Upstairs Downstairs 2.2: "The Love that Pays the Price"

Upstairs Downstairs continued its second-season run on Masterpiece Classic with another thoroughly enjoyable episode this past Sunday. The premiere was a fantastic introduction to just how the threat of war is impacting the residents of 165 Eaton Place, both upstairs and down -- and that pressure, combined with the everyday tensions that come from any gathering of colorful, passionate characters under one roof, threatens to fracture the Holland household beyond repair. Here's the episode summary from the PBS website:

The full, formal settings come out as an array of luminaries arrive for a grand evening at 165 Eaton Place. Amidst the jocular conversation, Sir Hallam Holland receives an unexpected and serious offer – one that could significantly alter life for everyone at Eaton Place.

Mrs. Thackeray, the cook, has reconnected with family, opening up the prospect for a different life. And the tug of familial bonds is felt upstairs as well when Sir Hallam and Lady Agnes receive an alarming 2 AM call from Lady Persie, who in the middle of the fiery chaos of Germany, is frantic to come home.

With the pact between England and Germany broken, Sir Hallam discerns that England is on the edge of the abyss. And as darkness encroaches, those upstairs and down unite to intervene, offering hope in fragile times.

Ed Stoppard (Zen), Keeley Hawes, Claire Foy (Little Dorrit) and Anne Reid (Bleak House) star in episode two of Upstairs Downstairs, Season 2.

A major aspect of this episode involves the growth of seeds of tension and discord in the Holland marriage, tensions reflected both upstairs and down, a mirror of the unease bubbling beneath the surface of European politics since the signing of the Munich Pact. The episode opens with Lady Agnes's (Keeley Hawes) tragic discovery that she will not be able to bear further children, thanks to the difficult birth of her second that ended in a Cesarean. To distract herself from this blow (I suspect she's suffering from undiagnosed depression at this juncture), she throws herself into planning an elaborate dinner party hosting Ambassador Kennedy, his wife Rose and son Jack, and a business acquaintance of theirs -- millionaire Casper Landry.

Hallam (Ed Stoppard) meanwhile continues to be deeply troubled by the ramifications of the Munich Pact and his inherent distrust of Hitler and his policies. He's also keeping a secret from Agnes -- the secret that during his time in Munich, his attempts to convince her sister Persie to return to London ended in a kiss, a kiss that he didn't ask for but didn't exactly recoil from, either. Persie (Claire Foy) remains adamant that she plans to remain in Berlin -- but as is her norm a dangerous discontent bubbles beneath the surface of her intentionally carefree demeanor. Her insistence on bringing up their kiss in conversations with Hallam hints that her relocation to Berlin has only served to entrench her less-admirable qualities even more deeply into her persona -- if she has no qualms about sowing discord where she can, even if it involves her only sister's husband.

Meanwhile downstairs, Mrs. Thackeray (Anne Reid) is thrilled that her nephew Tommy (Tom Bennett) has accepted a new position in London, giving her easy access to visit him and his wife Enid (Niamh McGrady) and son Cyril (Joseph Howse). Mrs. Thackeray can be proud, and a little silly at times, but she feels very deeply about family and position and it is glaringly apparent that she loves the chance to spend time with members of her extended family. When she uses Eaton Place kitchen supplies to make some violet macaroons for Tommy, she runs afoul of Mr. Pritchard (Adrian Scarborough), who is nothing if not a stickler for the rules. There's always been some tension between Pritchard and Mrs. Thackeray -- as the butler he is the defacto ruler of the staff, but as queen of the kitchen Mrs. Thackeray is loathe to cede authority in anything involving food.

Events at 165 Eaton Place reach a crisis the night of the formal dinner for the Kennedys. Knowing Hallam's politics, the idea that he's going to find anything appealing about Ambassador Kennedy's (William Hope) pro-appeasement, pro-Germany policies is a long-shot, if not an outright joke. With war apparently avoided, Kennedy offers Hallam a position in America as his family's foreign affairs advisor. One wonders if Hallam felt a little outnumbered, between the presence of Kennedy and a desire to breach the rift that his anti-German views have caused with his long-time friend the Duke of Kent (Blake Ritson). Or perhaps he's running from Persie, willing to consider America for a chance to start fresh with his family? I don't know why I was so surprised by the appearance of the Kennedys, nevermind the stretch of reconciling Hallam's policies with Joe Kennedy's -- no way was Heidi Thomas going to pass up the chance to have the Kennedys grace the halls of Eaton Place.

