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Archive for the ‘Edwardian drama’ Category

LadySatdinner

Violetappreciatesit
Lady Sinderby (Penny Downie) winning the first round against Lady Flincher (Phoebe Nicholls), with Violet, Lady Grantham (Maggie Smith) alone registering appreciation

Lady Flincher: ‘Tell me, do you find it difficult these days to get staff’
Lady Sinderby: (observant of the Flincher’s desperate state): Not really but then we’re Jewish, so we pay well
Violet, Lady Grantham smiles in enjoyment

Dear friends and readers,

It’s unfair and inaccurate to declare the fifth season of Downton Abbey was so much treading water, even if the experience often felt that way; but if so, it’s fitting that this season’s penultimate episode is Rasselas-like in that we have Resolutions, in which little is resolved. How did Fellowes manage this? By making important not what the principals in each drama said or did, but how what had just happened was brought about by other people enigmaticallyas the curtain went down on all left standing or walking towards Downton Abbey.

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Far shot of nearly (but not) everyone walking back to the Abbey

For example, did you imagine Lady Rose McClaren (Lily James)’s wedding to Atticus Aldritch (Matt Barber) was about hopeful youthful love, or showed how intolerance can be overcome (pace Mrs Hughes’s “Hurrah for intolerance on both sides”), or even about Lord Sinderby’s (Daniel Aldritch) apparent intransigence (a theme of the episode as heard in Violet telling Prince Kuragin “Don’t proclaim your intransigence as if it were a virtue”). No. What happened is Lady Sinderby won, but not just over Lady Flincher who at the last moment said publicly she and Lord Flincher (Peter Egan) are getting a divorce, just what Lord Sinderby said he would not tolerate, as divorce is a degradation, a confession of weakness, failure (he was intensely strong on that), but also over Sinderby himself:

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Lady Sinderby: Thank you, Lady Flintshire. Or may I call you Susan? We are forewarned and so now we will be forearmed.
Lord Sindeby: You can’t mean
Atticus: Father, I beg you …
Lady Sinderby to her husband: Do anything to stop this marriage, anything at all, I will leave you, and then you will have a scandal worthy of the name! (HUSHED CONVERSATION) …

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The camera focused on Lady Sinderby’s intense trembling satisfaction first and returned to shots of her during the ceremony. Mr Carson (Jim Carter) was not the only one to remark on something odd going on. Like others he focused on the lack of a veil: “it was a funny marriage. No proper service, no veil! You’d have thought one of them was divorced.” But that was not it. We have yet to see the 30 year old young woman brought to Alnwick Castle Christmas time with her young boy. She comes because by Thomas (Rob James-Collier, a kind of avenging angel in this latest phase) as a mode of getting Lord Sinderby to dislike his spiteful steward-butler for exposing Lord Sinderby. But how did Thomas know about her? Something wants explanation. Mrs Hughes (Phyllis Logan) says she wishes the young couple “well.”

Anibundel was correct to suggest not the new characters introduced in the first episode of this season, but those on board towards the end are the most intriguing.

Surely it will be said we have a resolution for Mrs Patmore (Lesley Nichol) and the whole of Downton Abbey for closure for World War One. WW1 began the last episode of the first season went on through the second (WW1), and lingered past the third (Mrs Patmore’s nephew killed by the British army for not killing as ordered). The fourth season saw the disappearance of Michael Grigson. This fifth season there was the memorial committee and the widow in the village. Robert, Lord Grantham (Hugh Bonnevile) despite all bumbling, disregard (called “Donk” by his grand-daughter with Lady Mary’s [Michelle Dockery] encouragement), has had a memorial plaque put up for Mrs Patmore’s nephew too. We watched the ceremony of all the characters (but our true heroine, Anna Smith Bates, Joanne Froggart) sitting and standing as group remembering those who died and the war.

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Mrs Patmore is closer to feeling a resolution than the others. But her tie is now to Daisy (Sophie McShera) as we see when she walks back after gazing at the plaque; here is her daily life and future. How it grieved her to think Daisy would be giving her notice in so she could remain in London with all its advantages. She could not stop crying.

Is Daisy going to stay? The farm and her all-wise (better than Fielding’s Allworthy who was not all-seeing too) guiding spirit, Mr Mason (Paul Copley), win out for the moment:

Mrs Patmore: ‘At her age, it’s right she should have a new adventure, isn’t it?’
Mr Mason: ‘Is this true, Daisy?’
Daisy: ‘No, she’s just teasing! At least, I did think about it, but I’ve decided I’m not going anywhere, or not until after I’ve passed my exams.’
Mr Mason: ‘I’m glad. I hate it when people who love each other must be far apart.’

Another beautiful moment occurred when Mr Moseley (Kevin Doyle), Miss Baxter (Raquel Cassidy) and Daisy walked back from the Wallace Collection together.

BackfromtheWallace

I know it’s absurd when Mr Moseley laments that he comes to London and never manages to see anything, as if he were not a full-time servant but a modern tourist; still it’s touching when he quotes an art book and shows he can respond as much to a reproduction (anachronistic again) as the pictures in the gallery. The point is Daisy with her Vanity Fair will not forget. Nor Miss Baxter who however rings in a new form of doubt about the future: “You’re never safe ’til the ring’s on your finger,”

Mr Moseley: ‘Do you want to be safe, Miss Baxter?’
Miss Baxter: ‘I might … ‘

To return to that last walk back to the Abbey after the Memorial ceremonies, Lord Grantham reveals he has guessed that that Marigold is Edith’s (Laura Carmichael) child by Michael Grigson, but is that the end of her story? (or his?). Tom (Allen Leech) tells Lady Edith that she should go back to London to run her publishing business and write; he’s going to take his Sybbie with him to Massachusetts. Why not take Marigold?

Does anyone believe he’s going for sure? Oh he’ll stay until Christmas, and then there are the houses he wants built on the estate. Lady Mary (Michelle Dockery) vows to stop him.

The worst is what has happened to Anna and Mr Bates (Brendan Coyle). She has held out against the Inspector Vyer’s (Louis Hilyer) bullying attempt to get her to admit she was raped by Mr Green, advised by Mr Bates to keep their secrets until they must reveal them. The upshot: she is arrested.

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Mr Bates says ominously to Lady Mary on the walk back to the abbey she won’t be convicted. In those words are a threat he’ll confess and prove himself guilty first.

Reversals too. Near the close it’s Mr Carson who tells Mrs Hughes as she reveals her intense anxiety about the Bateses’ future and for once her own:

Mrs Hughes: ‘Sorrow seems to shadow them both and in their wake, it shadows us.’
Mr Carson: ‘Come, Mrs Hughes. This isn’t like you. Take courage for their sake. We must always travel in hope.’

In previous episodes we’ve heard how hope is a treacherous distraction, hurting more when the illusion is done.

But has not Mrs Crawley (Penelope Wilton) made up her mind not to remarry Lord Merton? we saw as she came away from one dinner table the hurt Lord Merton’s sons were able to inflict her on, the tension between Merton and her they could cause. It’s been reinforced by watching what has surrounded Lady Rose’s marriage. But she looks grim coming back to the Abbey. She had expressed surprise at Violet’s disappointment for her in an earlier walking scene between the two of them late one evening as they were off to bed befoe the others

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Mrs Crawley: ‘You’ve changed your tune.’
Dowager: ‘I’ve been reminded recently that one is not given many chances in life and if you miss them, they may not necessarily be repeated… ‘

Mrs Crawley was not been at yet another scene between Kuragin (Rade Serbedzija) and the Dowager where Violet wavered:

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Kuragin (1)

And on this final walk, it seems what is holding Violet back is the existence of the Prince’s wife. Lord Merton’s wife is dead. Yet there they are walking and talking the true companions.

Is there anyone who does not either waver or express doubt about the future or act enigmatically or suddenly change their tune? Miss Denker (Sue Johnston) has it in her to be an unscrupulous lapper-up of alcohol, and we begin to wonder if Spratt (Jeremy Swift) is not right about her, though unable to do anything about her but hide his mistress’s case under the bed to get her into trouble. The Dowager caught that.

Who believes Lord Gillingham (Tom Cullen) will be happy with Mabel Lane Fox (Catherine Steadman) who has returned to her supercilious self, so her thought about her wedding is her preference for the city over the country where there will be less mud, while he carries smoldering with resentment against Lady Mary Crawley.

Beyond “Uncle Thomas” (! he calls himself) rescuing another male footman so generously (in character that; he rescued Jimmy more than once), I found myself feeling for Lady Mary at the close of the episode because Mr Carson observed underneath her aloofness a bleakness. Carson may overrate her, but she is not a fool, and she will miss Tom.

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Carson: ‘Is everything all right, m’lady?’
Lady Mary: ‘I thought I’d sneak away. I don’t think I’ll be missed.’
Carson: “Oh, I wouldn’t say that.’
Lady Mary; ‘I feel as if our household is breaking up, Carson, but I suppose that’s what happens. People grow up and move away and things change.’

She showed much feeling when mourning Matthew, unable to turn to someone else. Now she may be left with Edith and (as she jokes) get sent away for murder.

This episode was more Thackeray than Trollope.

Ah! Vanitas Vanitatum! Which of us is happy in this world? Which of us has his desire? or, having it, is satisfied? — come, children, let us shut up the box and the puppets for our play is played out.

After all since Lady Sinderby was introduced, she has been my favorite puppet this season.

Ellen

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Midpoint — the Dowager (Maggie Smith’s) second walk and talk with Prince Kuragin (Rade Serbedzija), this time in his grey impoverished lodgings

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Closing still — Edith (Laura Carmichael) to a child who either avoids eye-contact, or looks on warily: “I’ll order ice cream, and a glass of Champagne, and we’ll be as jolly as you like.”

Lady Mary has her Hair Bobbed:
Lady Mary: ‘Does this cover it?’
Hairdresser: ‘My Lady is very generous.’
She sails out
Hairdresser to colleagues: ‘At least she can carry it off. Most of them look like bald monkeys.’

