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Demelza (Angharad Rees) climbing up on Ross’s (Robin Ellis’s horse), (1975 Poldark)

Dear friends, readers, and class,

This is a continuation of the lecture I wrote as a blog, Ross Poldark, the first phase, which takes into account my first blog on the book, Ross Poldark, Revenant, and on the 1970s mini-series, An 18th century Cornish Che Guevara figure. I’ve added a few thoughts on the first three episodes of Debbie Horsfield (script-writer and “creator”), Ed Bazalgette (director) and Eliza Meller (producer) of the 2015 Poldark which have not quite covered this first of the 12 novels. The stills are mostly from the 1970s mini-series as all I have for the recent one are a few promotional stills, which typically distort what are the characteristic images in any film.

Last time we emphasized the salient characteristics of Ross, which included the above categories, a sense of his rootedness in costume drama of the 1940s (Stewart Grainger) as well as his historical conditions: he is not the heir to the Poldark estate, Francis Poldark, the son of the oldest son, Charles, is. He thus comes home to a small inheritance of a ruined mine, home, neglected property, the young woman he had loved and thought himself pledged to engaged to that heir. He had been assumed dead, out of the way. To this I’d add he is an ordinary man, somber, serious, whose troubles are those that anyone of the 1940s and again 1970s might identify with today: he wants to integrate himself into his community, make a respectable living, is a responsible man with a depth of intelligence. His desire to do some good is what particularly dates the norms to the 1940s after WW2 and again before the Thatcher era.

Ross Poldark and Demelza may be seen as coming of age novels: our hero returns home from the wars, which he escaped his youthful rebellions to, and now he tries to make himself a life, to marry where he will be comfortable, a woman who provides a household (his choice to marry and Demelza too partly fits in with the first part of Amanda Vickery’s At Home with the Georgians where she depicts the male of the 18th century eager to marry a genuine home-maker, to begi his career as a respectable male). I wrote a separate blog on mining (& smuggling) in Cornwall with particular reference to Ross’s thwarted heroic efforts. In the first she grows up: she comes age 11-14 into the first minimally decent stable surroundings and people who treat her in a civilized manner since her mother’s death. In the second she too comes of age, partly by finding where she differs from Ross, who by the end of the first novel has become an unquestioned parent-husband-master, someone who opinion of her is all encompassing, who is her. She is to learn he has feet of clay. Jud and Prudie are in effect her surrogate parents.

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Where Jim Carter (in the background) has helped Ross fend off Demelza’s father and she protests against giving her meagre salary away

We omitted talk of Jim Carter, with Jinny, important presences and characters in Ross Poldark and Demelza. On some deep level Ross identifies with him, feels for him (as Ross does not quite for Mark Daniels). Jim is of the wretched of the earth, has been given little chance to develop his gifts, and has not had the individual esteem to refuse to return to the mine when he, like his father, develops lung sickness; still he does not make enough money as a tributer and poaches to put food on the table his manliness demands. This is not to blame him, but we are to see that he is not a flawless character. Jinny is not really happy with him; he will not listen to her greater prudence. He knows how dangerous poaching is (no matter how unjust the laws); she becomes subject to rape and even death when he steals out. Ross’s anger at himself for not saving Jim but persistent impulse to not behave in the amoral hierarchical ways of he gentry leads to his decision to marry Demelza. He will do the right thing. The community think he is sexually using her carelessly as any aristocratic male would; he proves them wrong. Central to the book is his learning experience at the trial, Book 2, Chapter 4.

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Jinny and Jim at their wedding listening to her father

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Zacky Martin

Also the rivalry with Francis. Quite apart from Elizabeth. My research into the period of the Renaissance through early 19th century shows such internecine quarreling and betrayals (Ross almost drowns Francis in their first encouner in the mine when Francis tries to open himself to Ross) occurred regularly between a male heir and especially a cousin, the son of the second son: I found it in Vittoria Colonna’s extended family, and in Anne Finch, Countess of Winchilsea’s brother, who murdered his male cousin Hazlewood in Northampton, and could not recover a life afterwards. Primogeniture is not a system to foster kindly feelings (as Austen said the system which demands none of a group of sisters “come out” until the oldest is engaged leads to animosity).

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Clive Francis as Francis as we first see him

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Frank Middlemas as Charles

Powerful scenes in Book 2 are the trial (covered in the last lecture) and Ross and Demelza’s plunge into becoming lovers: she desperate to avoid returning to her imprisoning home, he drunk, wretched, overcome with a need for human contact. She does not entrap him; she fears earning his contempt and he almost does react that way when in his mother’s dress he compares her to his mother. Book 2, Chapters 5-7. The careful slow believable and probable build-up; Demelza’s intense awakening and joy afterwards; his acknowledgment that this was not just “an expense of spirit in a waste of shame.” Elizabeth comes more for help with Francis who her own rejection of has driven from her and into drinking, gambling, promiscuity, debt, thinking to play on Ross’s love for her, but finds something has happened between the two and it is too late for her. To its credit the 2015 Poldark followed this trajectory including his decision to marry Demelza out of a liking and respect for her, that she had become part of his life, and the intensity of their congenial sexual encounters.

So the last phases of the book. Several inward looking threads:

1) Ross falls in love with Demelza, begins to appreciate her as an individual; he continues to love as this icon of aristocratic elusive beauty, Elizabeth. The love begins in the chapter of the harvest of pilchards, Book 3, Chapter 2; Graham may have written as well but he never wrote better. The greatness of it is it’s a recreation of the Daphnis and Chloe (Longus), Paul et Virginie (later 18th century), Tristan and Isolde archtypes interwoven completely with the detailed dramatization of a harvesting of pilchards by a community deeply in need of these fish to sell and to eat, in the context of a real Cornish cove. She packs a picnic supper. Much of the space is given over to describing the intensely important and ultimately successful catch through the use of the nets, yet our emotions are intensely with the each of our two presences.

‘Ross,’ she said, ‘dear Ross’ ‘I love you, he said, ‘and am your servant. Demelza look at me. If I’ve done wrong in the past, give me leave to make amwends.’ And so he found what he had half despised was not despicable, that what had been for him the satisfaction of an appetite, a pleasant but commonplace adventure in disappointment, owned wayward and elusive depths he had not known before and carried the knowledge of beauty in its heart.

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A famous shot from the 1975 series when Ross tells Demelza he will give her his name, marry her

2) The failure of Elizabeth and Francis’s marriage. She prefers her son, Geoffrey Charles, is not finally in love with him, and his failure to cope with the world she can be patient with, but not empathize or help. That they have had no further children is to be taken as a sign of unsatisfactory sex: an 18th belief is still wit hus that satisfying sex brings about orgasm and orgasm pregnancy. It’s a myth used in novels by characters to try to prove a woman claiming rape was compliant (in Richardson’s Clarissa, in Kleist’s Marquise of O) Elizabeth’s resurgent love for Ross comes out of her dissatisfaction. We see Warleggan waiting on the side; he has lent Francis money and bound him that way.