Businessman Casper Landry (Michael Landes) was a welcome appearance, even if he is determined to hit on Agnes, simply because I think Landes is ADORABLE. Landry is a charismatic Jewish businessman who made his millions by selling a successful "hangover cure" tablet. Landes made (for me anyways!) an unforgettable appearance in the Marple episode, What Mrs. McGillicuddy Saw, which I rewatch ad nauseum in large part because of his presence. His looks are SO well suited to films set in the '40s and '50s. Very all-American. :)

When Pritchard and Johnny (Nico Mirallegro) overhear Kennedy's job offer, it creates no little stir belowstairs. But nothing compares to the discovery that Jack Kennedy (Robbie Jarvis), sick on oysters, has made his way to the KITCHEN (oh the horrors!). Here I just have to note that while Jarvis had a decent accent, he has to be the least looking Kennedy-esque actor I've ever seen. ANYWAYS...Mrs. Thackeray takes a very motherly interest in his well-being, even calling him DEAR -- and while Jack doesn't object, Pritchard hits the roof as that familiarity crosses all sorts of class boundaries. Fed up with Pritchard's rules (and still not letting go of the whole conscientious objector thing revealed in the premiere), Mrs. Thackeray quits on the spot and takes off for her nephew's house. (This has awkward mother-in-law-type moment written ALL over it, no?)

Completely oblivious to the turmoil in the kitchen, the Hollands and their guests decide to visit a Soho jazz club. There was something almost intoxicating about the rarefied atmosphere in the club...such wealth, such privilege, such heady dissipation. The whole scene was really beautifully staged -- I do so love this show's attention to period detail.The more Hallam drinks, the more he seems amenable to the idea of moving to America -- and as Caspar flirts endlessly with Agnes, it's clear she finds the possibility of the move and its accompanying prestige intoxicating.

As Hallam and Agnes head home, they share a really lovely moment, even if it is underscored with a desperation born of some inherent knowledge that they are at a pivot point -- and all their future happiness depends on which fork in the road they take. (Of course I'm yelling "run from Persie, but not all the way to America, Hallam you idiot!") When this couple works it's a beautiful thing, and the simple romance of a midnight stroll, taking in the stars while laying on a playground spinning wheel (what the heck are those things called? and more importantly, how sad is it that I can't remember? :P).

Their romantic moment is ruined, however, by a late-night phone call from Persie, begging for help. It is Kristallnacht, Night of Broken Glass, and she is caught in the middle of the terrifying violence that is seeing Jewish businesses, homes, and synogogues destroyed, with thousands of German Jews arrested. I'd like to think that the senseless violence would make Persie realize who and what she's aligned herself with by her reckless embrace of Nazi socialism, but I fear she's too far gone for even the possibility of redemption. News of the violence abruptly awakens Hallam from the fantasy of leaving London -- he's determined to bring Persie to safety and prepare for the coming conflict -- Kristallnacht is irrefutable evidence that Germany is far from dedicated to the promise of peace.

For those paying attention to the pulse of world events, Kristallnacht is a terrifying signal that time is running out for Germany's Jewish population, as Mr. Amanjit (Art Malik) discovers when he's sent to Lotte's (Alexia James) boarding school. Lotte, if you remember, was the daughter of Rachel, who fled persecution in Germany and took a position as maid in the Holland household. Following her tragic death, Hallam made Lotte his ward, determined to provide for her future. Given the poignant friendship that developed between Rachel and Mr. Amanjit, I loved the fact that he wanted to visit Lotte's school for a report on her progress. As a Sikh, he more than anyone can empathize with being an "other" in society -- as he tells the headmistress, no matter how much Lotte wants to shed her German roots, she will always be a Jewess, of another race, and events in Germany are stark reminders that some are never willing to forget the difference.