Dear friends and readers,

Like life, soap opera is all repetition, and this was another week where endless deferral alternated with levels of climax; the pleasure is in the talk and pictures of the mini-series, and the talk overheard (or writing on the Net I read) added more to the mini-series than much in the hour itself. Have others observed how time has slowed down this year? Unlike previous seasons, each episode begins precisely where the previous left off. It’s all leisurely endless continuation …

Edith story began the hour (Carson: “Telegram for Lady Edith!”), provided several high scenes of emotional trauma (Mrs Drewe [Emma Lownes] upon being shown Marigold’s birth certificate and tearing it up to her husband [Andrew Scarborough]: “How could you do this? I’m your wife, yet you have lied and cheated and used me shamefully. If you’d have taken a mistress you couldn’t have been more false”)

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Mrs Drewe: ‘It’s lunacy! You’ve lost your mind! Tell her.’
Mr Drewe: ‘It’s true. Marigold’s her daughter.’
Mrs Drewe: ‘It’s a lie! I don’t know what she’s holding over you, but you can’t let her get away with it!’
Lady Edith: ‘I have a copy of her birth certificate.’

and ended it in a final chilling madness made sense to Laura Carmichael who enacted the role:

It sort of felt like a long time coming that moment when it’s really exposed how unaware and indifferent Mary is to Edith’s grief even without knowing about Marigold her baby; the pressure would have been so intense and she’s sort of had enough by that point to have family members tell you that they don’t care [Cora, Lady Grantham has a groaning look that Edith has brought up the death of Grigson when Mary has had such a modern haircut] your heart and your happiness must be incredibly difficult

On my listserv a member was eloquent: “I did truly feel sorry for Mrs. Drewes and was glad to see she upbraided her husband for lying to her. Someone on the Downton Abbey fan page (“Spoilers here!” their page motto) scorned Edith as “bleating.”

I’d just been reading an intelligent essay in Leggott and Taddeo’s Upstairs and Downstairs by Andrea Wright on the popular semi-comedic costume dramas focusing on the recent shopping worlds of women, The Paradise and Mr Selfridge, comparing them to 1970s much more feminist The House of Elliot — the owners are women and not punished for risk-taking. But like Downton Abbey, these new costume dramas have lots of “good girl messages” — stay home, be obedient, don’t rock the values that supposedly sustain you and you’ll be safe, perhaps even happy. Well, without reading much against the grain we are shown 6 supremely good girls in this series (the 3 daughters, 1 cousin [Lady Rose aka Lily James, Cinderella herself] and Anna and Daisy), in the case of one denigrated since she was young for awkwardness, intelligence (she writes), what ambition she has, ugliness, “poor” Edith, has been made psychologically sick by obeying most of these messages. Yes she had sex outside marriage and now has paid not just big on it but been made much much sicker. 5:5 ends with her fleeing with her baby lest the grandmother and aunt manage to take the child to an orphanage and it ends on this (to anyone with an ear) chilling line: we’ll be so jolly together. Right. In an impersonal hotel room, baby with ice cream and mother with champagne.

Over on two of the Downton Abbey facebook pages a favorite “fan fiction” thread finds viewers persisting in the theory that Lady Rosamund Painswick (Samantha Bond) is Edith’s mother: how else explain Cora’s absence of any deep feeling for her second daughter, no defense, no help, no observation, all at a distance — if she is the kind of woman who is not a natural mother then why so indifferent to her husband? Why insist he get back in bed with her? he obeys.

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Cora: ‘Because I’m telling you. Nothing happened.’
Robert: ‘I’ll tell you what did happen. You allowed him into your private life. A man who thought he could step into my place, just like that.’
Cora: ‘He thought it – and he was mistaken.’
Robert: ‘Very well.’
Cora: ‘If you can honestly say you have never let a flirtation get out of hand since we married, if you have never given a woman the wrong impression, then by all means stay away. Otherwise, I expect you back in my room tonight.’

As to Lady Mary, I rejoiced to hear the French hairdresser’s view of her haircut while Anibundel picked up on Mary’s gut bitch reaction to the ailing dog, Isis: “I wonder if she’s picked up a germ, or something equally fell.”

dogandaster

When it came to Fellowes’s apparently ideal normative aristocratic types, I was told that it was amusing to watch and listen to Michelle Dockery as Lady Mary pull off such continually “mean narcissism” and I should consider Cora, Lady Grantham (Elizabeth McGovern) as someone hiding her pain with self-effacement, having accepted Robert, Lord Grantham’s (Hugh Bonneville’s rule). The YouTube advertisement assumed I would enjoy her hard-faced triumphant riding point-to-point and sneers at Mabel Lane Fox (who never manages to win)

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As she tells Charles Blake (Julian Overdeen) she doesn’t believe in letting other people win …

But I do not like cruelty even as an aesthetic spectacle, and wish that the new man she finally attracts might corrode her soul in the way she carelessly does to others, but I suspect Matthew having touched her was a temporary weakness.

By contrast, Anna believes in helping others to win. We were treated to Mr Bates (Brendan Coyle) for once angry at Anna (Joanne Froggart) when he discovers near where her button box should be a dutch cup and Marie Stokes’s book. So she’s been lying when she has said she longs for a child, and preventing it because she thinks her husband a murderer.

Anna: ‘Will you please tell me what is the matter?’
Bates: ‘I couldn’t find your button box.’
Anna: ‘I’d forgotten all about it. Oh, well, never mind. It’ll turn up.’
Bates: ‘I did look. I looked in all the cupboards, and I found some other things.’
Anna: ‘Oh, yes?’
Bates: ‘Yes. I found a book by Marie Stopes and a box containing a cunning piece of equipment to ensure there would be no Baby Bates.’
Anna: ‘And I’m supposed to applaud your poking around in my things, am I?’
Bates: ‘Now, just a minute. It is not for you to be angry with me – it is for me to be angry with you.’

Her anxiety at home gives him a chance to supposedly prove himself innocent (an untorn ticket to London — what? he couldn’t have bought two?) and they end on perfect contentment, she kissing his hand:

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So Fellowes weasled out of that one, jumped that shark. Lady Mary’s choice of contraceptive and who murdered Mr Green is now the subject of talk on fanpages.

For my part I can see how little free is Anna ever and remain much moved by her. I wish such scenes as hers were longer, lingering. The scenes move far too quickly for the emotions suggested.

And for me the absent Miss Bunting and present Daisy (Sophia McShera) provided the high point of the hournot that I mind Daisy, with the help of Mr Moseley (Kevin Doyle) who we discover should have gone on for further schooling given his intelligence on tests, reading away in his prized precious 5th volume of the Cambridge History of England which she is induced by Mrs Patmore (Lesley Nichol) to accept

Daisy: ‘Miss Bunting loved the new hairstyles. She said women were being set free.’
Moseley: ‘I’m sorry Miss Bunting’s gone.’
Daisy: ‘She gave me such confidence. She’d tell me how sharp I was, how quick.’
Moseley: ‘I agree with her.’
Daisy: ‘It’s harder on your own, harder to believe.’
Moseley: ‘Well, could I help? Not with mathematics, probably, but I know a bit about history and I’ve read a few books.’
Daisy: ‘How old were you when you left school?’
Moseley: ’12.’
Mrs Patmore: ‘It was a shame, really.’
Moseley: ‘I was quite bright. And my dad wanted me to stay on. He thought I could be a teacher, if that doesn’t make you laugh. But he couldn’t manage it. We had no money, you see, and then my mother got ill and so I had to earn as soon as I could.’
Daisy: ‘Why don’t you take Math now?’
Moseley: ‘No, I’ve missed it. But I’d like to help… ‘

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Similarly talk on line and Rob James-Collier made the role played by the ever sicker and more desperate Thomas Barrow to electric shock and otherwise poison his sexuality, rescued finally by Miss Baxter (Raquel Cassidy) and advised by Dr Clarkson (David Robb) to “fashion as good a life as you’re able” though in words condemnatory of Thomas’s homosexuality (“Remember harsh reality is always better than falsh hope”), one intended to make the viewer think

‘For the first time ever in Downton Abbey we see Thomas question his sexuality, himself as a gay man and it set about a sequence of events to try and cure that. So Thomas reads about a “miracle” cura as it were and yah we see the scenes where he’s injected himself and he’s slowly making himself more ill, and it’s quite a sad journey (“I assume this is a course of treatment you spent money on.” “Yes a lot of money, I went to London for a course of electro-therapy … ) they were viewed as freaks of nature the most abhorrent thing that you could be. He’s just saying you’ve got to accept it because there’s no way around it. That is what you are. That just explains how difficult it was back then. For a practicing homosexual man it was virtually impossible … ‘

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Another couple not resolving issues under an umbrella after they leave the doctor

Thomas: ‘Well, that will give you a good laugh.’
Miss Baxter: ‘It won’t. And I don’t expect you to understand, but I think it shows you to be a very brave person.’
Thomas: ‘What?’
Miss Baxter: ‘To inflict such pain on yourself to achieve your goal. Think what you could do in this world if you just set your mind to it.’
Thomas: ‘You’re daft – do you know that?’