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Norma Streader as Verity: her close relationship with Ross slowly built up

3) The story of Verity — lonely, depressed, without feeling alive for herself (one of the many great chapters of Poldark series, all 12, is Chapter 14, when she returns to her room and faces what is her probable destiny: used but useful in her extended family. So ailing, she comes to stay with Ross and Demelza. Demelza fearing scorn holds off, but Verity wins her over by opening up her own tragedy to Demelza. Their shopping trip is to me a delight: like Ross’s trip to the fair in the first book, it enables Graham to present the 18th century world to us, shopping in the provinces, how people made their clothes. And we have a long trope of female friendship, so rare in male novels (hardly seen in most movies).

4) Graham has said that he did not plan another book, Ross Poldark was stand-alone, but I wonder if by the end of the book Graham knew he would continue: these latter two are the sort of thread that demand fulfillment. Demelza begins pro-active, diplomatically to question Ross to find out about this loss of love and hope Verity had known. Why start such a plot if you don’t mean to continue it into another book. Ross is right to worry about Blamey we are to feel too. A genuine gap between them. They will have male versus female reactions to primal experiences in later books. There is also what is going to happen to Jim Carter? Prudie and Jud kicked out of their jobs? will they continue alienated?

On average there was a three-year gap between Graham’s new books (not the rewritings) but Ross Poldark was 1945 and the very next year, 1946 Demelza. Jeremy Poldark appeared 1950; Warleggan 1953.

5) The last episode: Ross and Demelza are invited to Trenwith and almost torn apart by the pressure of the house and its history, the paintings, the sense of an ancient family Ross belongs to which she is outside of, but Demelza has a realistic success. She is helped to assert herself by Verity’s presence, by drink (she’s not perfect) and by her own native abilities against the spiteful Ruth Teague. Her pregnancy is actually a burden. Her first attempt at social class adjustment and we see in these scenes Francis instinctively kind and Elizabeth not deliberately hurting anyone.

One way to write a historical novel set in a given period is imitate the novels written in that period. Graham is imiating Emma where Austen’s Jane Fairfax plays so exquistely high culture music but Harriet says she prefers Emma’s poorer execution because the “performance” was so great. Also the songs easier. Elizabeth’s harp playing and use of Handel does take those who can enter a higher realm into it: that includes Francis (it is sad how their marriage fails). But Demelza’s folk approach is accessible, sexier and is liked by more. Demelza is getting back but before a sour note enters, Ross taps her shoulder lightly.

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As the novel ends Ross and Demelza achieve communion of spirits walking home in the landscape as Verity has walked by his side with him. Far from this ancient imposing house, with its picture, night and the “old peculiar silence” ceases to make a barrier and “becomes a medium.” Their different pasts and personalities “could not just then break their companionship for long. Time had overawed them. Now it became their friend”

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For next week: Demelza is not a sequel but a continuation. All the novels are continuation, continuing the story. Each one has a peculiar structure and themes of its own but they do not introduce a new set of characters who are dismissed from the action beyond the one novel. In Demelza Graham widens his purview to include the 18th century wold through a Cornish lends: topics will include medicine, law and justice, smuggling, banking.

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Aidan Turner as Ross working at his desk

The new mini-series, a few sketchy thoughts on Episodes 1-3:

I find I’m too attached to the novels after all and have a hard time judging this new one rationally. My worst complaint comes from the new dramaturgy: the scenes are far too short; in the modern way these begin at the end of a scene, are epitomizing, and have a momentary shot which suggest what was to happen and then we switch. The film editing feels crude: we move too abruptly from shot to shot.

Watch any 190s or 1980s mini-series: last night I was watching Barchester Chronicles, a mini-series from two novels by Anthony Trollope; what a striking difference from these new Poldarks; BC resembles the old Poldarks and The Oneddin Line. The three (BC, old Poldarks, and Oneddin) are all literate. Characters are presented with coherent thoughts; they talk to one another and express understandable ideas; debate issues. The scripts were hard-worked on and made sense. The writer does not have the time to develop complicated utterances or she fears the audience will not understand more complicated thoughts when not attached to something immediately personal.

Apparently some Poldark fans (on the facebook page) notice that the chronology from episode to episode is confused. PBS dumbs down by substituting bloody thrillers and situation comedies dressed up as costume drama (Doc Martin, Call the Midwife); the BBC carries on costume dramas of good books, with the alternative solution of having characters grunt at one another, and substituting scenic camera work (technology). It’s not the fault of the actors nor even the scriptwriter – though she appears to know little of the 18th century when it comes to underlying manners and attitudes nor director: the long hand of Mrs Thatcher, budget cuts, and despising of education is at the core of all this.

An overt feminism makes all the male characters order the females around peremptorily. That’s not how it worked. Alas the screenplay writer has not begun to read or understand some aspects of the actual male practical life of the era either, nor the 1790s revolutionary period — which the 1970s writers did. She gets wrong how men were paid; they did not get salaries but worked as tributers, entrepreneurs. The new Francis is made more sentimental and less cynical subversive — which is like the book, Francis’s wit (what are you being saved from? for?) which came from the book is gone, but perhaps the feminism of the producer and writer could not bear to show a man so careless of his wife, so easily promiscuous. Elizabeth in the book and in the 1970s movies was ambitious, cool, wanted to be seen, to go to London and shine in court (she never got the chance); they are sentimentalizing her too. Some of the face-book fans are happy that the portrait is more positive without examining why or how.

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Ruby Bentall as Verity and John Hollingworth as Blamey — good in these roles

The Verity and Blamey story is fairly told and even all the parts, but it needed to be spaced out much more. It’s like a near final draft that needs more interweaving and raison d’etre somehow. I can see that there is a real attempt at time to film scenes from the book that were not filmed before.

I find I miss badly some of the original incarnations: Clive Francis as Francis, Norma Streader as Verity, Frank Middlemas as Charles. We also in this first episode have more romance than money scenes; the gardens are overdone the landscape does not look like Cornwall; the music is inferior to the original episodes and the paratexts not so aptly chosen; they are not original, not thought out. Turner and Tomlinson are good — his is an attempt at a hard unsentimental conception. the Jack Farthing as George Warleggan has the tones of Ralph Bates; Nicholas, the father is gone, but Pip Torrens as the corrupt ruthless uncle, Cary, repeats the tones, notes and kinds of sayings about profit) the old Nicholas uttered. But a number of the actors are weak (especially Kyle Soller in the role of Francis as narrow, spiteful, not bright); Heidi Reed Elizabeth is presented as in love with Ross — nothing about her complicated desires for status, wealth, social life. They don’t know what to do about some of the characters that are not driven by love primarily so have Ross and Demelza sort of be around one another pointedly. They do not have the guts to show characters immoral and careless the way the first series did. Phil David (superb actor) as Jud is thrown away; his gnomic statements of pessimism personalized so lose their meaning. Lots of the working class characters simply in effect dropped. They don’t want comedy or at least not the kind the first series did — it’s melodramatic. To be fair, the original 1970s series often omitted Graham’s best lines, the darker melancholy sceptical ones. It did include the comedy.

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Ellis delivers a creditable performance as the narrow minded judge

On the other hand, it is also a different form of making movies; movies are made differently and I thought the third episode though also ‘dumbed down” used pictures again and movement beautifully to convey the love affair of Ross and Demelza. They are good actors.