It turns out that Mrs. Fuller (Lucy Cohu), the headmistress of Lotte's school, knowing Hallam's compassion for Lotte's situation hopes to use his connections to allow her to help foster more Jewish children, whose lives are in increasing peril since Kristallnacht. I was thrilled to see Cohu make an appearance in this show as I think she is such a classy actress, and her looks and demeanor are perfect for a '40s-era period piece. Cohu was just seen on Masterpiece Mystery in the Inspector Lewis episode Fearful Symmetry. Mr. Amanjit takes this idea and runs with it, which is fortuitous since after last week I was wondering what he was still doing on this show. :P

So now that this episode has given Mr. Amanjit fresh purpose, he passes the favor on to Hallam's Aunt Blanche (Alex Kingston), who thus far has served little purpose other than appropriating the rooms formerly occupied by her half-sister Maud. Mr. Amanjit recognizes Blanche's academic background and rather brusque, no-nonsense manner as just the sort of personality traits needed to help organize local efforts to get Jewish children to safety. The reality of what those children faced, and the seemingly insurmountable obstacles of funds, support, and organizational logistics that those who wanted to do something were tasked with overcoming is just heart-breaking to watch play out on-screen. Even Hallam, an outspoken advocate for anti-German policies, struggles to find the hope, the belief that England's strict immigration policies can be changed in time to make a difference.

But persevere they must and do, organizing the Refugee Children Movement -- also referred to as the Kindertransport -- which ended up saving thousands of Jewish children from the Nazi menace. Buoyed by a hefty donation from Casper Landry (thanks to a coy appeal from Agnes -- seriously what is WITH Casper's obsession with the rumba? LOL), the first wave of refugees are scheduled to arrive. They're met at the station by Mr. Amanjit and Blanche, and over the strains of a children's choir singing "I Vow to Thee, My Country" -- and at this point I nearly lose it. The thought of what those children endured, the loss of family, history, a "normal" childhood -- it just breaks my heart. And then to think of those family members they'd left behind...it makes me want to weep. This was an incredibly moving sequence, and I loved seeing the characters get involved in this effort.

Back-tracking a bit, I'd like to touch on Mrs. Thackeray and the hole her absence leaves in the lives of the Eaton Place downstairs staff. Mrs. Thackeray throws herself whole-heartedly into preparing gourmet meals for her nephew and his family, putting everything "on account" -- which causes no end of stress for her nephew's working wife. I thought the tension here was a really poignant illustration of the cost of a life in service -- Mrs. Thackeray clearly values family, but her time serving the wealthy has impeded her ability to relate to a working family's lifestyle and financial limitations. In many respects one could argue that the price of a life in service was the sacrifice of a normal family life with those they serve becoming a surrogate family.

Pritchard and Johnny have found themselves on kitchen duty in Mrs. Thackeray's absence, which leads to Johnny making a very telling comment to the effect that "everyone is out of their proper place." Of course he's referring to the staffing situation, but it hints at the social upheaval to come with the war's impact on social classes and the roles of women in the workforce. Much like Downton Abbey during the war, this is another rarefied world on the cusp of great change. Happily for Pritchard's stress levels (and the stomachs of everyone in the household), he devises a sensitive way of wooing Mrs. Thackeray back to the Holland kitchens. Placing an advertisement in the paper, he has it delivered by Spargo -- and realizing that continuing to live with her nephew is straining good relations with what remains of her small family, Mrs. Thackeray packs up and returns to work. And both she and Pritchard hold fast to their dignity, with a gentle nod to the new spirit of peaceful agreement between them.

Speaking of Harry Spargo (Neil Jackson), there was not NEARLY enough of him and Beryl (Laura Haddock) in this episode to suit me. I did think the scene early in the episode, when Beryl was shucking oysters and feeds one to Harry was ADORABLE. But poor Harry, when he jokes about how she needs to be careful feeding him aphrodisiacs gets a thorough smackdown when Beryl takes exception to his playful remark. I really don't think he meant anything *too* untoward -- you just have to look at Spargo's face in any of his scenes -- since he kicked his obsession with socialism to the curb there is a wonderful lightness to his expression and demeanor that I just love. Because let's face it, he is ADORABLE (and if Downton proves anything, I apparently have a thing for chauffeurs in period dramas!).