As in the fourth episode, these scenes and that of the Dowager (Maggie Smith)’s visit to Prince Kuragin’s impoverished lodgings with her new maid, Miss Denker (Sue Johnston) who does not go up, were the most quietly humanly interesting. It’s a foregone conclusion that Maggie will not elope with Rade; she shows up out of respect for their memory, with the ostensible excuse that slowly his wife is being located — not that he has any room for or has shown any interest in getting her back. Their conversation is nuanced, touching and the acting of the aging people effective

Prince: ‘Some tea? I can just about make tea. How did you find me?’
Dowager: ‘Rose gave me your address.’
Prince: ‘And you came alone to this part of the city?’
Dowager: ‘I was accompanied by my maid. She’s waiting outside.’
Prince: ‘How wonderful to be back in a world where ladies are accompanied by their maids. Why didn’t your son provide you with a car?’
Dowager: ‘Oh, he would have done. I just didn’t choose to tell him where I was going.’
Prince: ‘It is not our first secret assignation.’
Dowager: ‘I always feel more comfortable leaving the past in the past.’
Prince: ‘Then why have you come?’
Dowager: ‘Because Rose’s father, Lord Flintshire, thinks he’s close to finding the Princess.’
Prince: ‘She’s alive, then? She was alive when she left Russia.’
Dowager: ‘That they know. They think she was put on a boat headed for Hong Kong. You’ll know more soon.’
Pause.
Prince: ‘I wanted you from the moment I first saw you. More than mortal man ever wanted woman.’
Dowager: ‘That is an historical detail.’
Prince: ‘Nonsense. If Irena were dead, I would ask you to run away with me now.’
Dowager: ‘You couldn’t run away when there’s no-one left to “run away” from.’
Prince: ‘I loved you more than I loved her. Even today. Even this afternoon.’
Dowager: ‘Please don’t.’
Prince: ‘Why not, if it’s true?’
Dwoager: ‘Because you’ll make it sound as if we were both unhappy, and I don’t believe you were – and I certainly was not.’
Prince: ‘You wouldn’t admit it if it were true. You think to be unhappy in a marriage is ill-bred.’
Dowager: ‘You do know me, Igor. That I must concede.
Prince: ‘Yes.’

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The technique of endless deferral is also resorted to over Mrs Crawley’s (Penelope Wilton) coming decision to accept Lord Merton (Douglas Reith), the police’s latest visit to the Abbey now to question Miss Baxter who as she says knows nothing. Only Mrs Patmore’s buying a cottage for her retirement is permitted closure, not just to show off the old stove someone rebuilt or procured, but ready us for the coming getting together of Mr Carson (Jim Carter) and Mrs Hughes (Phyllis Logan) who look at each other before turning to gaze on Mrs Patmore’s satisfaction:

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Mrs Hughes: ‘What’s the kitchen like? Oh, not quite the scale you’re used to.’
Mrs Patmore: ‘Well, I wouldn’t mind – it’d be my own. I could live here later when I stopped working. There’s only one flight of stairs, so I’m sure I could manage that, no matter how old I get.’
Mrs Hughes: ‘Oh, an outside privy, I see. That’ll bring back memories.’
Mrs Patmore: ‘Well, Lord knows I’ve seen one of them before. But ‘appen I could change things round when I move in.’
Mr Carson: ‘I’m sure you could.’
Mrs Patmore: ‘Well, that’s it. I’m going to take it. Now, if you’ll come outside, I’ll take the key back and give him my answer.
Mr Carson: ‘I envy her. Have you ever thought about your life in retirement?
Mrs Hughes: ‘Who says I’ll live to retire? Is everybody ready?’

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I wish both scenes, of Mr Carson and Mrs Hughes and Mrs Patmore, of the Dowager and Prince were longer too.

Moralizing about characters is central to novel reading — not as if they were people, but in accordance with the implied author’s design, his presence making them perform as his puppets, the themes of the whole piece. In Bernard Paris A Psychological Approach to Fiction and Character and Conflicts in Jane Austen’s Novels, he argues for the centrality of characters in understanding novels, that an implied author projects his ethical, political, social (&c) outlooks through what his or her characters are, say, do. The authors studied in the first book are mostly Victorian, and realists, e.g., George Eliot, Stendhal, but he also studies Thackeray’s more satiric approach. The book is refreshing in the way he honestly critiques the ending of a book or what happens in it through his approach. He moralizes through an intelligent thought-out approach to characters. All our talk is filled with subtexts showing our political, social, psychological and other views interacting with the author’s.

That I find no content to comment on in Atticus (Matt Barber) and Lady Rose’s recurring early romance scenes, but noticed alertly how well and cheered Lady Sinderby’s first appearance with her husband (Daniel and Rachel Aldritch) at the point-to-point seemed, and how she cordially accepted Cora’s invitation to dinner (so that’s our next episode) tells something about my age and gender.

Sinderbys

After all, though this too suggests nothing exciting for the mini-series, just more of the same. Lady Sinderby will turn out to be another of Fellowes’s aristocratic women who pay for their privileged lives by behaving discreetly, with self-control and on the surface kind self-effacement.

For myself I remember how Jim loved to go to point-to-point races, how we’d take picnics and wine, he’d bet and lose on the races and I’d buy a new big hat. I died the day he did.

Ellen

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Miss Bunting (Daisy Lewis) before Tom Branson (Allen Leech) finds out she is leaving

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His not-so-cool but complacent acceptance of her departure

Dear friends and readers,

It’s hard to know how to approach this week’s episode: on the level of human feeling, I felt most for Miss Bunting (“I loved you you know”), but found Branson’s cool adieu where he just about informs her while he’ll miss her it’s her fault for not being compliant that drove her from the abbey, repugnant, and repugnant the more lavish punishment meted out to other decent characters. Edith (Laura Carmichael) is forbidden to come near the very young child who she now has a sick craving for. Her male aid, Mr Drewe (Andrew Scarborough) is now bitter at the possible loss of his farm because his unbelievably obtuse wife, Mrs Drew (Emma Lowndes) says she cannot bear the pressure from Lady Edith and will insist on departure:

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Edith is directly threatened by immovable pressure from the aunt who enabled her to have the baby (Rosamund, Samantha Bond) and a grandmother (the Dowager, Maggie Smith) who sometimes seems to be the only person in rooms filled with people to recognize intense strain, though her response is usually one which makes the person’s inner condition more wretched. They begin to insist on the departure of the baby to an orphanage in Switzerland where Edith could visit — as long as she’s discreet.

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Lady Rosamund and the Dowager close in on Edith, apply pressure …

Rosamund: I gave up ten months of my life to make sure she [baby Marigold] came safely into the world.
Edith: The trouble is, the farmer’s wife, Mrs Drewe, she just thinks I’m a nuisance. She doesn’t want me to see Marigold.
Rosamund: So, we have a situation of infinite danger to your reputation, which brings you no emotional reward to compensate.

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The shared heart-hope of Anne (Joanne Froggart) and Mr Bates (Brendan Coyle) rocks back and forth over the persistent if gentle interrogations of police implying that one of them was near Mr Green in London at the moment of his death. They fear parting from one another.

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Mrs Hughes sits by and supports Anna in one of the police interrogations

I also found repugnant how unthinkable it is to Lady Mary (Michelle Dockery) and her father, Lord Grantham (Hugh Bonneville) that she should be anything other than imperturbable at questioning by the police, and the way she reacted to meeting the young woman, Mabel Lane Fox (Catherine Steadman), at a luncheon meanly (coolly is the word I’m supposed to use) engineered by the self-satisfied Charles Blake (Julian Overdeen).

Hurt
Miss Fox gets up rather than be ganged up on by this pair:

Charles: Well, what shall we do with your food.
Mable: Eat it. And I hope it chokes you …
When she’s gone:
Blake: Now, I’d like my beef pink, but not raw.
Lady Mary goes on sipping her port.

How the ongoing self-berating abjection of Miss Baxter (Raquel Cassidy) prompts her to regard the kindness and understanding with with Mr Molseley (Kevin Doyle) greets her as a further burden. So too an unexpected parallel with Thomas Barrow (Rob James-Collier) also whipping himself (physically, he is inflicting taking electric shock therapy on himself) who refuses any comfort from concerned expressions of regard (from the Dowager, Mrs Hughes [Phyllis Logan], even Mr Carson [Jim Carter]). He is still out to do damage where he can.

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Sick, giving himself sick treatments, he lashes out yet …

Sometimes it becomes impossible to ignore the perverse ethical and reactionary class and ethnic biases of Julian Fellowes — even if he feels for his victims. There is a very nasty outlook undergirding the whole of many scenes in Downton Abbey this year. I wonder sometimes if many people watching this just rejoice in the faux glamorous settings and clothes and have the most shallow understanding of the forces and themes Fellowes’s figures in the carpet represent.

For example, this week the as yet untouched and thus easily sweet Rose McClaren (Lily James, soon to be playing Cinderella in movie theaters near you) encounters in the rain an equally sweet suitor, Atticus Aldritch (Matt Barber), who turns out to be Jewish. It is the episode’s second sequence to use the romance of umbrellas:

Umbrellas

He at first presents himself as Russian partly perhaps because Rose tells him the sweets she is carrying are for a group of Russian emigres she provides comfort for twice a week. But when they get there and the two Russian males they introduce him are told his relatives came to England in 1859 and 1871, they become angry at his presence, and declare him not Russian, he is pushed into admitting he is Jewish. Those were fierce pogrom years.

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Russian emigre reacting to Aldridge’s presence

Those who would rejoice in another break-through against prejudice in this new coupling, should notice that Aldridge does not behave in any way that marks him as Jewish, seems to have no feelings that might naturally arise from such a family pre-history. Why should these Russians be angry at him? Disdain would be more realistic. This resembles the treatment of Cora, Lady Grantham, who many people might forget is said to be half-Jewish. This identity would be totally erased but for her wealthy dowry, her mother’s name, Mrs Levinson (Shirley MacLaine) and the way Paul Giamatti who played Harold, her brother, did present himself as Jewish now and again.

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As a rakish New York Jew in a London park

At the dinner table with the Sinderbys Atticus’s parents (Daniel and Rachel Aldritch, married n real life and introduced in the next episode), there is a back-handed joke about how much money the Sinderbyss have: this fits the stereotype of the super-rich Jew (the father is a well-to-banker); it’s something about how they need not worry about what others do, but of course the sting in the joke is they do.