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Instead of actors in a stage being filmed; we have figures in a large screen who are part of the wholistic picture, and much is conveyed through gesture, picture, angle of shot. Still, they don’t use montage cleverly (too much money?) and Horsfield has Aidan Turner charging through the landscape on his horse as if she doesn’t know what to do with the actor — the imitation of Colin Firth half naked in the water by Turner with Demelza as voyeuristic in the grass was embarrassing and broke the suspension of disbelief utterly.

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Eleanor Tomlinson as Demelza and Aidan Turner as Ross

Eleanor Tomlinson’s portrayal reflects our modern mood (she begins in distrust) but it is to my mind closer to the conception Graham had than the previous Demelza — who reflected “sex kitten” moments in the 1960s films (Tom Jones) and was far more 1970s feminist as well as not realistic. It was anachronistic in the extreme for her to tell anyone she did not know who the father of her baby was, much less its real father, Ross. The beaten down, shy, but slowly emerging Demelza in 2015 reflects our own distrusts and sense of darker realities. There are a few scenes (too brief but there) from the book where they shop, he buys her a cloak, she prepares decent food for him, we see them eating and talking together (alas no dialogue).

There is much to like — very very much to be moved by. In the way of modern adaptations the film-makers take a back story and put it as prologue so we have “Ross in America” and then a scene from his parting with Elizabeth, after which here we are in the coach again. I had hoped for the death of Joshua (which opens the book) but not to be. Phil Davis is a great actor, he’s not comic like Paul Curran, but he’s in a way more credible as a presence than Jud. The actor for Jim Carter resembles the earlier actor.

I am warming to Aidan Turner and thought he has some really effective moments. One stays with me. Demelza is leaving, walking off with the dog, as Prudie has told her see what he said, you’ve more trouble than you are worth, and she looks up and there is Turner photographed on the horse against the sky, looking magnificent somehow. Memorable. There’s a different concept for Demelza for Eleanor Tomlinson; she is made more central to Ross’s decision to stay, not a thief, desperate in a more abject way. In the book he never thinks to go;

The politics are the not the progressivism of the 70s but mirror dark and grim British moods of today.

Thus far I am not sure it will become mythic: the first Poldark had something deeply original about it — the music, the different paratexts carefully chosen to capture important moments (closing of Grambler, Smuggling, killing the informer); time will tell whether that these 8 hours have captured a new original spirit equivalent or analogous to the older one. It’s at a disadvantage being second but Andrew Davies in 1995 knocked the 1979 P&P off the map. Maybe they are trying too hard. Since they are communicating pictorially, they need to have more nerve in filming bold sudden moments of magnificence (Ross on his horse coming up to Demelza and taking her back when she runs away). They try for subtle symbolism in the simplified dialogue: when at the close of third episode he tells Elizabeth he is not leaving Cornwall, he says he had lost something, and his way, and now he has found it; that something is symbolized by or is also Demelza on his horse behind him as his wife. His choice of her embodies his values and the way of life he wants to lead.

Ellen

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In prison, telling of how her stepfather abused her and her mother ignored her distress: Anna (Joanne Froggart) and Bates (Brendan Coyle)

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The Dowager in her mind bidding adieu to any idea of time regained: Violet (Maggie Smith) remembering

Dear friends and readers,

I cannot deny for anyone still emotionally involved with any of these wrenched backward and forward manipulated-for-climax characters, there were still some stirring and/or genuine moments. There is some uncertainty about when and if it will ever end. So to this season’s finale:

For me intense distress over Anna (Joanne Froggart) in prison, humiliated, blamed, her own abused past used against her; some admiration for Lady Mary (Michelle Dockery) defying all convention and rank-based demands to visit Anna; the improbable angelic quest of Miss Baxter (Raquel Cassidy) and Mr Moseley to find witnesses to show that Mr Bates (Brendan Coyle) was in York the day his confession claimed he was in London pushing Mr Green (Nigel Harman) in front of a bus (if he went so far as to say that — we don’t know); however unlikely that such a confession would be cast aside, Anna’s release and continued abjection when she returns “home” (she will not go into Downton Abbey by the front door), and, not for the first time, her bleak presence in black during the Christmas festivities, only to be gladdened and rejoiced and taken away to a quiet private space with her beloved at last.

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Rapturous escape

Punishment of servants and largesse on the part of masters and mistresses defined several of the stories brought to a temporary close. In the last two seasons Violet, Lady Grantham (Maggie Smith’s) adherence to duty and not exploiting those beneath her any more than her position demands was continued. She did not permit Spratt (Jeremy Swift) to triumph over Denker (Sue Johnston)’s inability to make a fine soup:

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Delicious soup

Violet was sorely tempted by Prince Kuragin many years ago, actually fled with him, but was pulled from the carriage, by his wife, the princess, and allowed herself to be dragged back not only to duty, but comfort and wealth, and social acceptability. She has reciprocated by paying for the princess to be rescued, giving the princess acceptable clothes and her reluctant husband back. She rises above the princess’s bitter understandable ingratitude.

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It’s an interesting topic: the Dowager’s attempt to do the right thing. I suggest the Dowager has changed over the course of five years — or better aspects of her character have gradually been brought forth. At first she appeared as a kind of dragon lady witch — remember her first appearance, striking in all glittering black.

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She does try to do the right thing, and we have now been given enough of her past to understand her marriage was not super-happy at all; she stayed because it was the right thing to do. Sometimes though these moral “right thing to do” can mislead. When she persuaded the older man to desert Edith at the altar, that was wrong even if it seemed conventional wisdom. She was with Rosamund in trying to remove Marigold from Edith. The “right thing” often violates our deeper emotions and needs — that’s a theme in Anthony Trollope by the way (whom Fellowes claimes to be much influenced by). The perversion of our deepest emotions by being required to follow social rightness — In Trollope’s novel, Lady Anna, the heroine, Lady or Anna Murray refuses to marry the Earl and does the “wrong” thing from everyone else’s point of view; she wins because she’s heir. But other Trollope characters walk away without the big money — in The Warden, Mr Harding for example. The Duchess would have been on Archdeacon Grantly’s side. Phineas Finn walks away to a small salary; he is not made happy and in Raven’s version he does it only because Mary is pregnant. But Trollope does fit in with Fellowes and here (as is not uncommon) if you examine Trollope for real, you find his inferences go another way.

It was certainly a season for older women to be proposed to (a Trollopian theme): Mrs Hughes’s (Phyllis Logan) reply to Mr Carson’s (Jim Carter) is a nearly exact repeat of Mrs Crawley (Penelope Wilton) to Lord Merton (Douglas Reith) and Violet to Prince Kuragin:

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Mrs Hughes: ‘We’re celebrating the fact that I can still get a proposal at my age.’
Mr Carson: ‘And that’s it?’
Mrs Hughes: ‘Of course I’ll marry you, you old booby. I thought you’d never ask.

Where did he get the money? In the original Upstairs Downstairs, Mr Hudson and Mrs Bridges have been saving for their lodging house almost the full five years of the show.

