by us to feel? She tells of the tension, awkwardness, and cant she saw in classrooms trying to discuss disabilities. The students could not see themselves as disabled — among those who spoke. It usually ended in everyone expressing compassion, inspiration and then defensiveness and boredom.

Dickens is so typical in his drenching of such a character in melodrama, sentimentality and healing. She instances the movie An Affair to Remember and how it was alluded to in Sleepless in Seattle. Holmes wants to disrupt this connection of melodrama with disability. Apparently a trope of Victorian novels is the disabled woman who cannot marry and becomes a conduit for another woman to marry; tremendous emotional excess surrounds the figure because she cannot marry or should not. How terrible (Victorians thought) to transmit disability. Orphans of the Storm a silent film that harked back to a popular Victorian story. Why was, is it so dangerous to imagine a disabled woman as desiring or a biological mother? In the body of her book she provides extensive detailed analyses of the novels and/or novelists’ work, and of the those people with disabilities who wrote memoirs or about whom biographies were written.

Holmes connects the treatment of disabled people to perceptions of disability as an issue about work: who works and who doesn’t. One problem, what is work anyway? What people then (and today too) look at is who is an “imposter” (thus villainous, not deserving) and who “really” disabled; what is cared about is the relationship of such a person to income and work as “innocent” or “guilty.” Disability is not cared about as such, but only as it impinges on what’s thought important. Mayhew’s London Labor and the London Poor is a major document.

1870 Education Act included a provision that poor law guardians were to send blind, dumb, lame, deformed, idiotic, insane children to charitable institutions to be educated; no money was provided and in fact nothing done. In 1893-4 a provision making it compulsory that blind and deaf children go to school. Not clear if it was enforced (I know what services are available cease in the US when the person finished high school — so 12th grade, around age 18.) Raymond Williams makes short work of nostalgia over Elizabethan treatment of crippled, disabled.
Holmes’s book makes Foucault emerge as not only irrelevant and unreal but doing yet more harm to attitudes – justifying simply putting the disabled on the streets after you close their “prison-asylum”. (In many 18th century historical studies, his evidence is said to be wholly inadequate).

Is disability less speakable today? Holmes seems to think so. The disabled person not recognized as disabled is freer – but at the same time, it’s the person who is “near normal” but needs help that is the person most people resist recognizing – lest it threaten their own self image.

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Joshua Reynolds, Samuel Johnson reading

Chris Mounsey’s superb collection of essays: The Idea of Disability in the Eighteenth Century. (Lewisburg: Bucknell University Press, 2014).

Disability is used as a perspective to examine culture – as we examine culture from the perspective of class, gender, race, sexuality. All these different groups are made to define themselves negatively against the hegemonic “norm”. The norm defines itself by what it is not. We find that excluded people either acquiesce or they become victims. People look for activities whihc bring about change to improve the excluded person’s experience. He maintains this way of defining the self does not help disabled people create better attitudes towards themselves

He made me remember distinctly — though I know it to be so — that Pope was a crippled person, called a cripple, ill of a central disease in his body frame, disabled, and that Johnson was disabled too. The two men after whom ages have been name: as in The Age of Pope (alternative: Augustan) and The Age of Johnson (alternative: Sensibility). The only novel I can think of which from the 18th century which has a disabled or crippled character is Burney (in Camilla) and it’s she who left the most graphic (unpleasant) pictures of Johnson. Austen only presents disability fleetingly in an encounter in her letters (if the man she makes signs to is that). She also has Mrs Smith. Mounsey discusses Helene Deutsche’s books, Resemblance and Disgrace and Loving Dr Johnson – both are book length studies of a disabled person

He argues we must talk about and think about disability in terms of limitations; how it limits the person and help them cope with these limitations . Accept that these are their limitations. Antidiscrimination laws for both people marginalized importantly helps. Not worry ourselves about hegemonic norms.

He distinguishes this way: Homosexuality is socially constructed, blindness is not. Sexuality is partially socially constructed; so too racism . You want to imagine the lived experience of the disabled person irrespective of abled people. You don’t worry yourself about their lack of intersection with these large acts or events that are said to be normal.

On some histories of disability: Kim Neillsen’s history cannot divest itself of this binary of abled versus disabled people no matter how rich her refusal to fall into generalities and abstractions. David Turner on disability in the 18th century focusing on deformity (probably because that is what was recognized) but still uses class race and gender as tools of analysis. 1999 Elizabeth Bredberg said that accounts of the live experience of disabled people is underrepresented. There is more work published about deaf people than any other disability – we need people with “interpretive competence.” Much of their history has been a fight to use sign language as their means of communication. Now sign language is ephemeral and individual —

William Hay (1695-1755), was small man with a deformed spine, a poet, politician, husband and father, Whig member of parliament. Hay tells of mocking terms for himself: did he take them seriously, Mounsey asks, The ODNB by Taylor does not mention the man was a “born a hunchback dwarf” until penultimate paragraph. We are not told of the marriage beyond it was one showing loyalty to Whig party. Hay wrote treatises on laws for the poor with suggestions for better relief, a long poem, on principles of morality and Christianity, on civil gov’t, left extensive diaries, translation of Martial. Hay published his essay on “Deformity” a year before his death when he said he was never free from casual abuse, and says we cannot treat disabled people as if disability were marginal to their lives. Hay attacked Bacon for saying people with irregular bodies have twisted minds. At one point he scorns a woman who is deeply sick and allows someone to marry her for her money (Lady Mary Belair).Meanwhile the Critical Review called Hay good-natured and ignores barbed Martial epigrams where Hay took Pope as a his model. Why? Hay waited until he was dead and his victims too to publish. Hay wrote about how he waited.