I noticed that again it’s Lady Rose who is open to someone outside this narrow purview of who is acceptable to these upper class British people. Can she really be surprised that there is such a thing as anti-semitism? She is the one who went out with the black musician in the fourth season; she did seem to realize there was racial prejudice. Before that she danced with and was genuinely attracted to a working class man to whom she said he was a “nicer” person than she; and again she recognized that he would be seen as “beneath” her. I give her that as a character she does her charity work in a generous spirit, but Fellowes can conceive of such behavior only in a peculiarly innocent person. I just wish he did not then (in the following episode, 7) display a need to demonize some woman in sight so that when her divorcing mother and father turn up, the Marquis of Flintshire, Shrimpy (Peter Egan), and the Marchioness (Phoebe Nichols), he is the generous spirited one and she the poisonous witch. Miss Obrien (Siobhan Finneran, appropriately for a while the Marchioness’s lady’s maid) having gone, Fellowes turns to the Marchioness — Phoebe Nichols often gets such parts, and I suspect because she’s not pretty and has a reedy voice. It won’t do.

How does the Dowager’s schemes to forestall the possible coming marriage of Mrs Isabel Crawley (Penelope Wilton) with Lord Merton (Douglas Reigh) fit into this white world paradigm with its reinforcement of every law and custom that upholds this aristocratic order? After all, does she not want her best friend, Mrs Crawley to be like herself?

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They do a puzzle and drink tea — to keep Spratt (Jeremy Swift) occupied …

When Dr Clarkson (David Robb) suggests to her, she is jealous, she demurs, she does not “understand him.” She cannot be threatened; no, it’s that this useful active female bourgeois will wilt under a regime of having nothing to do and life with a boring man. This does not seem to have hurt Cora, Lady Grantham, and anyway of late, Mrs Crawley’s life has been (as far as we can see) sheer leisure whose one sport is the occasional tension that dinner conversations cause. She says she’ll miss Miss Bunting.

It is hinted that Cora, Lady Grantham may miss her gentlemanly art-historian Mr Bricker (Richard E. Grant) because she is seen standing at her window watching him leave early in the morning.

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He overplayed his game by sneaking into her room on the night that Lord Grantham said he would not be returning from his dinner at Sheffield. But unlike Lady Mary, Cora remains physically untouched; indeed she stands in her lovely dressing gown stiff as a board during much of this “ordeal” — she produces mild abjurations that he must go, until unexpectedly Lord Grantham does turn up, and when Mr Bricker tells Grantham he insufficiently appreciates Cora, Grantham at least erupts and punches him and we get a near row. For once this character is seen to bend and look excited. Never fear when a knock on the door is heard, she returns to peaceful walking and speaks Edith who comes to the door as if Edith were a five year old, “‘Your father and I were just playing a stupid game and we knocked over a lamp.’ ‘Oh. If you’re sure.’ ‘I’m sure, poppet.’

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Since she was allowed to act for real when Sybil died, McGovern has at best been allowed dramatic self-control which she performs here

The legitimate male order must be preserved. What comedy the episode had is provided by Mrs Patmore (Lesley Nicol) and Mrs Hughes when Mrs Patmore inherits a small sum. His desperate stab at advice was she should buy into a building firm that Lord Grantham had a brochure about on the dining table because he might hire them to build houses on his estate to rent to tenants. He is non-plussed when Mrs Patmore asks if the shares have gone public. The two women conspire to make Mr Carson feel not that he has exposed his ignorance of the ways of the stock market (which he has) but is responsible for Mrs Patmore managing to think of buying herself a cottage and renting it until she retires. Mrs Hughes is (as is common in this series) given the one genuinely funny line as she assures Mr Carson that because of him “We feel thoroughly protected”

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After Miss Bunting, Daisy (Sophie McShera) had the best moments of this hour. She braves the rule which forbids her to show herself upstairs (how many times over the past five years has an upper servant reacted with horror at her presence, one of the household looked puzzled to see her upstairs?) and reaches out to the bumbling Branson to tell him not to give up Miss Bunting: He sees her peeping out at the door and comes over and asks: “What can I do for you?”

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Daisy: You can do something for yourself. You’re making the biggest mistake of your life.
Tom: Is this Miss Bunting, by any chance?
Daisy: She’s an extraordinary person. Clever and kind.
Branson: She’s all of those things.
Daisy: Then why turn your back on her? … I mean it. She’s leaving tomorrow, but I know she loves you. I can tell when she speaks of you.
Branson: She’s leaving tomorrow? For good?
Daisy: Won’t you stop her? You’re not a Crawley. You belong with us. We’re the future. They’re the past.
Branson: Well, I can hear her voice in that …

Alas, the upstairs people are still very much in charge of the UK. But people like Daisy have access to good educations and much more fulfilling jobs than they could dream of in the 1920s.

In James Leggott and Julie Taddeo’s Upstairs and Downstairs: British Costume Drama from the Forsyte Saga to Downton Abbey, Andrea Schmidt dilates on “Imaginative power” of the fan fiction and postings on the Net about Downton Abbey. She demonstrates how these fans — often disdained — expose the absurdities and perversities of Fellowes. He hires a “historian” as a reinforcement of his claim that he refuses to develop his characters in more sophisticated adult ways and deal openly with complex politics because is he keeps to “historical accuracy” no anachronisms in his characters. “Historical accuracy” is his mantra (like the US uses “national security”) behind which he wants to control the depiction of the characters to suit his defense of this super-rich order of people. At the same time he can write dialogue and invent presences with the power of suggestivity. He is usually real enough, and registers the depths and amorality of people sufficiently to open up suggestions we can play with — such as my argument last year that Mr Bates murdered his first wife and Mr Green through the clever ruse of accident.

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POV: Miss Bunting looking back from her carriage window at the village and Tom Branson standing by a tavern door — perhaps we may hope he relents for his own sake ,a poignant shot

Similarly this Downton Abbey fan fiction develops his characters from hints and behaviors Fellowes refuses to make clear or explicit — he cannot sue them as they are making no money and are not acknowledged as legitimate or serious by those in charge of literature and art. These fan fictions and postings and blogs too expose the nasty undercurrents of his portrayals, his fatuity. They complicate his stories in more “interesting, self-aware and sensitive areas” that he (in effect) refuses to. One I noticed is a fan fiction that postulates a love affair between Miss Obrien and “arguably the most underdeveloped character in the series, Cora, Lady Grantham.” A pair of lesbians. In another “poor Edith” is given a sarcastic and funny voice and describes the passive-aggressive relationship of Matthew (his sycophancy and making up to her) and Lady Mary (her cold indifference and potentially needling tongue) one New Year’s Day. They allow Robert (Lord Grantham to have his affair with Jane (the widowed housemaid?).

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After punching Mr Bricker and throwing him out of his and Cora’s bedroom, Robert asserts himself by holding on to the chair and saying he will sleep in his own room —

Ellen

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Robin Ellis as Ross Poldark (1977)

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Aiden Turner as Ross Poldark (2015)

Dear friends and readers,

With the re-airing of the 1975-78 Poldark mini-series, the imminent airing of a new one in March on British TV and in June on PBS, and my own coming course on the Poldark novels I’ve begun rereading Graham’s life-writing, travel books and mysteries. That Graham wrote powerful mystery-thrillers often turned into film noir or Hitchcock type movies shows a vein of emotion that also feeds into the Poldark series.

So, first up among the latter, his Forgotten Story, also set in Cornwall (1898), written just before Ross Poldark, so a historical regional novel as well as mystery.

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Angharad Rees played the role of the heroine of The Forgotten Story (1983, the mini-series apparently wiped out)

I’ve given a thorough account of its relationship to the Poldark novels, Graham’s own repeated treatment of marital rape, and historical fiction; what I did not look into was its relationship to mystery-thrillers as a genre. This probably because until recently I never made any particular effort to view this sub-genre; that changed with watching Prime Suspect, and the recent spate of this genre as matter for film adaptations on PBS as well as my study of the film adaptation of P.D. James’s Death Comes to Pemberley (itself a post-text romance as well as mystery, but that belongs on my Austen Reveries blog).

Since I know few people will click onto my previous blog on The Forgotten Story and read it, no matter how many clicks I offer, allow me briefly to discuss The Forgotten Story once again. I hope yet another edition will follow from the success of the coming new Poldark mini-series.

What I’m most impressed by is the opening and closing meditation about the records he used about the actual incident underlying this fiction distort and marginalize and make uncertain precisely what happened — not just deliberately (though that’s part of this) but because not enough real concern is felt for literal truth. The epilogue to another historical novel not Poldarkian, and also set in Cornwall, The Grove of Eagles, shows an unusual display of exasperation at his public: he was attacked for not sticking to literal truth. In fact the attack was a stalking horse for attacking his attack on hierarchy and respect for privilege and rank. As he says at its opening and closing what drew his to the events he chose partly to fictionalize (as above) and dramatize accurately enough with a point of view is that we can’t tell precisely what was the truth. The Poldark novels return to meditations about the nature of historical fiction now and again, though they never become post-modern self-reflexively — another reason he was not “lifted” to the sphere of consideration for prizes like the Booker.

The Forgotten Story is at heart a dark one, the story of a woman who has been murdering her relatives for a long time, gradually poisoning them, a woman it emerges with a twisted psychology of personal anger, spite, revulsion against others who were put off by her ugliness. Graham delves the psychological complexity of all his characters — their pathologies as well as peculiar configurations of socially derived behaviors; he is a proto-feminist in the way he presents his heroine, Patricia Veal, as unable to get a good job and finally returning to live with the (good enough) hero, Tom Harris, because she needs him and taking with her, her cousin, Anthony, the boy at the center of the fiction (though whose consciousness we see most of the action — creating suspense); more controversially, our hero rapes our heroine — it’s slid over and (as in Warleggan) we are led to interpret this rape (if we chose) as one where she gave in and was ever after somehow connected to this man (more than from the sex she had had with him before). We are led on in a kind of terror for her as her world collapses after the death of her father, and then in fear lest she or Anthony slowly die too.

It’s about a certain kind of business too — shipping in the later 1890s, carefully recreated, tavern life in Cornwall and how it functions, but more than that the seascape of Cornwall, its lands and towns — it’s about shipwreck and the dangers of the coast, clearly mirroring Graham’s experience as a coast guard during World War Two. The feel of modernity and the liberal point of view is so unfamiliar to us now we can miss it’s an Edwardian story, Edwardian society, a different group than is usually shown us. I recommend it — melancholy and dark yet with hope because there are a few good enough people (in just the way of his Poldark novels).