And there were the intelligent conversations between the Dowager and Mrs Crawley once again:

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Otherwise you were invited to enjoy the perversion of natural good feeling, or asked to rejoice in spite, coming comeuppances, abjection, and confronted yet more women who suddenly could put two and two together. The most dismaying was Lady Sinderby (Penny Downie). It was not that she was hiding deep pain; she seemed genuinely puzzled who Diane Clark and little Daniel (HELLO, DANIEL, HIS NAME!) could be?

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I just wish there had been a flicker of recognition and anger in her eyes. I didn’t look but in the script it may say by Diana (Diana or Diane?) Clarke that she expected to be alone with him? I thought she did say that in fleeting passing. The actress the same age as Michelle Dockery, the younger set

(If so, absurd. Jim and I rented a hunting lodge in Sussex one summer. It was once a tryst place for a super rich Duke to have mistress and horses available. We had a large bed with a mirror over it. I kid you not. The building a sort of overgrown hut. I suddenly realize downstairs where younger daughter slept were once servants quarters. This is not marked at all by Landmark Trust who rents such places to people going on holiday in the UK. It was very large down there so lots of servants and grooms as across a yard were old stables — very much marked for our perusal. It was not that easy to get to — as the road is still not marked obviously from a pub, and the bus didn’t go there anymore. Nor were we told which more recent Dukes owned it.)

Rose (Lily James) to the rescue by a series of insistent hypocrisies with all joining in. We were to enjoy Lord Sinderby’s (Aldritch) shame. But what then? everyone conspires together not to help the woman whom he has obviously had a long time affair with, shows no concern for real for or her boy (we don’t learn his name though we do hers, Diana Clark). Meanwhile Lady Sinderby is suddenly unaware of what’s happening, and looks all surprise and bemusement and as ever Atticus (Marcus Bale) notices nothing. There is his half-brother. The character would be great on a slave plantation, surrounded by half-brothers and sisters who were his slaves too; Atticus showed perfect unconcern Beyond yet another women unaware of what’s happening around her (Lady Sinderby); beyond that it’s grating to see how the woman and her child apparently don’t matter, what matters is nothing shall be upset, nor Lord Sinderby embarrassed. Sickening. Yes she looked just fine – but all abasement towards everyone. In a series ostensibly so focused on women, women are dispensable and all children without rich men to keep them.

The worst grating thing was Fellowes’ tendency to when he run out of invented faux obstacles to create tension and climaxes on the back of, he returns to bad servants and we are to rejoice in their comeuppance or downright humiliation. Stowell (Alun Armstrong in the thankless role) was the snobbish butler more willing to hurt others to keep his ego up than his master the arrogant Lord Sinderby needs to:

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Fellowes made it acceptable by having Stowell mortify our favorite working class turned sop-aristocrat Tom (Allen Leech) and those under him (including Thomas [Rob James-Collier] who got back Big Time with the encouragement of Lady Mary) but who is he? he probably has no money money than Mrs Hughes — in the first season she originally said she was socking it away; now she has a disabled sister she supports (the Tories will like that). We were supposed to enjoy him cringing before others. I have to have been personally hurt directly before I can enjoy that sort of thing. We were also supposed to enjoy how the Dowager finally best Spratt. His spite against Denker is disconnected from her bad behavior in London. These servants are despicable lot, no? both Spratt and Denker are subject to the Dowager — was that supposed to provide our enjoyment?

Despite what we keep hearing about staff cutbacks since the glory days before the war, the Downtown staff never seems overworked (lots of time for self-improvement, museum visiting), except perhaps in the case of Moseley as first footman — and that is treated as comedy–and Moseley’s fault, of course, for trying to get above himself. Who wouldn’t want to be a servant in a great house? My mother-in-law told me it was servitude and discipline from getting up to going to sleep, little money, hardly any time off.

It has been lacklustre season, filled with phony climaxes or dismissals. Mrs Drewe (Emma Lowndes) can’t be fired but she can be erased. This season was at its best when it tried to return to the tone and mood of the first season, but it did not work as in just the way years had gone by, so much pain and melodrama had been put before us. Also its structuring to move to climax after climax this year and not have one-hour long self-enclosed stories destroyed any of the first season’s quietude.

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Canaletto, Alnwick Castle (18th century landscape)

I felt in the last phrase of returning to the Abbey for a singalong at Christmas, they were trying for the quiet naturalness of the first season again. But as is seen from 3/4s of the 90 minutes they cannot — too much water under the bridge and too much expected. So first they have to go away to a super-glamorous place once again. I had thought Alnwick Castle was a testament to Canaletto’s many paintings, the fame of this country house from the Renaissance, deep in Northumberland, but it was apparently Hogwarts they were thinking of — Harry Potter. Whence a very silly YouTube over the preceding week where the characters tried to decide which house each of them would belong to in the school for magic.

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Like parents dropping children off to school

Anibundel remarked that it felt like the cast were hanging around a museum. I noticed only a small segment of the show was filmed in the house. We did see them go into it, through the door, so it was not as with Chatworth in the 1995 P&P where the film-makers were allowed to use only the outside of the house, but only a few rooms were requisitioned. Anibundel said most of the rooms from the Harry Potter films were not there and noted the huge fireplaces (in centuries past to keep the occupants warm). The result was a film experience as absurd as someone wearing an extravagantly overdone dress for a short moment of a day at great expense and trouble. This to impress people fooled by glamour and fame and money. I found the inside of the house gross. As fake as overdone luxury hotels. All gilt, ludicrously over-decorated every inch each wall. Must be awful to sit in — but maybe no one ever really sits in those rooms, much less lie and read a book

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With all this falseness to see this reassertion of how happy everyone is, not just must be, at Christmas, I was gain reminded of what Trollope said he felt like when he was commanded to make a rejoicing Christmas tale.

While I was writing The Way We Live Now, I was called upon by the proprietors of the *Graphic* for a Christmas story. I feel, with regard to literature, somewhat as I suppose an upholsterer and undertaker feels when he is called upon to supply a funeral. He has to supply it, however distasteful it may be. It is his business, and he will starve if he neglect it. So have I felt that, when anything in the shape of a novel was required, I was bound to produce it. Nothing can be more distasteful to me than to have to give a relish of Christmas to what I write. I feel the humbug implied by the nature of the order. A Christmas story, in the proper sense, should be the ebullition of some mind anxious to instil others with a desire for Christmas religious thought or Christmas festivities –, better yet, with Christmas charity. Such was the case with Dickens when he wrote his two first Christmas stories. But since that the things written annually — all of which have been fixed to Christmas like children’s toys to a Christmas tree, have no real savour of Christmas about them. I had done two or three before. Alas! at this very moment I have one to write [said by Julian Thompson to have been “Christmas at Thompson Hall”], which I have promised to supply within three weeks of this time — the picture-makers always required a long interval,–as to which I have in vain been cudgelling my brain for the last month. I can’t send away the order to another shop, but I do not know how I shall ever get the coffin made.

Yes Mr and Mrs Bates hurry off into that dark bare corridor away from the strained singing; there were moments throughout the hour (as I started with) worth the contemplating.