Source: ladygranthams.tumblr.com via Ruth on Pinterest

Considering Harry's romantic history with Persie, it was interesting to note the tone of their first meeting in two years, when Hallam takes the car to the airstrip to pick Persie up from her Berlin flight. (Before I forget, I should note it was interesting to see Persie acknowledge that she's been living as a "kept woman," subject to the whims of her lovers, in her last phone call with Hallam prior to getting her out of Germany. I mean what BROUGHT her to the point where she felt this was some way to live? It isn't as if she was wholly without resources or family connections. Silly twit.) Anyways, Persie gets off the plane and is she grateful? NOOOOO. She also makes a rather pointed remark to Spargo about "old times," but thankfully he's moved WAY past her...Hallam with his "white knight" complex, is I am afraid another story.

I really enjoyed this episode, particularly the Mrs. Thackeray storyline as I found it unexpectedly poignant (Anne Reid really reminds me of my maternal grandmother in certain respects), and the accord she reaches with Mr. Pritchard very well done. More than that, though, I continue to adore how Heidi Thomas weaves the political history of the time period throughout the characters' lives. The "living history" aspect of this series is one of its strongest assets. This episode did a fantastic job of establishing more of the characters -- particularly Mrs. Thackeray, but also Blanche and Mr. Amanjit. (I'm starting to feel rather bad for the new kitchen maid Eunice, played by Ami Metcalf, as so far she's been given very little to do other than look quizzical.) Looking forward to seeing the turmoil Persie's return brings to 165 Eaton Place -- and please, for the love, give a girl more scenes with Harry! *wink*

Gratuitous Harry picture, because this episode needed MORE HARRY:

Source: spoilertv.co.uk via Ruth on Pinterest

Isn't that better? I think so. :)

Upstairs Downstairs, Part Three: "The Cuckoo"

Upstairs Downstairs concluded its all-too-short three hour run on Masterpiece Classic last night with an emotionally charged episode that saw the residents of 165 Eaton Place, both upstairs and down, experience a day of "unimaginable things." Relationships are restored, secrets are laid bare, and decisions are made that will leave an indelible impact on the lives of the Holland family and their servants. Here's the detailed summary of episode three from the PBS website:

A chance encounter with greatness goes to Mrs. Thackeray's head, and in turn annoys Rose, who, fed up with her pretensions, unleashes an insult so great that it sparks a feud. Yet despite the embattled cook and housekeeper, the downstairs staff is united in their love and nurturing of the child Lotte, who appears to need more help than they can provide. With even more than her customary authority, Maud steps up to take charge, whisking the child away for treatment even as she guards a secret of her own.

Preoccupied with the abdication crisis, Hallam attempts to buy some time from the press by hosting a special dinner for the Duke of Kent, placing 165 Eaton Street in the center of the monarchy's storm. Now preoccupied, Agnes has abdicated her responsibility of Persie, who has snapped the long leash her sister provided, and begun engaging in behavior that threatens to taint them all. Only Lotte's absence galvanizes Hallam to bring light into his home, purging it of dishonor and dark secrets that have been hidden for too long. But just as the king charts his fate, a momentous event will change the Holland family forever.

Where part two had a distinctly political feel to it and a sharp upper-class focus, this week brings the entire downstairs staff back into the picture. The episode opens with the news that famed portrait photographer Cecil Beaton (Christopher Harper) is scheduled to come to Eaton Place to photograph Agnes (Keeley Hawes) and Persie (Claire Foy). Beaton's visit integrated a fascinating piece of real-life history into the show. Thanks to his fashion and society portraits, Beaton was quite the stylemaker, with a gift that could make a "lady look like a porcelain goddess, and a servant look like a queen" (as host Laura Linney shared in her episode introduction). It is no surprise that the high-society loving cook Mrs. Thackeray (Anne Reid) is a big fan of Beaton's portraits, and simply can't resist the urge to sneak a peek at his elaborate sets. Thackeray's wildest dreams come true when she meets the famous photographer, who in a flash of inspiration and kind indulgence fulfills all of her wildest dreams by snapping her portrait. I don't know what it was about this scene, but Reid's thrill at meeting Beaton really reminded me of my grandmother (mom's side). She loved talking about the class and glamour of the 1930s, and while Mrs. Thackeray's brush with fame was played for laughs, there was something undeniably poignant about her genuine pleasure meeting a connoisseur of beauty like Beaton and not being found wanting.