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David Tennant as The Escape Artist (much touted, over-rated on PBS this past spring) — see Bloody Murders and Country Houses

Well, the power of Graham’s mystery-thriller and that of some few others I’ve read over the years (Susan Hill’s The Various Haunts of Men left me anxious and tense each time I’d pick it up, and I remember it still), as well as the mystery-detective fiction LeCarre transformed into a serious political genre made me again wonder if this genre had any serious merit. I’d read a fine biography of Dashiell Hammet this summer (by Diana Johnson) as well as his screenplay for Lilian Hellman’s Watch on the Rhine. My wondering comes from the reality that most of the time I’ve tried to read a detective fiction, I’ve found it boring, myself unable to process the next step in prose, not caring about what happened before the book opened, or offstage. From reading P.D. James’s The Maul and the Pear Tree and this summer Mary Elizabeth Braddon’s Lady Audley’s Secret, I gathered the “fun” I was supposed to be having was to outwit the author and discover the secrets he or she was leaving clues about. The formulaic nature of its competitive puzzle is beyond me as most of the time I can’t get myself to do crossword puzzles nor care which team wins in a game match.

I threw the topic out for discussion on my listservs and tonight Yvette and I discussed some of our favorite Dorothy Sayers’s novels — for these we both love, e.g., Unnatural Death, Strong Poison, Nine Tailors, Gaudy Night. She has recently been rereading Sayers.

On my Women Writers through the Ages listserv @Yahoo, Fran linked in a stimulating essay defending detective and mystery fiction by Raymond Chandler, on Trollope19thCStudies @Yahoo, Tyler suggested the puzzle was the central attraction: the unravelling of the secret plots going on off-stage. Trollope is astute in his mockery of the Wilkie Collins school of detective fiction (The Moonstone with its Sergeant Cuff is sometimes said to be the first detective fiction in English)

The author seems always to be warning me to remember that something happened at exactly half-past two o’clock on Tuesday morning; or that a woman disappeared from the road just fifteen yards beyond the fourth milestone” (An Autobiography, 1980 Oxford Paperback, p 257).

and Trollope can’t be bothered to see this sort of thing as tremendously significant; doubtless Trollope would laugh at the literal kinds of minute anachronisms found by some readers and viewers, hurled at historical fiction/films to attack them as absurd. Well, this explanation is always there, and often at length at the end of the fiction/film.

I then read P.D. James on why she thought the invented story of Cordelia Gray (not her own) on PBS was so poor: “Cordelia never sees the body; the body murder scene must be detailed centrally, crucial to all detective crime stories is this key scene and it’s best that the detective examine it. That makes the story serious. it’s best that the detective examine the corpse. That makes the story serious.” And Julian Symonds in his excellent concise Bloody Murder on the centrality of crime to the best and recent books in the genre; he says there is sensationalist literature, and some subsets of these feature detection, crime and bloody murder; these he (and Chandler) say are superior to the “Golden Age of Fiction” by women writers (gentlewomen, disdainfully called). (The same kinds of dismissals of women writers of the 1930s in general in comparison to male writers is accounted for by Alison Light as anti-feminism in her Forever England.)

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Sophie Rundle as Lucy making herself the bait for the murderer (“Cracking the Killer Code,” Bletchley Circle, season 1)

First the usual defense is that of Chandler who has an enormous chip on his shoulder) and James (in her Talking of Detective Fiction): that there is no difference between sheer entertainment and great art, and one genre no better than another. Then they drop that as it’s obviously not so as the formulaic and thin nature of so much detective fiction, the reality that so much detective or mystery fiction is poor, yet sells widely. No need to drag in the greatness of tragedy as a genre, of dark comedy, film noir and a host of other genres where when it’s well done, its superb. And the sad truth that these mystery-thrillers are preferred to serious realistic fiction by writers like George Eliot to Anthony Powell and William Styron. Their tenacious popularity may be seen on the US PBS channels: now that they’ve lost Mobil (their big funder for decades) they are going all mystery-thriller because they think that this brings in more eyeballs and thus more advertisers — for that’s what their sponsors are.

Then there are two schools of thought. The first argues that at the core of detective and mystery fiction is this explanation, this puzzle, these minute secrets and deductions to be solved. Chandler makes fun of it, but it is always there, however attenuated or done skillfully. In James’s Death comes to Pemberley it’s done at length and boringly at the end of the book — boring to me. Gosford Park cannot avoid it. Winston Graham has his explanations skillfully woven in, but in the end clarification is needed. It seems to me the tendency of those who talk about the puzzle as central is to downgrade the form.

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Stephen Fry as the detective who does not want to find the murderer so plays incompetent (Altman’s parodic Gosford Park)

The second argues the core is the bloody murder at the center; for Symons the mood is sensationalist and a crime central; Chandler is muddled and has both murder and detection at the center, but the best books rise about the puzzle for something more important, a story of say who has state power. For P.D. James that (to quote myself in my summary of A Time to Be Earnest): there must be an absolute convincing delineation of the body, the death, and how this event occurred and how it has affected all the events and people closely and not so closely concerned with the dead person. In Death Comes to Pemberley the return to the crime scene in the film is obsessive; in the book Sir Selwyn Hardcastle, the magistrate watches Dr McFee thoroughly examine how death occurred and listens to all he says and we really get a sense of the mood the man must’ve had just as he died, of the body as containing this previous person frozen. It made me remember gazing on my father’s dead face and seeing the grim endurance he was meeting death with; Jim, my beloved was trembling all over as it occurred. Death in fact is a defining final experience. Its etched on the corpse. In Bernard Benstock’s essay on James in Twentieth Century Novelist he goes on about her clinical approach to death. While the people writing on LeCarre always talk of his political fables and how we see ruined lives, they don’t neglect the deaths. Symons calls his book, Bloody Murder.

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Denny’s blood skull (Death comes to Pemberley)

I found The Forgotten Story to be serious because its center was death taken very seriously; it sickened the accomplice and he killed himself fleeing from having to do more murders; Susan Hill’s Various Haunts of Men is about a murderer who stalks victims (women); The Bletchley Circle grabs me because its crimes are those characteristically aimed at women, what is done to them before and during death (rape and humiliating physical torture). I’ll give this to Death Comes to Pemberley James also makes the point the death of Denny is senseless, meaningless, ironic. Cancer stories can’t become real until they begin to admit how unpatterned, senseless and meaningless is the disease’s (we feel) malevolence.

Death counts, it matters a lot, shapes our lives utterly each time one happens close to us, obviously to the person dying, and this brings detective, mystery books right into the tragic vein of art … Not Lear but it can partake.

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Edward Petherbridge and Harriet Walter as Lord Peter Wimsey and Harriet Vane (Sayers’s Strong Poison)

A few last tentative thoughts: Now maybe one of the reasons I’ve not liked mysteries and thrillers and detective stories is I don’t like violence; I usually stay away from films that are violent — Breaking Bad was an exception, but as I think about it each death was presented individually and taken seriously. Still the citing of this brilliant mini-series and Yvette and my talk this evening makes me unsatisfied with this as a full explanation for the core of the genre when serious. What we found we liked in Sayers was the intriguing psychological analysis and examination of people’s social identities as what is the deep explanation for the murder. In another blog I’ll try to deal with Marion Frank’s essay on “The Transformation of a Genre: the Feminist Mystery Genre” (in Feminist Contributions to the Literary Canon, ed. Susan Fendler). Are these stories not parables about the relationship of power and justice? Sayers read against the grain exposes her society.

Again and again people have said they read mysteries and detective stories because they are a comforting escape. I was thinking that this comfort came from what I took to be the usual ending of such stories until recently: the detective discovered who did it, tidied up the world, restored order, and delved out justice. Is it inherently a deeply conservative genre; can a genre be inherently part of a political vision. Gothic has been shown to be radical and questioning and at the same time absolutely upholding traditional and establishment values. The Policeman is the Hero in Foyle’s War. Now I’m not sure real justice was meted out most of the time (especially when the murderer was lower class, of a non-white ethnicity and had good reason for having gone mad), and have decided the use of these terms is unthinking, a kind of hum-and-buzz cant the person uses without examination. In a sense all art is a form of escape, its ordering gives us a sense of meaning and comfort, aesthetic satisfaction. The very real connection of mystery-thrillers with the gothic and in film, film noir, shows its coterminus lien on a genre anything but comforting. That Mr Bates (Brendon Coyle) could really have murdered Mr Green and his first wife, and Anna, his loving wife (Joanne Froggart) can believe this and still love him devotedly makes them far more interesting than they would otherwise be …

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Dreaming of a future to come, he tells her he will keep her safe (Downton Abbey 5:5)

Ellen

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One of Renee Fleming’s stand-up numbers: it’s of a magical child who has left the singer: “how could you leave me alone” the refrain – stop and click and listen ….

Dear friends and readers,

When today while Yvette and I were watching the HD opera broadcast of the latest new HD production, Lehar’s The Merry Widow, starring Fleming as Hanna, I recalled to mind one night years ago. Jim and I were in a live audience somewhere and had been listening to a live act on stage of male rock-n-roll well-known singers; they ceased, and Pavarotti came on stage and began to sing. It was startling, just felt like he was knocking you off your seat. Jim began to laugh aloud so superior were they to all this noise, microphones and all. We were in the first row, and I may have imagined it but I thought he caught Pavarotti’s eye for a moment.

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Fleming early in the first act — in the later scenes her many changes of costumes included no widow’s weeds

So too after I don’t know how many minutes of trivial supposed funny dialogue (some of which thudded badly or was not pointed enough, especially between Sir Thomas Allen as the count, and Mark Schowalter as the winking perhaps gay servant, Njegus), and Fleming was brought on. Kelli O’Hara (playing the count’s perhaps unfaithful wife) was just pathetic in comparison, her voice one reedy stream, until towards the middle of the third act she came out with a can-can costume amid the chorus of Broadway dancers and did a powerful effective wry playfully sexy number

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What depth of feeling was pulled out of this production (and there was some) was mostly the result of Fleming’s songs, Fleming’s singing when she intones “The Merry Widow Waltz” and “Off to Maxim’s” her voice vibrates with alluring trembling trills. She just outdistanced them all. I fell to crying three times, real crying, the yearning for romance, and the lied refrain “how could you leave me alone” just entered into me.