Mounsey was partially sighted when young and is now wholly blind. Blind people have fought for more braille texts ;now Mounsey could read when a child and now he uses audiobooks and text-to-voice mechanisms. He now relies wholly on aural and finds the experience itself very different and equally valid 15 – it took 2 years to learn to do well. He is disabled in reading the way a deaf person mostly is not – he is stressing people are variable and we should all help one another He has a friend who will not accept her blindness; refuses to go places, insists on reading using a kindle with the letters hugely magnified but soon tires 18. This reminds me of many widows who refuse to go out. People need to build a capability to live with an altered capacity – to find alternatives. Yes I agree.

Then come the essays in the volume.

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Barnaby Rudge and his one friend, a raven (Phiz) — seen as uncanny

A few notes on Janet Lyon’s extraordinarily insightful “On the asylum road in Mew and Woolf:”

I can’t even begin to do justice to this essay. It is a deeply anti-asylum argument. This is just one small note from it, and a recommendation to read it yourself (bibliography included in the review). Lyon includes the startling cruel insults Woolf will hurl at disabled people (such as when she sees a group of downs syndrome people walking down a road they are “idiots” who ought to be “killed”. These remind me on tone and intensity of Austen’s harsh jokes — women in childbed and dead babies. I wondered if Austen’s closeness to disabled people, to the wretched of her society,her own lesbian-spinster or just spinster state formed part of her alienating way of presenting human bodies in her letters. Both acutely sensitive people.

Lyon quotes the great and powerful poems of Charlotte Mew that Penelope Fitzgerald’s late 20th century biography grew out of. Fitzgerald wanted to look and to look away. She identifies vulnerability with disability. Woolf identifies the disabled on the street with the wretchedly poor and miserable there too. With old lone women.

The early history of asylums in the 19th century not only went about to lock up unwanted people but would ferret them out of neighborhoods to fill these places. The strongest thrust of these places and the culture that produced them is to control the person defined as disabled, to keep them apart from everyone else, and then to dismiss them from life. Unlike Holmes and even Chris Mounsey Lyon concentrates on mental disability which is more threatening to the average person — thus the horror, the assertion of something uncanny.

From Charlotte Mew’s “The Changeling”

Sometimes I wouldn’t speak, you see,
Or answer when you spoke to me,
Because in the long, still dusks of Spring
You can hear the whole world whispering;
The shy green grasses making love,
The feathers grow on the dear grey dove,
The tiny heart of the redstart beat,
The patter of the squirrel’s feet,
The pebbles pushing in the silver streams,
The rushes talking in their dreams,
The swish-swish of the bat’s black wings,
The wild-wood bluebell’s sweet ting-tings,
Humming and hammering at your ear,
Everything there is to hear
In the heart of hidden things.
But not in the midst of the nursery riot,
That’s why I wanted to be quiet,
Couldn’t do my sums, or sing,
Or settle down to anything …

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We all remember the early treatment of Brendan Coyle as the disabled Mr Bates (2010, Downton Abbey)

As a general final note here: There is a problem when one uses novels or films as evidence for serious psychiatric or neurological or sociological problems. We do this so often since it’s become an accepted way of reading novels, as part of cultural studies. But novels are written to sell and to a wide public and obey conventional plot-designs. We should remember that the writer no matter how perceptive, humane, acute, is a product of his or her era, is making up the evidence, and the novel is intended to be read as a novel, the film (with actors playing parts) seen as a film.

Ellen

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Final shot of the series: Highclere Castle depicted as in snow, night falling — it is dark note

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Antepenultimate shot: we glimpse Violet, Dowager Lady Grantham (Maggie Smith) with Mrs Isobel Crawley (Penelope Wilton) and Cora, Lady Grantham (Elizabeth McGovern) with Tom Branson (Allen Leech) —

Robert, Lord Grantham (Hugh Bonneville): “We never know what’s coming of course, who does?” (his last words)

Friends and readers,

What can one say about 90 minutes of scenes presented as about real human beings where except for the two over-the-top caricatures of Lord Merton’s eldest son and daughter-in-law (Charles Anson returned with his horrible fiancee, now wife, Amelia, an actress whose name I cannot find), everyone is actuated by the kindest concern for everyone else? and they cave so easily: “If reason fails, try force,” says Violet and she and Mrs Crawley snatch Lord Merton (Douglas Reith: “Marvelous!” says he) back. It’s again scene after scene of the usual intense emotionalism, with wry sayings transitioning into complacent on-goingness.

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Thomas (Rob James-Collier): “I think I might try to be someone else when I get to my new position … “

Yes Lady Edith (Laura Carmichael) is tart to Bertie (Henry Haddon-Patton) when they meet again: he hurt her. Lady Pelham (Patricia Hodge grown old) put up a protest against Bertie, her heir and son, marrying “damaged goods” aka Lady Edith Crawley who comes with her daughter, Marigold, born out of wedlock (because Michael Grigson disappeared in the conflagration of Nazi Germany), on the ridiculous grounds they have to keep the “highest moral standards up” since Bertie’s cousin, the man he inherited from may have been homosexual, and didn’t lead a mainstream life; but the unbelievable stilted reasoning soon collapses under the weight of her desire to be central to her son’s on-going life. This desire of all of them (except maybe Mr Carson, see just below) to not be rejected by anyone, not to hurt anyone’s feelings controlled the behavior of all by all.

I was reminded of an essay I tried to read by D.A. Miller where he asked why there were no police in Trollope’s Barchester Towers?