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As for future predictions once again:

Here is a reasonably intelligent review

I have noticed no one has aged much — except naturally. They are all five years older, the daughters dress older; the dress of the servants reflects their changed occupations. I have been glad some of the women are not forced into anorexia: Elizabeth McGovern became that long before this mini-series to make herself viable as a comely older woman. The interviewer said it was to go on until 2010 – I had thought next year would be the last but Fellowes gave another interview which suggested it would drag its coffin on.

So he doesn’t “own” DA anymore and is not the only one to dictate the ending so perhaps it will get worse than ever (more fatuously cheerful with made-up crises easily resolved) or it will darken in ways that Fellowes wouldn’t allow. There’s a general strike coming … My sense is Fellowes made this years’ episodes follow closely on the last because he did not want to show the 1930s in England, the real destruction of some of these enclaves, the proto-nazism and fascism, the growth of socialism for real.

One woman on a Downton fan page called this a “fun” interview. Some people have odd ideas about fun.

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So, out my crystal ball: We have two plot lines: Lord Sinderby has a bastard son and now it’s been brought out into the open the sudden bitterness of Lady Sinderby may actuate her into at least a separation for a while. (Maybe just maybe Atticus will notice his half-brother?) Anna and Bates are not home free. Mary will end up with the insouciant cool racing car driver whom she deserves and if he cannot make her miserable, little George will at least grow up to be a twisted ex-aristocrat; Edith (let us hope) return to London and get a nanny. Daisy and Mrs Patmore and Mr and Mrs Carson are provided for; Baxter and Moseley go off into the sunset for other positions in the same great house, or break free, he goes to teach and she to open a millinery and dress shop. We have been told the ending: Lord Grantham dies of a massive heart attack — it was angina and we see how breathless he is when drunk. Other age away, four widows left with another (Lady Rosamund) coming for visits. They have money to travel, at least Cora is young enough, except perhaps Lady Shackleton not far off in her cold cottage. Lady Anstruthers will not be welcome. But Thomas may stay on as butler at last.

Ellen

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LadySatdinner

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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.

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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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Greer Garson and Walter Pigeon as Mr and Mrs Miniver with their children in a locally dug-out air raid shelter with their children, Toby and Judy (Christopher Severn and Clare Sandars)

Dear friends and readers,

If you read my other blog, Austen Reveries, you know I’ve been working on a paper on the importance of screenplays to be given this March at the ASECS, part of my larger project on Austen films, and just enjoyment of, interest in screenplays.

This week I’ve been reading great and powerful screenplays, chosen mostly as a result of what’s in print and well-prepared in two sets of what ought to be famous collections (John Gassner and Dudley Nicols, 10 Best Film Plays, 1942, and Best Film Plays [10] of 1943-44; and George Garrett, Jane Gelfman, and O. B. Hardison Jr’s Film Scripts 1, 2, 3, 4 (1970s). This to help me demonstrate the centrality and great power of them when well-prepated, and how they are a new changeable experimental genre, worthy reading and study in their own right. When I read Dashiell Hammet’s Watch on the Rhine adapted from Lillian Hellman’s stage play of the same name, the experience was gripping, almost as good as watching it. When I read Graham Greene’s screenplay for The Third Man this week (once again), maybe it was better in some ways. To my surprise, and not meaning at all to have Downton Abbey in mind (though Fellowes has been smart enough to publish the screenplays of the first three seasons completely annotated, with omitted scenes, stills, the works), I discovered a real provable source for one of the striking episodes of the first season: The Flower Show. Here is a still from that in Mrs Miniver:

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Probably not one of the more remembered scenes of the movie, though it leads into the tragic climax

First let me suggest just a few of the characteristics of screenplays that put them apart from other genres that I’m working on: The writer writes with camera visualization in mind, and an awareness of there will be a world created by the hallucinatory screen from production and costume designs: screenplays presuppose encompassing specific worlds constructed so the viewer shall suspend disbelief, and within this assumed imagined environment the scripts present bits of dialogue, descriptions of movements of setting, suggestions for actors and silent moments, and camera angles as a quick succession of fluid and suggestive experiences with movement involved, freed of the time and space of a literal stage. In recent contemporary films what happens in this film is conveyed through a continual movement back and forth between past and present time, with lingering voice-overs that spill voiced thoughts across the interwoven obsessively remembered past and present time in quick change montages. Studying film adaptations alongside the scripts has taught me the films are made of dislocated series of images which can be moved about; Sarah Cardwell demonstrated these are not in the present tense, but tenseless or timeless (in her essay “About Time”). The relation of the words, the dialogue and voice-over, crucially tell the relationships in time between the images. They are concentrated, the feel is intimate because of the close-ups, split seconds of visualization brings us close-up and magnifies the experience. From this comes fan groups for cults of stars. If you know who played the parts and have not seen the movie, you try to visualize the actors and actors; if you don’t know who played the parts, or the screenplay was never filmed, you try to cast it with favored actors and actresses.

In the second Gassner and Nicols volume the screenplays are accompanied by stills from the films dropped it (like illustrations for 19th century novels) at the spots in the screenplay they visualized. That’s also done in the New Market paperback shooting script series, and in many publications of screenplays — often the better ones will have essays by the writer, or a journal of the filming, or particulars about production design, costumes, houses …. Mrs Miniver is in the first volume so I went onto the Net to find stills. I was not surprised to discover I could not find shots for the most traumatic and best scenes — that’s typical. What one finds are stills where the people look beautiful. It’s also hard to find stills of landscape, and the encompassing world which is so central to films. I did find this one of her compassionating the German soldier after he terrified, threatened and was ready to kill her but then sat to eat and wait, and collapsed:

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Helmut Dantine played the part of the German pilot forced down

First the 1940s screenplay is extraordinary. It is not by Joyce Anstruther (also a poet) whose columns in the 1930s were a precursor of The Egg and I, or Bridget Jones, the self-deprecating woman, here quietly ironic about much of her life, but herself the cynosure of competence and complacent assured middle class life (discussed extraordinarily well by Alison Light in Forever England). I can see from just reading the screenplay, how it could have the effect on its viewership it did. It subscribes to the most appealing myths of what England is. Paradoxically at the same time like so many movies of the 1930s and 40s the central characters are upper middle class and as a matter of course have servants (This is true of the characters in Watch on the Rhine, it is not true of the characters in screenplays starting in the 1960s, then we are no longer in firm middle class households, no servants anywhere, e.g, Darling a 1965 screenplay and movie, The Apartment, same era). Mrs Miniver opens in an expensive men’s club in Pall Mall; they are going about their business undisturbed as yet. She is the wife of such a man; we see her first jumping off a bus and rushing back to an expensive shop to treat herself to an unnecessary concoction of a hat. Yet as the story went on, and we go home with her, are introduced to her servants (whom she treats well but keeps in good order by her benign orderly ways herself) I believed in her and these children. Her grown son home from Oxford. The girl he meets and falls in love with — but lacks her upper middle class rank (Orwell would find all the careful nuancing par for the course).