Somehow the love story between the two aging principals, Nathan Gunn as Danilo and Fleming does start to move us gradually — alas Fleming’s face and neck are starting to show her age and she is uncomfortably stiff when dancing just a little or being pulled back to be kissed; Gunn is none to lithe. The waltz music helped — on the way home Yvette began to hum or sing the musical line; how lovely her voice sounded.


A finer rendition than anything in this production: Placido Domingo (he sings with delicacy) and Ricio Martinez, Rio, 2014

Towards the end of the second act the rousing dance numbers begin, some by the men in a kind of mock chorus: what is it that makes women so strange — and yes, not to be trusted (that stereotype duly trotted out). Gary Halvorson, the director for live cinema (never mentioned in any of the increasingly hyped interviews), took all the right shots. It was fun to watch the stage change from a garden to Maxim’s while the curtains remained open — through keeping our attention on the dancers as all around them the props and settings moved.

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Susan Stroman, whose origins as a Broadway choreographer were repeated too often (as well as her and everyone else’s endless awards), nonetheless deserved credit for the risqué nature of the dancing which was suggestive as well as exhilarating.

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The production’s hard-working dancing grisettes — in 19th century France grisettes were also hard-working women, sometimes milliners, or seamstresses who made ends meet by quiet prostitution on the side (it paid for your lodging)

At its best moments this operetta is a slightly heavy-handed but effective comedy with occasional brushes with romance that can still, just, reach us.

So, mark another highly conventional opera done traditionally for HD (“embalmed” said one critic). I remarked to Yvette that we were told before the broadcast began 37 school districts from around the US were watching. Before the intermission, the lack of any actuating believable emotion made for tedium. But after well-timed performances and “mistakes of the night” kind of humor also kept things going. Perhaps they could have used a bit more stylization. It’s too much to hope for re-thinking and making it contemporary (which they might have done in a European house — who knows?)

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I also thought (once again) of Downton Abbey. Was this not the same kind of pastiche, pastoral of upper class life, where hardly anyone can be seen doing anything transgressive for real, though they are all running about as if they are about to; where we are told the characters need huge sums of money because their “country” is threatened by bankruptcy, but far from deprivation, all there is in sight is luxury. In the house on camera shots, Yvette spotted the dress circle seats she and I had occupied while we saw the Death of Klinghoffer — at considerable more expense and effort.

It is grating how each time a hostess begins her major spiel for money to an HD audience, she emphasizes that no matter how wonderful the experience of this broadcast, it is nothing, NOTHING, to being in the house. The obtuse tastelessness and dishonesty (for the movie experience is in some ways far better and interesting, except for the irritating false upbeat pseudo-depth talk in most of the interviews) of this is matched by the reality of opera as an elite entertainment; if occasionally it crossed your mind (as it did mine in this production) to wonder about the parallels between street life in Austro-Hungarian cities in 1905 to street life today in New York or other cities across the US, it became harder to push the thought away. Capitalist bourgeoisie at play. Satieted rhythms in the songs.

When I cry at these movies for real, I find the people near me get uncomfortable quickly. People can bear very little reality. I could go on about the falseness of this stereotype of the merry widow. But Lehar was not a fool, and the story concerns a very young woman, a farmer’s daughter, poor, married off to a very old man who died on the honeymoon. If she marries, her fortune reverts to her husband. And in life in the 19th century widows often could not control who would inherit their money. So no possibility of grief? and yet these haunting lyrical lines recur starting at the end of the first act.

I’ll be teaching the Poldark novels and film adaptations (now we’ve got two!) this coming March at the Oscher Institute of Lifelong Learning at American University, and browsing the catalogue discovered a course in the Met opera seasons (apparently given regularly) where the practice is to watch those Met operas available on DVD not made into HD broadcasts (this year The Death of Klinghoffer, called “controversial”). Discussion then includes HD broadcasts as a comparison plus local operas (complete with a few guest speakers). An effort is made to discuss those operas not broadcast: I hope it is not on behalf of the idea that we must see the opera live to experience it most wonderfully as after all they are going to be using DVDs but rather to look into the choices and the different kinds of presentations HD-broadcast leads to.

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Kelli O’Hara and the dancers during rehearsal — seen in a previous HD-opera as part of an intermission

Ellen

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Joanne Froggart accepting Golden Globe as best Supporting Actress in a TV series, 2015

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As Anna in Edith’s bedroom — after the fire, finding a photo of Marigold under Edith’s pillow — in this episode she is continually ferreting out, enabling her employer’s sex lives

Dear friends and readers,

This blog covers episodes 2 (with a forecast of 3) as I will not be here next week; there is retrospective, crystal ball work on what’s to come, and like last week’s, I take into account the whole arc of this season, which now includes the Christmas episode filmed partly at Alnwick Castle, Northumberland.

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As famously painted by Canaletto in 1747 — the very basis of the Christmas episode is an old master painting

No one more involved with some of the characters in Downton Abbey than I. After rewatching Episodes 2 & 3 on Sunday night, last night I watched the Christmas Episode as it played on British TV (a region 2 DVD purchased from Amazon.uk): I became that distressed as I watched Lady Mary (Michelle Dockery) go through grim gate after grim gate to reach Anna behind bars in a rough cotton, knee length smock I could hardly bear the distress. I am filled with perplexities. Why does Mrs Hughes (Phyllis Logan) not come forward and say Anna was raped? is it that then there would be all the more reason to accuse Ann? is the rape nothing? Mr Bates (Brendon Coyle) visits her and we learn that her background will be held against her: it seems she picked up a knife (how was this recorded and remembered) when as a child her mother’s second husband, her stepfather did attempt sexual coercions of all sorts.

When at the Golden Globe, Joanne Froggart accepted (at last) the well-earned statue and said how gratifying it had been to her to receive a letter from a woman (which she read aloud) who said the depiction of the rape had helped her endure, cope with a rape she had had inflicted on her and the aftermath of that, I felt good for Froggart. Poor Anna, she’s never had a decent dress in the series for 5 years, the best they’ve done for her is a couple of snazzy hats with feathers along the brim.

Nonetheless, the word aftermath is unfortunately the state of things this season. Now that the initial flurry of the whipped-up first episode is done, we are rightly I should say back to the quiet diurnal patterns of the first season. Life’s like that and the original appeal of the series first five episodes of the first season is gestured towards.

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Lord Merton (Douglas Reith) is lost in the room his wife built as he tells the dowager (Maggie Smith) and Mrs Crawley (Penelope Wilton)

Trouble is, this is not the first season, and a mini-series is art, not life, and these quiet diurnal events are too many of them mopping up operations of the previous three seasons or some off-stage pre-history (Raquel Cassidy as Miss Baxter’s excruciating ordeal as the reluctant thief and her need keep Kevin Doyle as Mr Molesley on her side). How can Laura Carmichael as Edith play mother to Marigold (indeed how does she endure being Edith) for yet another year? what is Mrs Crawley to do about Lord Merton’s lonely frustrated existence in that room with his mean sons? who will Lady Mary fuck and will Anna manage to buy a set of condoms for her?

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The conventional tryst photo — faux aggression and glamor (complete with alluring hat band) — are we really supposed to take this seriously?

Where does Allen Leech as Tom belong? But we’ve heard it all before. Then life’s little troubles. Since the new turns are so resolutely pro-establishment, they fail to grip: Lady Rose (Lily James) is doing charity work among Russian aristocratic “refugees,” helping them back into “ordinary life: dancing and shopping and seeing one’s friends” (says Charles Blake, Julian Overden). Lady Rose is not permitted to be other than “a sweet young thing;” she is a sheltered virgin whose lost her way to her 19th century novel. Her anguish is for a wireless. The dowager (Maggie Smith) meets her old love, Prince Kuragin (Rade Serbedzija, embarrassing, the scene absurd). For more comedy we have: Miss Denker (Sue Johnston) and Jeremy Swift as Spratt vye for pre-eminence in the household of the dowager.

Memorial

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Where to place the memorial provides conflict with Lord Grantham refusing to give up his meadow devoted to Cricket for a memorial, and preferring the middle of the village where we do have a moving moment with yet another (this time lower middle class) widow and her student son walking past in the middle of the village, but then the moment is over and we are not involved with the potentially interesting story of widow and son. Our great climax is Robert agreeing to rent a wireless for a day so everyone can hear the King’s first speech to the nation over it, and however possible we get this stiff re-enactment of court behavior.

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Portrait shots abound in these episodes

As it was not creditable that Cora, Lady Grantham would not pick up that her second daughter was pregnant and had a baby so Mrs Drewe (Emma Lowndes) is another mindless woman who does not begin to guess that Lady Edith is Marigold’s mother. She does not even come up with the theory that Mr Drewe (Andrew Scarborough) is the father. What are we to make of this? Well in the Xmas episode Lady Sinderby (Rachel Aldritch) joins the group of wholly undeductive women: Cora, Lady Grantham who never wondered where Lady Edith went for 10 months. A woman in her thirties (not too young) turns up at the castle with a young boy in hand and Lord Sinderby (Daniel Aldritch, in real life Lady Sinderby’s husband too) becomes mortified and runs away in shame to sit in a chair far from all; everyone seems to “get” who this person is (his long-term and now supported mistress? and son?), except Lady Sinderby who is characterized as not understanding who the inexplicable woman is. In context Barrow’s (Rob James-Collier) purpose is to expose Sinderby so Sinderby will stop castigating his daughter-in-law’s parents for their divorce and also to revenge himself for the way the same snobbish insulting butler (Alun Armstrong) has been treating Thomas: Lord Sinderby will blame the butler for having his (ex-?) mistress and son (?) come to the castle.