A paraphrase: everyone polices one another and themselves … we are invited to sit around and fret about how to take how a character given hardly any of life’s real alternatives is acting … thus are we drilled into accepting our lot …

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Mrs Hughes-Carson thinking about what she has seen

As usual Fellowes has a knack for surface realism: so we see that aging men sicken and move towards death much earlier than women. The “golden years” of Mrs Hughes-Carson (Phyllis Logan) and Mr Carson (Jim Carter) are going to consist of her selfless pragmatic and sceptical functioning as the friend, wise adviser and nurse of this rigidly martinet reactionary disciplinarian, worshipper of Debret’s as he subsides into Parkinson’s disease. Lord Merton (Douglas Reith) is not near death from pernicious anemia but he does have a serious case of anemia and will need his new second wife, Isobel Crawley, now Lady Merton, to care for and protect him.

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Robert, Earl of Grantham did not die of a hemorrhage from his ulcers in the antepenultimate episode, and now has a new puppy dog to lavish affection on,

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but he still clutches his chest in a worrying way that suggests angina pectoris, so it may be a good thing that (unlike her husband), Cora has found her metier in local politics at last: she is a soothing Lady Bountiful presiding over a remarkably anachronistically organized hospital system there in Yorkshire (it was Yorkshire the series began in?) where all will be taken care of. In their last conversation they acknowledge we cannot know what is to come.

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It was well-calibrated not to make this last episode into a tear-jerker.

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A few liberal joke-y notes. It turns out we are to see Spratt (Jeremy Swift) as another gay butler — that’s appears to fuel part of the Dowager’s delight when our resident (thwarted) witch lady’s maid, Dencker (Sue Johnston) carries on her thankless task of attempting to get him fired backfires.

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Spratt’s stamp album now a cover-up for his notebook writing of his daily column of advice for young ladies love-lorn and wanting to know what to wear

Mr Barrow (Rob James-Collier) is just dew-y all episode long with gratitude to all for their concern for him when he tried to slit his wrists, and with determined sweet love for all. Lady Mary engineers Lady Edith’s marriage with so little ease I cringed to hear Lady Edith’s return to abjection: “you gave me my life back” — could she have done nothing? The actors did remarkably well under this perpetual pressure. I thought some of the lines downright corny and Michelle Dockery had some trouble in her dialogue with her new beloved. Rob James-Collier managed a little better because he was given fewer lines: if he couldn’t be married, he could smile at being included and replace Mr Carter at long last. If there have been any lesbians (say the lady’s maids) over the years, we were not permitted to glimpse this, though now and again we came across individuals who ended up going it alone.

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Does anyone remember Alun Armstrong as Stowell the butler in Scotland? — Durkheim says elderly men alone are a population most susceptible to suicide

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Or how Violet attempted to secure Lord Merton for Lady Shackleton (Harriet Walters)? — but alas she was too old for his taste (I thought I glimpsed her for a split second at the back at Edith’s wedding but perhaps it was Henry’s as she is his family)

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Why break a butterfly on a wheel at this point?

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The scullery maid the first season opened with now has her hair fixed by the housemaid now privileged lady’s maid and companion — Daisy (Sophie McShea) who saved a farm place for Mr Mason by her protests is all set to become Queen there, with Andy her tender-hearted king

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Andy Parker (Michael Fox) fixing the house roof

I direct my readers to two of several long-time bloggers on this series who offer the equivalent of Trollope’s ironically titled final chapter of Framley Parsonage: “How they all were married, had Two Children and Lived Happily Ever After:” Jane Austen’s world appeared to take it all solemnly, though she called it a “sugar spun bow;” Anibundel provided some salt while she went through it bullet-style: I add that even Mr Mason (Paul Copley) grins at Mrs Patmore (Lesley Nichol), and Edith’s editor catches the bouquet and so we know that soon she and Tom will be getting together. “All have won and all must have husbands after all.” Two children? Lady Mary is pregnant again, now that she’s got a Henry Talbot (Matthew Goode) who is working out to be another submissive male, and in this episode is a woman who mends and heals and takes care of all. At first Henry seems depressed over this turn of events, but there is Tom to buck him up, and with effortless ease they start a Daimler business. His only worry is lest Mary be ashamed of him, but not in this episode where she is all calm beneficence:

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There were years where I became intensely involved and bonded with some of the characters, Anna and Bates in the early years (Joanne Froggart and Brendan Coyle),

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In the church watching Lady Edith getting married

more recently Mr Moseley and Miss Baxter (Kevin Doyle and Raquel Cassidy). Servants on occasion educated themselves out of servitude: after all Moseley is not going to be a university professor.

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The punctum (as the piercing feel of the image is called) was there for me

It did happen that children of people outside the family could be brought up in the family nursery: Here it’s enough to see Lady Mary bend down to take off Anna’s shoes to force Anna into her own bed to give birth:

LadymaryremovingAnnasShoes

And when the childbirth agon is over (hardly felt at all, hardly took any time) the new Bates son will be put in the nursery during the day with the Grantham children to be “followed by a young Talbot:” Lady Mary decrees:

Baby

baby2

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A typical kitchen scene, preparing food for the groups

In this last episode those still capable of being moved were so by the long years of “slow television” (individual scenes were not overlong but not a few seconds and broken up with interweaving with others as they played out), the images and dialogues repeatedly embedded in dramatised explorations of the neurosis of everyday life not gone into too deeply. In a world today where shallow relationships sustain daily communication in places where at any moment anyone may be ejected with no recourse, there can be no denying that finally the attraction was to this story of a group of people privileged to remain in a fractured-pastoral refuge. Community, safety, kindness is what is longed for after all.