Well emotions are worked up as this orderly life begins to fall apart, but everyone is stout together. I found myself coming close to tears, especially when the family was in the bomb shelter under their house, intensely engaged when the German soldier broke into Mrs Miniver’s house (of course she dealt with him, a bit of luck too, which Mrs Miniver ever has). One of its authors was William Wyler, and apparently some of the lines he wrote for the screenplay were used by Roosevelt in one of his speeches. The sense of the characters are turned far away from Anstruther then.

What startled me though is here is an important story in the first season of Downton Abbey. Remember that Flower Show and how the dowager at the very end gave the prize for roses to Mr Moseley’s father. It had been assigned her as always. The way you can tell if something is a source is if the source has something idiosyncratic which is repeated. In Mrs Miniver the movie the prize is again award to the great dragon lady turned women-with-heart-of-gold, Lady Beldon and similarly when up there Lady Beldon lies and gives the prize to the man who deserves it.

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Dame May Whitty as Lady Beldon

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Maggie Smith as the Dowager doing precisely the same generous act — we might ask why we should be so charmed after she has been taking the prize for years (Miss Obrien [Siobhan Finneran does ask]

It was then I asked myself if Mrs Miniver had a first name. Had Anstruthers and now these writers gone so far as to imitate earlier novels and not give us a first name for this lady. I hunted and found that at night when they talk (in separate twin beds of course) Mr Miniver who is referred to as Clem often calls her Kay.

Much is left out by Fellowes from the original: Mr Ballard (Henry Travers) who grew the beautiful rose wanted to name it Mrs Miniver and that had angered Lady Beldon as no rose should be named after a non-aristocrat. She had learned to accept that, and was about to about to accept seeing her granddaughter become engaged to Mrs Miniver’s son; Fellowes instead has Mr Moseley’s father accepting that he will always win second place though it breaks his heart. But Lady Beldon has always gotten it the way the Dowager had. The moment is much stronger in Mrs Miniver because of this secondary story of love and because the sirens have begun to wail loudly that the German bombers had been seen on their way.

Mrs Miniver is an important source text for a significant Downton Abbey the first season, and the attitude towards war in the second. In Mrs Miniver we see how class barriers break down and how everyone is valued together as they fight — so too in Downton Abbey season 2. (Sigh … .). Flower shows and the beauty and science in Kensington Gardens (its world-wide reputation alongside the Bronx Botanical Gardens) remain important symbols for middle class English-speaking people today. Another story in the first season, about Carson’s past was modelled on a story about Hudson’s past from the 1970s Upstairs/Downstairs. But using Mrs Miniver exposes how Downton Abbey repeats all the myths of this movie — other images in the movie reappear in Downton Abbey.

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All applaud the Dowager for her tremendous act

Let me bring up another unlikely or unexpected collocation: Dora Bruder, the autobiographical meditation by Patrick Modiano who won the Nobel this year. One theme of his book is how Dora Bruder, this young girl was just thrown away, powerless flotsam and jetsam when things got at all rough — or when the establishment decreed. Well in Mrs Miniver at said Flower Show we see a group of working class children from London who have been parceled out to people like Mrs Miniver. Of course not quite living in the great houses, or put in an attic, but that is not mentioned. We are to look quite sentimentally at them and think what an opportunity to get into the country. When the reality is these children in this movie are Dora Bruders. Who cares what happens to them as individuals, who considers it? how they got back home? if they got back home? why these were sent?

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I did come across two other more general sources for Cora, Lady Grantham: I’m following a Future Learn course on British imperialism (on which much more in another blog) and came across the name of Mary Leiter, Lady Curzon, the first American wife of a Viceroy of India during the Raj, and aspects of her life reminded me of Cora, Lady Grantham. I like reading memoirs, someone recommended to me Consuelo Vanderbilt Balsan (1877-1964), who wrote a readable autobiography, The Glitter and the Gold.

(c) BRIDGEMAN; Supplied by The Public Catalogue Foundation
Mary Leiter, Lady Curzon in her famous super-expensive peacock feather dress — her expression reminds me of royal people in Goya’s paintings

Mary’s book is a slender volume of letters selected out of volumes and volumes by John Bradley. Once Mary Leiter marries and becomes the viceroy’s wife her life is endless showing of herself for spectacle, and having babies and caring for them. She becomes less open too, much less. The glimpses of a worthwhile person become rare. She begins to sound like Jane Austen’s cousin, Eliza de Feuillide when she poses, and registers no sense at all of what she (as a symbol and to keep up in this life style) is costing everyone else. Mary Leiter died of disease, sick and ailing by her early 30s, probably childbirth at the age of 36-37. Her mother-in-law died young too, similarly.

A biography by Nigel Nicolson tell you that Mary Leiter had been the daughter of a man who was a partner in one of these huge luxury-serving department stores that opened in the 1880s in NYC, London, Chicago — a Mr Selfridge (!), and Nicolson’s book opens with the portrait of such a store. These are a dying breed; now we get these cavernous warehouses of mostly junk. There are still a couple of them around: Lord and Taylor’s on 37th and 5th was still practicing making the person shopping feel as if he or she were a rich guest and all the objects important art, the experience somehow home-y, comfortable — complete with coffee for free at 9:30 (this was only 3 years ago). Anyway all her life she lived in a privileged environment, a glass box — only her real body she could not escape nor diseases. She was thought Jewish or half-Jewish because some names in the family “seemed Jewish.” In fact they were Memnonites. So she fits Cora, Lady Grantham — a link between one costume drama and another.

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Consuelo and Jacques Balsan, her “commoner” husband

CVB reminds me of the Mitford sisters; she has that strong sense of what she deserves, who she is, and while she was wholly tyrannized over as a child (she was even whipped), and when a young adult could be coerced into making bad important decisions (like marrying the super-rich Duke of Marlborough), give her time and she gets out of it — and married a nobody Frenchman who she lived happily with in France until WW2 when they escaped to the US. Lady Carnavon, the turn of the century owner of Highclere Castle who wandered about the world as an anthropologist of sorts, was a strong independent individualist iconclastic too — none of them stayed home to obey any gongs for dinner ….

Long ago at the close of Caleb Williams William Godwin had his imprisoned driven-insane servant hero, ask why are these people numinous (he had actually told the truth about his employer killing a man), why is are they so much more valued than others. The interest of Modiano’s book is how hard he tries to discover her life and what happened to her, and that he does find a trail. It’s much more than a detective story.

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Here is one of Joyce Anstruther’s poems — about whom I’ll write one of my foremother poet blogs next week, the first I’ve done in a couple of years:

Dedication to an Unknown Reader, from The Glass-Blower (1940)

Like rays shed
    By a spent star
The words of a dead
    Poet are,
That through bleak space
    Unchecked fly on,
Though heart, hand, face
    To dust are gone;
And you who read
    Shall only guess
What thorn-sharp need,
    What loneliness,
What love, lust, dream,
    Shudder or sigh
Lit the long beam
    That meets your eye:
Nor guess you never
    So well, so true,
Shall comfort ever
    Reach from you
To me, an old
    Black shrivelled sphere,
Who has been cold
    This million year.

She was nowhere as uncomplicatedly competent and cheerful as she made her Mrs Miniver to be. See my preliminary foremother poet blog: Joyce Anstruther.