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Walking outside Alnwick Lady Sinderby does not seem innocently naive

It seems to me that Fellowes saw as a boy growing up many of these privileged women turn a blind eye to the doings of their husbands — just as down south white women pretended not to know about their husband’s concubinage (and whatever cruelties went on). They knew, of course they knew, but they pretended not to to save face — as they could not do anything about it and keep their position. He has deliberately made a pretense into a reality in order to avoid showing us the anguish beneath. We could say the women are enigmatic and know more than they admit — Lady Sinderby does suddenly threaten to divorce Lord Sinderby if he will not allow Lady Rose to marry their son in Episode 7, but her awareness is not in the script, not a hint.

Curiously Fellowes is willing to show upper class young women’s anguish (Edith’s) over babies and of course women who don’t count like Ethel. He is also willing in this season to show us Anna’s anguish once again – -this time from a stepfather’s advances however muted. And last year spectacularly over the rape — though again Lady Grantham is not permitted to notice. Anna is — really strongly dramatized — is our real heroine and there he slams hard. As he did over Sybil who died of childbirth young.

I suggest there’s a twin thing going on: 1) if Fellowes were to show the anguish that would rip open the power and cruelty of males in charge and the compromises women supposedly with power (and they do have some Lady Grantham showed it in episode 1 and over when she learns Edith’s baby is her grandchild). 2) that he does see this and it’s a continual bemused undertow of the series (with hints that Lady Rosamund (Samantha Bond) had a child out of wedlock and gave it up, that Lady Grantham in this season had no happy marriage and made many compromises) shows that in fact he does look at these stories form the woman’s point of view (no matter how conservatively) and thus can write soap opera so appealingly for women. The number of widows mounts up season by season.

The distastefulness of blaming butlers for snobbishness, lady’s maids as semi-crooks and the like with their masters vindicated as amused egalitarians needs no comment beyond observing this I hope.

So what can we fall back on? I wish there was something interesting filmically innovative, musically, some apt filmic thought embodied in a techique, voice-overs (nothing of this, nothing at all in any of the seasons): all stage playlets, mostly faux theater. The actors carry it all in their faces. The audience watches the costumes and decor and fetishized objects and places (however rich, beautiful or picturesque). What there are this season are lovely pictures: many of the scenes are conceived as old-master paintings, glimmering with soft lights, and subtextually that’s a self-reflexive theme.

This photograph is (C) Carnival Film & Television Ltd and can only be reproduced for editorial purposes directly in connection with Downton Abbey, Carnival Film & Television Ltd or ITV plc. Once made available by ITV plc Picture Desk, this photograph can
Note Elizabeth McGovern’s painfully thin shoulder and arms … (I keep it small so as not to dwell on the anorexic diet she’s been following all these years to keep herself a viable “beautiful woman ‘of a certain age’)

Perhaps the visit of the art historian, Mr Bricker (Richard E. Grant) to see a genuine old master painting Della Francesca (a bit of self-reflexivity here) and his flirtation with Elizabeth McGovern as Cora, Lady Grantham and Hugh Bonneville, Robert’s jealousy holds some new line of development but Robert’s pathetic complaint the man is flirting with his dog, is not exactly Othello.

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I am happy Daisy (Sophie McShera) is continuing her studies in arithmetic now with Miss Bunting’s help (Daisy Lewis) and has become such a splendid cook (and anticipate her trip to the Wallace collection where she will see old-master paintings). Were this life it’d be touching and in the first season it might have worked well. It is pleasing development in the spirit of the 1st season, which of course is that a big fuss is made; deliberations carried on by Mr Carson (Jim Carson), Mrs Patmore (Lesley Nichols) and Mrs Hughes (Phyllis Logan): shall they permit it? is it good for her to improve herself? get aspirations. Would you believe it? And we are given modernized old master pictures.

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A symbolic moment, a climax of Episode 2: they turn the wireless on …

The series’s central action was laid before us towards the end of the third year after the death of Sybil (Jessica Brown-Findlay), with the death of Matthew (Dan Stevens) tacked on and thus providing grief, sorrow, and mourning for season 4. Season 5 we are watching them play on with no new material since Fellowes is not going to dramatize the new social change, but stick with Britain as a tourist attraction, and a commodified fetishized past. Now they have been inexorably tempted to keep salaries coming and revenue by selling products and advertisers/sponsors to a sixth season. So shall we predict how all will end up?

Cover

I have bought the scripts for the third season, which come with far more annotated notes by Fellowes than the previous two and more cut scenes fully written out. In effect a dense encyclopedia. And I restudied Season 4 – which I liked very much.

I discovered what Fellowes had intended for Dan Stevens had he stayed: in the 3rd season it’s clear that not long after Matthew and Lady Mary’s marriage he begins to become alienated: most strikingly by his discomfort over the way she continually denigrates and hurts Lady Edith, but the way she prefers her father, the older Downton way of life. Fellowes writes (elsewhere too), he intended them to separate slowly and Matthew go to the US. By the 4th season in place are the coming marriage of Mr Carson and Mrs Hughes (remember them holding hands at the close), Mr Mason’s farm for Daisy, Miss Baxter has arrived for Mr Molesley (Miss Obrien flees to the appropriate upper class witch, the Marchioness of Flintshire – play allegorical name — at the Christmas episode of the 3rd season she has taken over the Marchioness from the present lady’s maid), Mr and Mrs Bates have his house from his mother in London, their undoubted abilities to carry on. Perhaps Grigson would have returned, and Tom off to America.

At the end of the fourth season Lady Mary, Tom and Grantham together with their one tenant farmer, Mr Drew (also the fireman of the place, are making the place thrive; 5:3 they begin to plan to build houses on the estate. 5:3 also showed me I may have been wrong to assert so unqualifiedly that Mr Bates killed Mr Green, as now we see Fellowes left himself wiggle room for yet more denial as after all Mr Bates’s ticket to London on the train was uncut! Therefore he stayed in York all day. The only way he could have gone to London was to have bought 2 tickets. This is beginning to stretch it. But as they say, from the 2nd season on, Fellowes began to jump the shark regularly.

ThePharmacy

Anna’s trip to the pharmacy will provide a new turn in Episodes 3-4: she has Mary Stoke’s book and this and a version of Lady Mary’s cervical cap (?) is found by Mr Bates. Anna is utterly unfree. If she goes to the pharmacy, she is confronted by a demand on the part of the clerk that she prove she is not immoral. She has to state she’s married. In the 1950s when women went to doctor’s for contraceptives, they would be similarly condescended to. When Mr Bates finds this stuff in her drawers, he accuses her of preventing conception. Is it her body? Mrs Hughes did not seem to think Edna Braithwaite’s body (she who seduced the hapless Tom, MyAnna Buring) was hers when Edna said she was pregnant and in effect threatened to attack her, felt she had the right to intrude into her body. It’s such moments one can watch Downton Abbey for now.

So how will the life of the country house itself be brought to an end or turned into a tourist place with offers to the BBC to do radio shows from (TV shows will come later)? It’s being prepared for, and the death of Isis is the foreshadowing. Christmas time Robert is short of breath; can’t hold his liquor and is told he has angina pectoris. Robert will die. Yet another widow. Then the house will fall apart; it will no longer be needed. Silly as we never saw it properly used as the political linchpin it should have been, but Cora will go into a smaller place, maybe travel (why not? — she is still attractive, the false stereotype of the rich widow on cruises will do here). Lady Edith at last rid herself of her nemesis Mary by taking Marigold to London where she runs Grigson’s press. A new suitor appears for Lady Mary in the Christmas episode and Matthew Goode as Henry Talbot really does fit into a character who seems insouciantly up to Lady Mary; Fellowes must have said to himself, Why didn’t I see this before? the actor once you see him just is “it” for Lady Mary. Perfect for little George’s cool new father — another generation of heartlessness in the offing.

Violet, Lady Grantham and Mrs Crawley’s marriages do not come off – too much baggage and life does not always have happy ending; so they settle down to doing lunch with Lady Shackleton (Harriet Walter). Miss Denker will improve her culinery skills.

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From the Christmas episode: Poor Mr Barrow. He will have to find another place – he’s not allowed to have a partner or open life.

We are never sure who killed Mr Green — I doubt Anna so back to Mr Bates even if sleuthing by Mr Molesley and Mr Baxter turns up an alibi for him — once again:

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Our enigmatic heroine and her beloved tough husband discussing how that day in London will be understood but giving away nothing themselves (Episode 7)

Ellen

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Final shot of the house in darkness: the trajectory of the episode: unfolding before us its crowded life

Dear friends and readers,

So here we are, another season. What you notice the first time watching is how the film-makers hit the ground running. Speed: most scenes far less than a minute long. This costs. They were concerned people would say ho-hum, this is getting tiring, are we going to have this again? They do have to keep the characters in character. So a couple of strong star types were brought in: Anna Chancellor as the lecherous widow (she’s even eager for a drink before dinner) Lady Anstruther after the handsome young — harried anxious — Jimmy, 2nd footman (Ed Speleers)

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She puts hand into Jimmy’s waistcoat

And Harriet Walter as the widowed Lady Shackleton who steals every scene she’s in, adding a grace note of real melancholy as she conveys something of the conditions of her widowhood to Lord Merton (Douglas Reith): relegated to a cottage she didn’t want to go into, she bears up:

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She’s telling him she’s warm for the first time in her life

They returned to the old wittiness and sense of quiet routine of the first 5 episodes of the first season (where they were not worried about further seasons or setting up arching stories of melodrama). There are numerous funny dialogues, arresting quips, and not all are Maggie Smith’s (though some are). At the same time there is strong melodrama, ending in a climactic fire.

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That’s Thomas (Rob James-Collier) rescuing Lady Edith (Laura Carmichael) in fetching nightgown: she fell asleep after throwing a book of poems left her by her beloved Grigson over towards the fire (a death-wish it seems)

For a suggestive recap of the plot, see I should have been a blogger (Ani Bundel).