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So it feels inappropriate to dwell on close-up images of pairs or single individuals at this last: the episode is larded with scenes where the characters support one another and self-reflexively discuss their relationships, the past, and gently lament they like ordinary mortals must move into future time.

Isobel: “What else could we drink to. We’re going forward to the future, not back into the past.”
Violet: “If only we had the choice.”

Dec29th
The house was photographed again and again, three times in snow

This is but a blog, but it is mine own and effective soap operas weave themselves into our lives over time. When Downton Abbey began I was happily married after many years and at first did not watch, my husband did not care for TV in his last years, and I did not want to take over the front room where an old television was stationed. I succumbed to find common ground with Anibundel, caught up, became hooked, and over the years events, images, lines in these various seasons intertwined with what was happening with my life. My husband died as I watched the fourth season of mourning; now the quiet “exultation” at the close of this sixth saddened me, since I have no future I want to go forward into as do these “precious winners all.”

‘The only thing I’m not ready for is a life without you’ — Bertie to Edith

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Judi Dench as Paulina (The Winter’s Tale)

Ellen

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Miss Baxter (Raquel Cassidy) finds Thomas Barrow (Rob James-Collier) bleeding to death in the servants’ bathroom

Soon over. Not to worry. Not much to get through now.

The best framing of the last two “regular” episodes of Downton Abbey is probably Fellowes’s sneering bad-mouthing of BBC as this leftish outfit who would have hampered his coming hijacking of Trollope material for the elite in the form of an adaptation of Dr Thorne. (Part of a decade trend, explains John McCourt in The Irish Times.) The photo of this self-satisfied boaster (just click) is another where he resembles Hitchcock, maker of signally nasty movies, horrifically violent towards women. He is throwing stones at the BBC to support David Cameron and MPs of that ilk who (following the US gov’t’s attitude towards PBS), are doing all they can to destroy the BBC as we have known it. Bite the hand that fed his career.

There have been many Trollopian motifs in Downton Abbey: In these last two episodes we have in the story of Mrs Crawley (Penelope Wilton) and Lord Merton (Douglas Reith) the young grown heirs who do all they can to prevent the older generation from fulfilling their needs for companionate and sexual love (one of many places is in Trollope’s Orley Farm).

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Mrs Crawley (Penelope Wilton) struggling against the pious hypocrisy of Lord Merton’s coming daughter-in-law who does not care how miserable she and her husband will make the older couple, just as long as Mrs Crawley takes over Lord Merton’s care as he ages

Fellowes may have gotten the Pelham story from the background to The Warden: a Rev Francis North, Warden of the Hospital of St Cross unexpected became the Earl of Guilford after the death of a bachelor cousin (see latest Oxford ed by Nicholas Shrimpton, Introd. p. xvii).

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Lady Edith (Laura Carmichael) afraid of this man’s (Henry Haddon-Patton) sheltered life (we would not be asked to believe this in Trollope) cannot get herself to tell him on her own that Marigold is her daughter, and liking his sensitivity so cannot say no to the marriage

Yet just to say how smooth it all is to ignore the point. Fellowes wants to carve in cement the idea that this ruling class rides over all, and everyone fits in.

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In these two episodes our third heroine, Anna Bates (Joanne Froggart) falls back to where she belongs: the careful diplomatic lady’s maid …

Because that’s the way it is and ought to be. Your loathing is so much useless banging against a wall which he claims won’t come down.

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To come to these two week’s salient themes and events, I thought again that Anibundel hit an important note when she remarked in her recaps of the last two episodes there’s something “emotionally horrific” about them (7: “But do they live happily ever after?”; 8: “The Truth about Mary”).

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So Episode 7 achieves true heartlessness in the exploitation killing off of a character invented suddenly as of rooted importance to our new suitor-hero, Henry Talbot (Matthew Goode): what took my breath away was the overt kick Fellowes got out rubbing in the watcher’s nose that once someone, anyone dies, not only does just about everyone in the world carry on just as before (maybe one person affected, in this case the rival car driver in a death-race), but they are as happy, cheerful or occupied as ever. No one gives a shit — for even the grieving other car driver can’t resist asking the ice princess, Lady Mary (Michelle Dockery) to marry him. She of course says no, being heartless herself — her ostensible believable reason that he has no rank nor money; he has forced her into this, it seems. She won’t admit to him the one legitimate reason: she lost her first husband to a car accident. What is she to be perpetually afraid to be widowed this way again. But no, not she, she won’t ask him to give this up.

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At the races — he later tells her when it seems it’s money and rank alone that he lacks, that he didn’t think she was that small and she is electrified with nauseated resentment

Episode 8 multiplied this effect: we had a roller-coaster of humiliations and deaths of hope: Lesley Nicol as Mrs Patmore business is going to fail from public mortification; ho ho how funny this is everyone feels:

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Mrs Patmore (Lesley Nichol) upon being told her lifetime savings may have gone poof in a squalid incident — the risks to a woman of opening a B&B or boarding house

Kevin Doyle as Mr Moseley is made a fool out of by his students after years spent trying to get the right to stand in front of a classroom.

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Writing on the board

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Cold and indifferent to him, seemingly disdainful

And Lady Mary finally outdid herself in attempting to destroy Lady Edith (Laura Carmichael’s love affair) with such cavalier bitchiness that for a time she was excoriated by the decent people in the house. Tom Bransom (Allan Leech) rounds on her as a coward bully, for once sneering at “her maid” as her friend (of course she would show a respect sympathy). And her father (Hugh Bonneville) on her snide remark that he and Carson together led to Thomas’s attempt at suicide as even he didn’t expect such a “blow, low even for you:”

Lowblow

and the worm turned:

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Summing one another up at last: Lady Mary starting it: “You’re pathetic,” and Lady Edith finally, you’re a bitch … can’t bear to see anyone happy if you’re unhappy …

Fellowes is so true to the characters he does leave a line where Lady Mary almost implies she could go after Pelham now. Though as ever her mother (Elizabeth McGovern) overlooked it by treating it as trivia in her usual complacent way (“you wouldn’t want people to think you’re jealous”); and the Dowager, Violet (Maggie Smith) hurried back from her holiday in France to reassure the audience underneath Mary has a heart, she just pretends not to (as all worldly sensible people do and Fellowes’s high class heroine would).