Ellen

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Violet, Lady Grantham (Maggie Smith) explaining to Lady Mary (Michelle Dockery why the prospect of Isobel Crawley’s (Penelope Wilton) marriage to Lord Merton (Douglas Reith) hurts so

Mary: Granny, I know why you’re finding this difficult.
Dowager: Do you?
Mary: Yes, but you mustn’t give in to it.
Dowager: What? Give in to what?
Mary: Isobel has always been your protege. She looks up to you and you have kept her from harm in return.
Dowager: Have I?
Mary: Yes. So of course it’s difficult that she is to take her place ~ among the leaders of the county.
… you simply have to be bigger than that.
Dowager: Is that what you think of me? That I care about her change of rank?
Mary: Well, you’re not exactly pleased, are you?
Dowager: No. But that is not the reason … If you must know … I have got used to having a companion.
A friend. You know, someone to talk things over with … You have your own lives … Isobel and I had a lot in common. I shall miss her.
Mary: Granny, you’re quite dewy-eyed ….
Dowager: You’ve made me regret my confidence… And for your information I don’t think Isobel has EVER looked up to me.

Dear friends and readers,

Soap operas when they do their work right root their suggestive believable characters into the daily memories and feelings of their viewers. That Fellowes has achieved this may be seen in his continuing audience for a group of stories that he lacks any new material for; one never needed new material for As the World Turns. This week I found my face was wet, the tears had overflowed beyond my eyes over fleeting scenes of decently felt emotion most of us struggle against or want to feel. Some were less tenuously set-up than others. The finest and slowest-fully built up to is above: the Dowager explains to the obtuse Lady Mary that she will miss her friend.

Robert Lord Grantham’s (Hugh Bonneville) close relationship with his dog, Isis, has been before us from the opening credits (much mocked) where we see the dog from the back, presumably walking alongside Robert back to Downton, to the incident where Thomas (Rob James-Collier) ruthlessly locked the dog out in the wet cold wild so he could gain Lord Grantham’s trust by rescuing her, to her just being there, with him. Even that quiet boss-lady, Cora, Lady Grantham, oblivious as she was to the twisting of Lady Edith (Laura Carmichael), her second daughter’s character and pregnancy, and much else seemed to notice the dog’s decline, and opened her bed so the suffering creature need not be alone and feel unloved in her last hours:

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Daisy continues to gain in skills and self-respect from the time we first saw her when the series began and she was making the fires in the house, filthying herself in the cold. She’s now reading Vanity Fair under the tutelage of that thwarted teacher, Mr Moseley (Kevin Doyle). While I wish we didn’t each time have to re-assert the justification for learning for Daisy, and this time it was to enable Fellowes to take potshots at the labor gov’t, I enjoyed the visit to Mr Mason (Paul Copley) engineered by Mrs Patmore (Lesley Nichol) so as to keep Daisy’s spirits up. At his dinner table no one insults anyone. He wouldn’t allow it — all is generosity and decent social thought:

Miss Baxter: Are we all finished? How lovely, Daisy, to have such a beautiful place to come to.
Mr Mason: She’s always welcome is Daisy.
Daisy: I’ve not been here enough lately.
Mr Mason: You’ve been busy I know. With your books. That takes up time.
Daisy: I think I’ll stop it now. So I’ll be able to visit more.
Mr Moseley: Do you think she’s right to give up her studies, Mr Mason?
Mr Mason: I do NOT.
Daisy: Don’t you want to see more of me?
Mr Mason: You know I do. But education is power.

Miss Baxter (Raquel Cassidy) had been startled to find herself invited, and once there, perked up, looked like she had some self-respect, enjoyed herself guiltlessly, and held Mr Moseley’s hand as they comfortably came home after a comfortable meal.

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Things were quite otherwise in the dinner scene closely juxtaposed next. I felt for Isobel as those wretched sons of Merton made themselves obnoxious again (to Edith too).

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I loved Tom Branson for getting up and calling one of them a “bastard.” They did throw a stink bomb at any coming happiness in marriage with them in the Merton house. I don’t know why anyone eats dinner at that place: it is a landmine.

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Of course dinner tables have ever been places where you dramatize social agons, it’s inherently theatrical.

The ball of agon has not left the Bates’s residence either. I did love the scene of Anna (Joanne Froggart) and Mr Bates drinking tea so comfortably at home together.

Episode7

Here I just wish Fellowes didn’t think it necessary for me to suspect one of the pair is a murderer. I have realized (from reading one of the Downton Abbey facebook fan pages where they regularly take the most small-minded positions, siding with the worst people) that we are supposed suddenly to suspect Anna. This is surely out of character. What would she feel in a prison? horrified. so humiliated and mortified and filled with inculcated self-hatred she’d wither up with shame.

Alas I’ve covered the fine moments and have now to turn to the absurdities and offensive omissions. I omit the condescension enacted towards the Duchess’s adult servants, Spratt (Jeremy Swift) and Miss Denker (Sue Johnston) as children squabbling. To this is Fellowes driven for material you see. Mrs Drewe gets to have her say to Cora, Lady Grantham, but we are not allowed to see or hear her, and doubt we’ll ever be permitted to develop some sympathetic imaginings for the Drewes at home now.

Implications: When told by Robert that Isis has “cancer,” and Cora replied: “Poor old thing … Oh, how I hate that word,” she for a moment redeemed herself, but like Anibundel whose recap is again worth reading, I cannot grasp how Fellowes expects us to take seriously her indignation at her mother- and sister-in-law, Lady Rosamund Painswick (Samantha Bond) at having not told her what she should not have needed telling to know. She will never forgive them, never trust them for not having informed her her daughter had a baby while away on a suddenly “mysterious” 10 month trip to Switzerland:

corabigbosslady

Yet worse there was Edith, since Episode 6 closed, set up at last, running a business she owns (left her by Mr Grigson), a job to do, writing she does well, a place to live, a nanny on the spot, with money to pay her:

edithatwork

And what does she do? return to the Abbey where she hides from Mary and her maid at the station giving up her baby once again to the conveniently there Mr Drewe (Andrew Scarborough)

DependentEdith

in the library again overridden by Mary (coolly despising Edith’s generous impulses to take “an orphan child”), look like some rabbit or deer staring at headlights lest daddy say no to adopting this strange child until mummy declares it is right. The family obtuseness passes to Edith’s father. There’s more than a hint that Tom (Allen Leech) suspects (he asks her more than once to be open with him about her troubles over many episodes). Mary of course couldn’t be bothered to figure anything out about anyone, least of all Edith. Psychologically for Edith it does fit: she is the bullied, over-sheltered, super-ego driven ugly daughter. I hope she never marries, because surely she’ll end up abused — and we saw in the fourth season that Grigson saw this and refrained.

Is there any more to add? I fear Fellowes enjoys inflicting pain on Edith because he likes Mary’s meanness, identifies, triumphs with it. So more obnoxiousness from Lady Mary supported by the complacent Charles Blake (what ever happened Julian Overdeen as the man who worried about the average person’s housing in Britain): if it was so little trouble for Mary to get rid of Gillingham (Tom Cullen) by a kiss in public of Overdeen, why did we have that scene in the park? Fellowes gives away how he manipulates shallowly to milk scenes.