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Watch a second time, though, and you see something else, something many have noticed before: The mini-series goes on to develop some of the same patterns and in a realistic enough way that three minutes thought ought to bring to mind the troubles and miseries of the servants and women. Each story line that matters and is melodramatic treats of some real cruelty in the lives of servants and women at the same time as it obscures the real motives for it and why the treatment of the person is so unfair.

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The excruciatingly painful scene of Miss Baxter (Raquel Cassidy) confessing her crime, with only a proviso of

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“I’ll see what I decide,” from that site of power, Cora, Lady Grantham (Elizabeth McGovern)

Is there any more painful depiction of abjection than Miss Baxter confessing her theft to Cora, Lady Grantham? As with Mr Bates in the first season (where he is discovered), there was a prison sentence; also like Mr Bates the story of explanation, she is anguished, can make no excuse but something evil in her (in Episode 2 we find it was a seductive male servant who “drove her to it” and was “no good”), not that servants were paid so abysmally, exploited so harshly with long hours and severe disciplined patterns, and expected to live among these luxurious super-rich. Who would not steal these fabulously wealthy people’s things? Far from being driven by others, you’d be almost superhuman not to want the comfortable warm beautiful things around you. Today too those who commit crimes are depicted with savage lack of empathy (I don’t know sheer statistics of petty robbery, whether it has gone up with the on going depression in the US with terrible or no jobs for vast numbers of people).

Downton Abbey repeatedly touches on these real subjects but always from the employers’ point of view — the question is how Cora, Lady Grantham, feels is the issue; and if she will see if she can endure to have such a low “felon” in her intimate room. Mr Molesley (Kevin Doyle) it was who counseled Miss Baxter to confess in order to stop the fierce bullying of Thomas (once aqain playing his part of the spiteful gay) so it’s patriarchy which may save poor Miss Baxter, if Cora condescends to keep her. One almost longs for Miss Obrien’s strong sarcasms (Siobhan Finneran): we later hear she lost her place when the Marchioness of Flintshire (Phoebe Nicholls) got her comeuppance (not enough money to keep a lady’s maid). Not that Thomas is immune from the power-lady of this hour: when he goes to snitch on Miss Baxter, he finds he is too late: Cora, Lady Grantham tells him, she knows, and uses the opportunity to threaten to sack him too, for what what she doing recommending such a person to her? She so dim over Lady Edith has guessed Thomas was using his power over Miss Baxter to find things out.

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She’ll think about what she’ll do to him (remember he needs a “character”)

Well, yes there is another, a second an equally painful depiction of abjection. As the series begins again, wesee that privileged ice-princess who makes it a hobby to throw corrosive darts at Edith, Lady Mary (Michelle Dockery) riding on her bike away from Downton:

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who turns into Lady Edith careening near an old deserted church(where she will meet Mr Drewe (Andrew Scarborough), that super-loyal and therefore impeccable tenant-farmer. There they plan and plot how they will find a way for her to live as if she is child’s mother without telling, all the while using Mrs Drewe as their front. Before it was Ethel Parks (Amy Nuttall), a servant, driven to prostitution, driven to give up her child, whom we watched pacing everywhere with her baby clutched to her bosom; now (as a third watch-through proves) it will be Lady Edith, similarly holding tight to her child and near hysterical tears.

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Lady Edith (first shot) watching

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Mrs Drewe (Emma Lowndes) playing with Lady Edith’s baby, Marigold (uncredited)

As Anibundel pointed out, Mrs Drewe is our latest dimwit not to pick up the obvious: Edith is the baby’s mother (well, duh): it must be Mr Drewe Lady Edith is drawn to, or she is very sick indeed (well something somewhere is sick). Wouldn’t the natural inference be this child is Edith’s by Mr Drewe? This pattern of a mother giving birth out of wedlock is seen in later 19th & early to mid-20th century novels (Bronte’s Shirley to East Lynn to Poor Cow); here it is presented in such as a way as to make exceptional a pattern of deprivation and grief.

Anibundel also feels for Lord Grantham (Hugh Bonneville): on the second time round, he certainly seems to be the figure everyone else can ignore or look askance at. He is “donk” to his grandchildren because he once played “pin the tail on the donkey” and apparently was the donkey. He is not wanted to head the installation of a memorial on his own land (!), and is given a position as patron only because his butler, Mr Carson (Jim Carter) makes it a condition of Mr Carter’s accepting as chair. Lord Grantham is told off by the village schoolteacher, Miss Bunting (Daisy Lewis), and knows he looks bad for bullying her in his indignation that she should have the temerity to disagree with him — most strongly on the issue of the WW1 memorial

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LordGrantham (1)

Let us stop at the memorial. Some of the loyal older viewers of Downton Abbey may remember the 1970s To Serve Them all My Days (scripted Andrew Davies, with that salt of the earth good man-teacher, David Powlett-Jones), based on the arch Tory Delderfield’s 1950s novel of the same title, a nostalgic look at the upper class schoolboy hood of the 1930s. The terms in which this memorial is debated in 2014 is precisely that of the 1950s novel. Miss Bunting is against spending money for a memorial to a war that uselessly killed millions and left the establishment in power; says she we can do something but not waste money on that. Lord Grantham’s allies around the table (Lord Gillingham, Tom Cullen) has produced the usual pieties about comfort for those who died and a symbol of gratitude. Even in the 1970s Andrew Davies did more justice to the Miss Bunting point of view as creditable and even right. Of course people have to be rude to voice it. But Miss Bunting does not have Tom’s approval; she is not exactly welcomed by the kitchen staff whom she hen wants to thank (ostentatiously) — though her coming downstairs does lead to Daisy, now a cook-kitchen maid (Sophia McShera), finding a teacher to help her with her self-improvement studies.

And note Lord Grantham’s misinterpretation of what is happening between Jimmy and Lady Anstruther is the one that decides what happens to Jimmy: having seen Jimmy in bed with the lady, Grantham sacks Jimmy because he cannot accommodate Jimmy’s ambitions. There is no guarantee whatsoever that Lady Anstruther will do anything for Jimmy but use him. If Jimmy could find it in himself (he can’t) Thomas would be the better partner (as he recognizes). Lord Grantham, like Cora, gets to decide who will be sacked; in discussions over the land, it is Lord Grantham Lady Mary and Tom must convince to build houses on the land for more rent. And it is Lord Grantham who leads everyone to put out the fire, who congratulates Thomas (who thus wins back Cora, Lady Grantham’s favor — too easily), and Tom Bransom (Allen Leech): back again as this deeply remorseful muddled liberal Irishman who seems to believe that leftism is a movement based on hatred, and has to ask permission to have his friends stay. He does still see to the cars (Lady Anstruther); maybe he does need to get out more.

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So paradigms of abjection and looking askance at those who are powerful still.

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Watch a third time (preferrably after having watched all 8 episodes) and you see: several overarching storylines are set up: the first, whose emphasis is not lost from sight throughout: Edith’s need to build a life for herself: the study of Edith: yes just such an environment would foster her kind of dependence and love and despair when the one attempt for liberty she grasped at was destroyed. Parallel is Tom’s need to separate himself from these people, find himself.

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Daisy striking out to become personally emotionally by knowledge gained independent. She has become an artist of a cook, and now she wants to ready herself for a life outside the house, perhaps in charge of Mr Mason’s farm. (And ho-hum who will Lady Mary marry in the end. Does it matter? as she might herself say ever so coolly. Later her grandmother will tell her she’s overdoing it.)

The sub-stories attached which are used to create feeling states, the communitarian ideal that is projected is that of Mr Molesley who emerges as a reader: we did see signs of this when long ago he gave Anna Smith, now Mrs Bates (Joanne Froggart), a copy of Von Armin’s Elizabeth and her German Garden (which true to her anti-intellectual practical spirit she never found time to read). Mr M is champion of good feeling. Mrs Patmore’s (Lesley Nichols) concern for Daisy’s self-esteem — like Edith’s character, this makes sense given Mrs Patmore’s background, where you learn you will be hurt more by the failure because the trying may get you nowhere.

As yet we only see Mr (Brendan Coyle) Bates and Anna marginally (they live in another house), enough to see the aftermath and results of the rape are not at all gotten past. They remain wary, she aware how vulnerable they both are, he on the alert for anyone suspicious of them who can hurt either. Why haven’t they had a child he asks; she doesn’t know. They fear Miss Baxter as a weak informer.

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Secrets, many of the characters have secrets to keep to themselves (for some stills of them much later in the series at home [from Episode 7]).

A new note: we do see Barrow’s real loneliness and lack of life — a rare case where we see what happens from the exploited and marginalized person’s point of view — he cannot make a life for himself that he wants to live he tells Jimmy. And Violet, Lady Grantham (Maggie Smith) is considerably softened: she is as pessimistic and wry as ever, but more willing to admit her need of others, e.g., Mrs Crawley (Penelope Wilton’s) friendship

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How many widows this series has had … they walk through a graveyard as they discuss Mrs Crawley’s relationship with Lord Merton: it’s a matter of companionship

Characters are cast aside to make room for the new feeling states and developments of over-arching stories across the seasons: Dr Clarkson (David Robb) who will not now marry Mrs Crawley; and characters are brought to the front, the supposed amusement of the snobbery of Violet, Lady Grantham’s butler, Spratt (Jeremy Swift) who Violet, Lady Grantham is supposedly ruled by — not very.

And in each episode we’ll have self-contained stories of characters not seen again (as here, Anstruther and Jimmy, Lady Shackleton), or stories which last 2-3 episodes and conclude (TBA). Even Isis, the dog, is being readied to play her role when the time comes.

There is a darker palette this time: I have enlarged several stills because unless I do that you won’t be able to make out the guarded people.

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Mrs Hughes (Phyllis Logan), the last shot of someone in the opening: she knows Lady Edith has a painful secret she has shared with Mr Drewe (now fireman he makes an appt with Lady Edith to discuss matters)

Ellen

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