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Violet to the rescue

We did have to endure and cannot overlook the talk before and after Mary’s bombshell that Edith must tell Bertie Pelham, now Marquess (Henry Hadden-Patton). Robert had a good moment here to Lady Rosemary Painswick as she carries on insisting they cannot do this to this “other family:”

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Lord Grantham asks Lady Rosemary (Samantha Bond) when she is planning to leave

We can remember how she tried to drive Edith to have an abortion and when Edith wouldn’t, to give up her child to strangers.

But such talk is in effect a form of blaming Edith for not telling him, and she says she might have tried to “trick” him (he’s another of the blind people of these 7 years who never once thought, Where does Marigold come from?). So Mary had to do it even if she did it so viciously. Tom is still half-used as a chauffeur by both Mary and Edith: so much for his views. Fellowes is so clever at getting the audience to accept this formula of resignation: Edith’s grating showing up at this ice princess’s wedding is accompanied by plangent speech about how someday they would be the only ones with shared memories of the world they had known so must not estrange themselves from one another.

But life you know carries on. Fellowes does what he’s so good at: involves you emotionally in realistically conceived and deeply felt characters’ deep crises and when the shit hits the fan, slips away. Snubbed and ignored, and sideswiped, and nagged to get the hell out of there once too often Thomas slits his wrists. But we are given no scene of him doing it, no over-voice, no aftermath: just what the public was told, a social scene of the upper class Master George showing some concern

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and then Thomas at the wedding (looking a bit worn but none the worse for the wear) and it seems he is not going to be sacked after all. And suicide if it does not succeed can be hidden.

Here the arch enemy was Carson who once called Thomas disgustingly repugnant; we have later to endure Mrs Hughes’s (Phyllis Logan) calling his behavior to Mrs Patmore too as “curmudgeonly:” this is to trivialize the cold shoulder bully who behaves with repugnant words and active cruelty to real people in favor of upholding an abstract hierarchy of the rich

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Here her forthright face-to-face response is the right one: to tell him he’s wrong and they won’t do as he wishes

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The most unqualified good moments are in the secondary stories where Fellowes seems more comfortable:

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The servants picnicking

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Mr Moseley succeeding with his students by telling who he is and about himself, and that learning is for itself, not lying that they can have anything they want as a result of this learning, Daisy (Sophie McShea listening)

And through stills:

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Lady Mary at Matthew’s grave just before she’s about to marry Henry — this can remind us Fellowes never meant to kill Matthew off, but used it, together with the rape of Anna, brilliantly in the fourth season ….

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Edith knowing she has done the right thing to bring up her own child, Marigold — the still closes the episode and so can remind us how often Fellowes has imagined unwed mothers whose raison d’etre becomes their child …

I agree with a friend that the dialogue, the scripts have been much less interesting the last two seasons.

I have read that the “final finale,” the last Christmas episode will not be aired for two weeks. If this is so, it shows a astute appreciation of how soap operas work in our lives. Their slow pace, the turning of their daily worlds punctuating our experience of our own once a week makes us react to them as we do to friends we see regularly. They enter our lives as part of the thread.

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The latest family member: Violet’s present to her son, Lord Grantham of a puppy to replace Isis

Ellen

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The best moments are the quiet ones: characters walking and talking, so here are Mr and Mrs Bates off to work (Brendan Coyle and Joanne Froggart)

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Mr Moseley in the village square self-reflexively selling tickets to come see ….

Mr Carson: “Do other butlers have to contend with the police arriving every 10 minutes?”
Answer: No, but most are not part of moribund mini-series.

Friends and remarkably patient readers,

Despite outbreaks physiological and psychological of intense distress, surely you’ve noticed we are on our way to as happily ever after as human beings ever know:

I take out my crystal ball developed out of not-so attentive watching (I would open a book and take bets only that I don’t understand betting):

crystalball

Our princess Lady Mary (Michelle Dockery) is going to marry the self-indulgent drone Henry Talbot (Matthew Goode) and run Downton Abbey efficiently as a cross between a tourist attraction and generous farm rental site; Barrow will become head butler and spend his declining years indulging all Lady Mary’s children; our secondary heroine Lady Edith (Laura Carmichael) will marry Bertie Pelham (Henry Haddon-Patton, a double-moniker there) despite Lady Mary’s final spiteful attempt to use her knowledge that Marigold is an illegimate child. Pelham is not a prince in disguise, but he is not the total shit Lady Mary had hoped. Mr and Mrs Bates (the one truly aggressive man in the series and his very long-suffering wife) will have that baby, which will be healthy and retire to their property to become prosperous landlords. Lord Grantham will not die young because Cora, Lady Grantham (Elizabeth McGovern) is just too soothing and complacent a presence to allow an early death once Violet Lady Grantham (Maggie Smith) despite her Methuselah-like great age settles down to supporting Miss Dencker (Sue Johnston)’s matching spite and Spratt’s stamp-collecting habits (Jeremy Swift).