Lady Rose’s (Lily James) continuing charitable impulses and her hurt and fear she will lose her suitor, the good-natured bright Atticus Aldridge (Matt Barber), are a decent note and rightly rewarded by Lady Sinderby’s (Penny Downe) generous liking of her despite her being a non-Jew; Lady Sinderby and her husband showed real awareness of the prejudice against them, he that he needs to fight to maintain respected space to thrive in, and thus is not eager for a daughter-in-law who will not be Jewish (conversion never mentioned), but their son’s total lack of any consciousness of what it was to be a Jew in England in the 1920s brings us back to the incredible. Someone on a Jewish news on-line page suggested he is modeled on Prince William (Charles’s son); so when he kneels to this princess, far from an intermarriage, we have a simulacrum of revered English royalty:

acceptingprposal

(Jim was one of those who wanted to see their huge fortunes taken from them, lamented when again the Queen was no longer to pay taxes.)

I suggest Fellowes is moving time so slowly because he does not want to reach the 1930s. He frequently gives Violet quips which are designed to obscure hard truths, this time it was “My dear, men have no rights.” In the real world of 1924 or so the men were in charge, servants were beginning to flee these places for work for money and freedom. There was a general strike in 1926.

But allow me to end on another of the good moments: Tom leaning over a bridge in the green landscape of the Abbey (one of its attractions for him, one he is at work on as steward in his fine office daily), with his daughter, trying to get her used to the idea they will perhaps leave for another country where he will fit in, be able to maintain his identity (and hers) better:

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Now if we could just get a message to Miss Bunting (the show is a continual fantasizing so why not?) to meet him at the New York docks.

Ellen

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winstongrahamgarrick
Winston Graham and Garrick, still a puppy, at Perranporth Beach

A Syllabus

For a Study Group at the Oscher LifeLong Learning Institute at American University
Day: Ten Monday afternoons, 1 to 2:50 pm, Temple Baptist Church
Dates: Classes start Mar 2nd; last day May 4th.
Dr Ellen Moody

Description of Course

In this course we’ll read Winston Graham’s first three Poldark novels: Ross Poldark, Demelza, Jeremy Poldark. These plus a fourth, Warleggan, were the novels adapted for the first season of televised Poldark (1974-75), and the matter for the coming Poldark mini-series (to be televised in the UK starting March 2015 and on American PBS channels starting in June 2015). They represent the first phase of a 12 novel roman fleuve, a regional romance continuing story, deeply researched and imaginatively realized historical novels moving from the time of the American and then French revolution and reform and politically radical movements in England to just after the end of the Napoleonic era, including the realities of county politics, mining, banking, smuggling (known locally as free trade) and farming in Cornwall. Written 1945-52, the first four mirror issues of the post World-War II world, are proto-feminist, with a deeply appealing group of characters from all classes in a realistic and romantic suspenseful stories. We will read four short essays on historical culture, Cornwall, and sex and politics in the novels, and see two episodes of the 1975-77 mini-series. It is suggested that students read one of Graham’s mysteries before the class begins. I choose The Forgotten Story [alternative title: The Wreck of the Grey Cat] since it is also set in Cornwall (1898), was written around the time of Ross Poldark, and filmed as a BBC mini-series (1983). Graham won many awards (he’s OBE) and praise from the literary establishment for his mysteries, several of which were filmed by Hitchcock (e.g., Marnie); many of his novels were US Book-of-the-Month Club selections.

Required Texts. Students are asked to bring a copy of the novel and/or essays we are discussing for the week to class. An online copy, a pdf and 2 Xeroxes of the (short) essays are provided; any edition of the books will do.

Graham, Winston. Ross Poldark: A Novel of Cornwall, 1783-87. Illinois: Sourcebook, 2009.
—————. Demelza: A Novel of Cornwall, 1788-90. Illinois: Sourcebook, 2010.
—————. Jeremy Poldark: A Novel of Cornwall, 1790-91. London Panmacmillan, 2008
Moody, Nickianne. “Poldark Country and National Culture,” from Cornwall: The Cultural construction of a Place (a xerox will be provided);
Moody, Ellen. “‘I have the right to choose my own life:’ Liberty in the Poldark Novels,” on-line my website.
Taddeo, Julie. “Rape in the Poldark Narrative,” from Upstairs and Downstairs (a xerox will be provided).
Moseley, Rachel. “‘It’s a Wild Country. Wild … Passionate … Strange': Poldark and the Place-Image of Cornwall,” From Visual Culture in Britain (a xerox will be provided).

PoldarkCountry
Click on map to make larger: the imagined map of Poldark country is placed on top of the real Cornwall

Format: Study group meetings will be a mix of informal lecture and group discussion.

March 2nd: Introduction: Winston Graham, life, career, as a mystery writer, e.g., The Forgotten Story
March 9th: Historical Novels; Ross Poldark: pp 1-115 or Prologue, and Book 1, Chs 1-10
March 16th: Ross Poldark, pp. 116-225 or Book 1, Chs 11-18, and Book 2, Chs 1-7
March 23rd: Ross Poldark, pp 226-314, Book 2, Chs 8, Book 3, Chs 1-11
March 30th: Demelza, Book 1, Chs 1-15; Nickianne Moody’s essay
April 6th: Demelza, Book 2, Chs 1-14; Ellen Moody’s essay
April 13th: Demelza, Book 3, Chs 1-11; an episode from the mini-series.
April 20th: Demelza, Book 4, Chs 1-11; Rachel Moseley’s essay
April 27th: Jeremy Poldark; Book 1, Chs 1-14
May 4th: Jeremy Poldark; Book 2, Chs 1-14; Julie Taddeo’s essay
May 11th: The climax & backstory in Warleggan; another episode from the 1970s mini-series

Suggested reading and Viewing

Graham, Winston. The Forgotten Story. Oxford: Bodley Head, 1964.
—————. Poldark’s Cornwall. Oxford: Bodley Head, 1983.
—————. Warleggan: A Novel of Cornwall, 1792-93. London: Panmacmillan, 2008.
—————. Memoirs of a Private Man. London: Panmacmillan, 2003
Poldark. Two 29 part mini-series, 1975-76, 1977-78. Various directors and writers, produced by Morris Barry and others. Featuring Robin Ellis and Angharad Rees, Jill Townsend, Ralph Bates, Paul Curran, Norma Steader, Richard Morahan

Further on-line materials:

Authorized updated website on Graham, his life, novels, films.
The Poldark novels, and other fiction, non-fiction and films.
Winston Graham: lists of books, essays and other websites.

GodolphinHouseTrenwith
Godolphin House, Cornwall (used as Trenwith, the Poldark family home in 1975-76 BBC Poldark mini-series)

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

Lasttwostills
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”)

MrsDrewe

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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.

demanding (1)

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:

recconciliation

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… ‘

demanding (2)

***************************

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 … ‘

MissBaxter
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.’

Prince (2)

Prince (1)

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:

MrCMrsH (1)

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?’

MrCMrsH (2)

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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