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A single housekeeper, skeletal staff, and “day help” will replace “downstairs”

Mrs Hughes (Phyllis Logan) will show yet more extraordinary patience as she endures married life with that self-indulged prig of the patriarchy, Mr Carson (Jim Carter) who is not capable of going to bed without looking to see if the sheet corners are expertly done nor eat if his dinner is not eternally hot and as exquisitely cooked as if he were a Shah of Saudi Arabia. Mrs Patmore (Lesley Nicol) will marry Mr Mason (Paul Copley), bringing to his tenant farm her dowry of her property. Now married, a highly educated Daisy (Sophie McShea) and Andy (reading and writing too as the best of them, certainly no one knows pig theory better) will come to live with them.

Have I left anyone out? Tom Bransom (Allen Leech)’s fate is as yet obscure. Isabel Crawley (Penelope Wilton) and Lord Merton (Douglas Reith) have been granted an intermediary in the person of an astonishingly kind prospective daughter-in-law (what I can’t figure out is how she can marry that vicious son of his?).

While I just know in the longer run Miss Baxter (Raquel Cassidy) will marry Mr Moseley (Kevin Doyle) who will become a teacher in a school (he takes a test next to Daisy in Episode 6), there is another bit of a twist and turn down the road as it seems after all she had some feelings for the crook who arranged his theft in such a way as she went to prison. Both such good souls, they will work it out.

How easy some of them have it now? Lady Edith’s interviews of prospective women employees are without tension? No rivalry whatsoever. How is it that this newspaper is so easy to run?

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What a gentle time of it they all have

As to Talbot, are there no aggressive males left on the planet? When with Lady Mary, he behaves as if he were in school assembly.

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In Downton Abbey only servants are harshly treated …

So why are we carrying on? in this excruciating slow motion? (For recaps see Anibundel: 5, Who would have thought the old man had so much blood?, 6: Downton Abbey as Antiques Roadshow lacks information). Because the ratings were so high and potential audience and money from advertisers were too tempting.

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On Episode 5: I admit to being a viewer whose emotions have at times been deeply engaged with these characters, so when the hospital debate came a crisis with Violet’s coercing Neville Chamberlain himself to come to luncheon in the hope he will not permit the local hospital to be amalgamated to a county-wide organization and yet another of these tension-filled meals became too much for Lord Grantham — and his ulcers burst. What a comment upon 6 years of these dinners and luncheons, not to omit the occasional strained breakfast. I found myself distractedly distressed, tears running out of my eyes, to see this man coughing up huge goblets of blood.

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Lord Grantham’s ulcer bursts — he has clearly had enough (Hugh Bonneville enters fully into the role assigned every time, DA 6, Episode 5)

So the first time I watched, I was started into upset, and my emotions rose strongly; but if a movie has real depth in it and has earned belief, adherence, the second time through should be stronger as you notice more. Alas (almost), the second time through I felt indifference; the contrived nature of the scene once the shock wore off and especially since Fellowes had relied on this melodrama. I read somewhere that the genuine shock on Elizabeth McGovern’s face came from her gown, face and hands being spattered with the false blood from across the room. That was not supposed to happen and you can do only so many takes with such a scene. In the event, they did two takes only. I could see how it neatly ties up with the hospital debate in such a way as the Dowager must lose, but I felt that a sensitive fine actor (Bonneville) who let himself go into the part was exploited by this use of him.

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Mr Moseley helps Miss Baxter put on her coat after she has learned her ex-lover has pled guilty thus sparing her a confession of her complicity on the stand

As to Miss Baxter’s continuing agon, with the ever compassionate sensible Mr Moseley (who can put things into perspective with the joke — do you want me to go back and see if he will plead “not guilty”). What saves this series is not the humor (which is often not funny) but that continually as an undercurrent and some times rising to the surface (in coughed up blood?) are tensions, strains, disappointment, conflicted desires beneath the tranquil surface of life for these privileged lucky characters.

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Downton Abbey | Series Six We return to the sumptuous setting of Downton Abbey for the sixth and final season of this internationally acclaimed hit drama series. As our time with the Crawleys begins to draw to a close, we see what will finally become of them all. The family and the servants, who work for them, remain inseparably interlinked as they face new challenges and begin forging different paths in a rapidly changing world. Photographer: Nick Briggs HARRY HADDEN-PATON as Bertie Pelham
The people on line are beginning to think somehow one group waiting has been favored over another, and the staff is doing what they can to push out such thinking from their minds.

On Episode 6: One of my favorite PBS shows has long been the Antiques Road Show on PBS as done in Britain; there is an American version, but for me not as much fun as these visits to large country houses and estates. And I have come to expect as a matter of course, that detailed knowledge of the most obscure objects will be forthcoming.

Taken as a gentle satire on the usual display of conjectured (they are careful to say it’s conjectured) information with prices that make the sellers unexpectedly happy, Episode 6 was worth a watch. There was a mild pleasure to be had in seeing how people really don’t know the facts wanted (or bogusly invented). Lady Edith couldn’t say who was in the picture; Cora, Lady Grantham did not know why one set of imitation shields over a fireplace had not been carved with any letters but over there was a bona fide Reynolds.

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She never thought to ask why the shields are not carved — the false importance such tours give to brick-a-bracks, making them numinous because “gazed at” in this ritual way is felt

Robert: “What on Earth can we show them to make it worth their money? Lady Grantham knitting? Lady Mary in the bath?”

The dialogue where a tourist boy stumbles into Lord Grantham’s room to ask why he doesn’t get somewhere much more comfortable to live a bit heavy-handed but not all that improbable — if you think children are not alive to class and how rich people live differently. Mine and I knew by kindergarten.

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Lord Grantham will soon tell the boy he lives this way because that’s what he is used to

What was registered was Fellowes’s looking askance at those people who come to gawk; and his quiet sneer that to keep such places going you have to let people in who envy a style of life they have misapprehended as exciting but who are really endlessly thinking of whether their egos have been assuaged.

Downton Abbey | Series Six We return to the sumptuous setting of Downton Abbey for the sixth and final season of this internationally acclaimed hit drama series. As our time with the Crawleys begins to draw to a close, we see what will finally become of them all. The family and the servants, who work for them, remain inseparably interlinked as they face new challenges and begin forging different paths in a rapidly changing world. Photographer: Nick Briggs MAGGIE SMITH as Violet, Dowager Countess of Grantham

Miss Dencker comes near to be fired for too much loyalty. When Dr Clarkson (David Robb) defected, she accosted him. He writes a letter of complaint to the dowager. So we see whose feelings count. Whose life matters. The Dowager’s response is not gratitude. What? did Dencker think she had a right to be loyal. to have any feelings at all? On the spot, the Dowager will fire her. The way Dencker holds on is to threaten to tell the Dowaer that Spratt hid his crook-nephew, so Spratt must go upstairs and ask for her reinstatement. When Spratt succeeds (so quickly it’s probable the Dowager did not want to sack Dencker), far from promising never to threaten again, Dencker says she will use short blackmail whenever she has to.

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Thomas Barrow contemplates suicide as his utterly selfless teaching of Andrew Parker is sleazily misread (Rob James-Collier and Michael Fox, DA 6, Episode 6

Thomas is beginning to have had it. After all these years of faithful service and self-control on his part, he is still not trusted enough so that if he strikes up a friendship with a footman the first thought all have is he’s buggering him. And he is continually nagged to find a job where he might have something useful to do. Had this been imitative of life either he or Andy would have said he was teaching Andy to read.

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Lady Edith and her suitor stroll through St James Park — or is it Kensington Gardens we are to suppose we are entering into (Episode 5)

So what have we gained from Episodes 5 & 6: And they all headed to live happily ever after despite the occasional strong strains

I did remember this poem while watching some of the quietly strained moments amid the engineered systematic indifference of most to most between characters who pass through much splendor and have who at times have something to me:

Musee de Beaux Arts

About suffering they were never wrong,
The old Masters: how well they understood
Its human position: how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer’s horse
Scratches its innocent behind on a tree.

In Breughel’s Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water, and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.
— W. H. Auden

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Mrs Crawley facing Lord Merton’s persistence registers on her prudent face fear of what her marrying Lord Merton might cause them to experience

Ellen

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out there on the edge of change.

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Thomas Barrow (Rob James-Collier) under considerable strain, with Andy Parker (Michael Fox) looking sorry for him

Friends,

In Robin Nelson’s State of Play, a study of “contemporary (post-1990) ‘high-end’ TV drama,” more than once we are told of Tony Garnett’s “famous refusal to make more runs of This Life even after it was a smash hit.” Since Fellowes wants to remain a major player writing costume drama for American TV (the up-coming Dr Thorne will not be his last), he didn’t dare. So we are left with this slow motion good-bye.

Fellowes is having artistic conscience enough to produce more episodes in the mode of this season’s 2nd: the hour feels like not much is happening, not much excitement, because in life that is how it is. And chosing at random, one of the many meals these character sit down to (they seem to have nothing else to do), I find that no change is registered if you notice four male servants stand at attendance for four diners:

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and the way the various ladies in the houses we visit eat breakfast mid-morning in bed, command tea, whatever they want.

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Michelle Dockery as Lady Mary — quite at random

My self-appointed task to finish out what I began is made less arduous because many like myself are doggedly keeping up: bloggers still do recaps whether sarky or perceptive (Anibundel covers episode 3 as “Hughes wedding is it, anyway?“; Episode 4 as The Return of Gwen Dawson).

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So, to begin, for myself I confess to feeling intensely moved by Phyllis Logan as Mrs Hughes during moments of the wedding she wanted with Mr Carson (Jim Carter).

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Look at her face

And the camera switched to Leslie Nichols as Mrs Patmore taking equal emotional gratification from this coming future for her friend:

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And Daisy (Sophie McShea) as ever close by her side

But Mr Mason and Daisy’s (Sophie McShea) satisfaction was marred by the punishment they had again had to take. And how he urged on her she had earned this by her submission to her employers. We also have the snide “Madame Defarge” hurled at her — has Mrs Patmore been reading A Tale of Two Cities? She can’t have seen the movie. The anxiety we were made to feel. Elizabeth McGovern as Cora, Lady Grantham may feel enough responsiblity or obligation to her servants and their connections, to push successfully to put Mr Mason (Paul Copley) a farm to work on as a tenant; she may even give up one of her many unworn (unwanted, unneeded) fur coats to Mrs Hughes because Fellowes tells enough truth to show us that servants don’t have super-expensive weddings or dresses, but catch anyone who belongs downstairs upstairs, or in her room without permission, and she is really to sack them, apologies afterward or not.

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She is shocked, shocked, to find them in her bedroom; they scatter — that’s Joanne Froggart as Anna running away from wrath off the screen, Mrs Patmore behind our bride Mrs Hughes suddenly made into a schoolchild …

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Recurring or brought back characters can exert a powerful grip on the engaged emotions of someone who has been watching a soap opera for some years, and Fellowes has been careful to rehire the same actors years later to reassure us these dream figures exist. For me in these two episodes it was the re-appearance of Harriet Walter as Lady Shackleton:

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At the remembered first shot, and when Lady Shackleton not only attempted to reason with Maggie Smith as the retrograde Dowager, Violet, Lady Crawley who had invited her to be an obedient supporter against re-organizing the hospital to make it part of a larger health group (therefore richer, therefore with better services), but referred to her life in just the same way she had the last time we met, I felt a tiny lump in my throat:

Lady Shackleton: “It was sweet of them to let me bring Henry.”
Violet: “Though why couldn’t he stay behind with a tray on his lap? …”
Lady Shackleton: “Don’t be unkind. I never see him. He’s only up here now to look at some horrid racing car.”
Violet: “Does he get on with Philip? – They were friends as boys.”
Lady Shackleton: “I’m afraid he doesn’t like my daughter-in-law.”
Violet: ” — Oh, dear.”
Lady Shackleton: ” — Who does …”

Walters’ voice lingers to give the tremor of unspeakable because however untheatrical nonetheless continual unavoidable heartache …

There were too few such moments for me. When Gwen (Rose Leslie) recurs, I’m again supposed to feel grateful to Lady Sybil (Deborha Findlay Brown) who is presented as almost single-handedly responsible for her great rise in life, but I remember the hard slog, insults (Mrs Hughes told her she had not right to the space she slept in so no right to a typewriter) and the fierce determination it took on her part. What is her reward? To be served upstairs?

Is it for this that she, Lady Edith and Lady Rosemary Painswick (Samantha Bond) are meeting to set up a college to train young women? I grant the good feeling to watch Edith driving Rosemary who broaches the plan to her:

thecollege

Our upstairs heroine’s, Lady Mary (Michelle Dockery) and Lady Edith (Laura Carmichael) suitors are so feebly there, emasculated into polite Ken dolls, ready to spend the night editing your paper with you (Bertie Pelham) or take you out to dinner inbeween expensive racing car bouts (Matthew Goode as Henry Tablot), that the pleasure is simply in the glimpsed romantic shot if you can identity with the venue:

bertie-and-edith

**************************
To turn to our perpetual presences and symbolic houses, Anna’s joy at holding on her to pregnancy begins to pall from too much use, especially since part of the point is to show us how Lady Mary has a heart after all. If we were to have to come back six seasons from now (fingers crossed this never happens in some movie-house singleton), we’d have to rely on Brendon Coyle’s undercurrent of realism to object to attributing his state of happy fatherhood to his wife’s boss. And Fellowes gives the scene a misogynistic (on Bates’s part) framing bite: his first impulse is to distrust Anna’s trip to London, suspect her of what?

distrust

I was intrigued, held for a time by how a formerly great house, Dayton Park, where Thomas endures his second interview transformed naturally as it were into a gothic mansion Anne Radcliffe would have recognized:

thomas-interviewgothichouse

And there were other explanatory new images, upsurges of genuine feeling, as when Miss Dencker (Sue Johnston) chummily watches Spratt (Jeremy Swift) work on his stamp collection:

chummyoverstamps

But do we really have to find more servants discovered as thieves and criminals. Spratt is hiding an escaped convict of a relative in the shed; once again Sergeant Willis exerts excruciating pressure on Miss Baxter (Raquel Cassidy) to go to court and re-confess her role in a jewel theft for which she has done enough time.

SergeantWillis (2)

SergeantWillis (1)

Yet as Mr Molseley (Kevin Doyle) tells her and we know from his presence, her life is far from ruined: he will become a teacher, and she his work-from-home seamstress wife. But that’s not the emphasis of this punitive series of scenes.

Why do we have no characters going off — as most wealthy families had — in form of of younger children to grab land and resources as settler colonials in say South Africa, Australia, New Zealand? No one profiting hugely off India? Grand thievery that would not bring any Sergeant to the door, but we could then see where some of the great wealth that made houses like Downton thrive? But no. This common type is missing, no where to be seen or heard of, and I’ve listened to our substitute, the man from Ireland, Tom Branson (Allen Leech) abjure his weak socialism too many times now, and talk fo how he wants to help and do his bit for everyone else, and haven’t the stomach to treat these matters merelyas fodder for supposedly trivial fun sarcasms. I want to turn to Thackeray:

“Come children, let us shut up the box and the puppets, for our play is played out.”

Maybe not quite? There is the on-going subgothic of Barrow’s frustrated life: a slow march to a suicide attempt.

seriouslydispleased
Hugh Bonneville as Lord Grantham seriously displeased with how Thomas exposed Gwen to the company at lunch

Andyseeingitagain
Andy again observing Thomas slinking along

The strength of the series all along (unadmitted-to) has been that at Downton Abbey the men are not all strong and the women not all beautiful.

Ellen

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I can’t resist putting this trailer on this blog for our coming “last” season of Downton Abbey:

Do we not all see and hear what we are in for? We’ll have the “last” premiere, and then the last second episode, the last time for this and the last time for that, with plangent music and retrospective nostalgia galore. This year we are asked to remember them with intense regret at their going before they even begin.

Oh for the original spirit and team of PBS’s Sesame Street: they’d have done a delicious parody.

It’d be hilarious were not that this absurdity brings tears to my eyes since I have loved these characters, allowed some of them when they appear to become deeply entwined inside my emotional life, pull at it acutely.

Shameless, shameless.

The extra we may look forward to are (I hope and prefer) good-natured video burlesques over this One More Time Through with Full Measure autumn. Or properly-justified and well-merited (I admit) snarky ones.

The September 20th date is for British TV. I suppose Poldark 2 will follow that. Please peruse (click on it!) a handy list of all my blogs on Poldark 1 (and Graham’s Ross Poldark, Demelza and the first eight episodes of the 1975-6 season) here — with another on wigs and hats. No need for nostalgia; the cast has signed on for 5 or 6 more years.

Ellen

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