Mrs. Thackeray's pride in her brush with fame balloons to epic proportions when she receives a copy of Beaton's portrait in the mail, eager to display it on the mantel in the servants' common area. Rose (Jean Marsh), insists such a display isn't appropriate, and confiscates the portrait, leading Mrs. Thackeray to insult Rose's love of tradition and memory of her service with the Bellamy family. The balance of power, even among the servants, is a delicate one to maintain. And the conflict between Thackeray and Rose brings added to tension to an environment already strained by Hallam's young ward.

The orphaned Lotte Perlmutter (Alexia James) is a source of stress both upstairs and down - a heavy burden for a young child to bear. Since her mother's death the child has continued to refuse to speak, much to housemaid Ivy's (Ellie Kendrick) chagrin - she's taken a deeply personal interest in the girl thanks to her friendship with Lotte's mother Rachel (Helen Bradbury). Sir Hallam (Ed Stoppard) remains determined to provide for the child, though it becomes clear that, at least in part, his compassion for Lotte stems from memories of his beloved younger sister Pamela, who passed away when he was a child. It's interesting, and a very telling moment, when Hallam's mother Maud (Eileen Atkins) steps in and takes charge of Lotte's future, recognizing that the child's severe psychological trauma needs professional help, more help than the well-intentioned residents of Eaton Place can provide. The voiceover, when Amanjit composes a letter detailing what little is known of Lotte's family and her past as they prepare for her depature just broke my heart. How many children lose their history because they aren't fortunate enough to fall in with people who care enough to document their story?

The political realities of the time also distract Hallam from the turmoil brewing in his home. The recently crowned Edward VIII is on the verge of abdicating so he can marry the controversial Wallis Simpson, and Hallam is called on by Edward's younger brother Prince George, the Duke of Kent (Blake Ritson) to host an intimate dinner with the goal of convincing a newspaper magnate, who also happens to be a close confidante of Wallis, to keep news of the impending controversial action out of the press a little while longer. I thought it was a brilliant move to make Hallam the close friend and confidant of a member of the royal family - one who, even in the recent film The King's Speech, was out of the limelight enough that any interactions with Hallam are made more plausible by the factor of the relative unknown. It was terrific seeing Ritson back in a Masterpiece production - he's appeared in the most recent (and utterly forgettable) Mansfield Park, as Mr. Elton in Emma, and the superb Holocaust drama God on Trial.

So, now that I've briefly introduced the dramatic threads of this episode, I have to touch on my absolute favorite storyline - chauffer Harry (Neil Jackson) renouncing socialism and getting fed up with Persie's little games. I AM SO PROUD OF YOU, HARRY! :) Yay for reformed fictional would-be socialists! The violent aftermath of the protest in part two, coupled with Rachel's sudden death, seems to have stripped the scales from his eyes and left him genuinely sickened by his involvment in the movement. There's this adorable scene where a still-silent Lotte is hanging out with him in the garage, wearing his chauffer's hat, and it seems to hint at a kindness and patience with the child that I really wish we could've seen more of. Poor Harry...I think he really cared about Persie to some extent. But as much as her rejection may sting, I loved the fact that he was the one to end their little affair, seeming more grieved by the fact that he got sucked into her shallow vortex of doom at all then their parting of ways. YAY FOR A REFRESHINGLY SMART CHAUFFER!!!

Of course Persie is more enamoured than ever with socialism, and as Harry's feelings for her cool she renews her sickening flirtation with Herr Joachim von Ribbentrop (Edward Baker-Duly). Ribbentrop is only too happy to oblige, and Persie's secret relationship with Hitler's emissary casts an unexpectedly dark cloud over the Holland home. Clearly the freedoms and privilege her sister Agnes was so eager to grant her have been very irresponsibly used. *sigh* Persie is a completely loathsome, appalling, wholly selfish character - I could seriously care less that by the end of the episode she's headed directly into the lion's den, returning to Berlin with her Nazi friends. I only hope that she's not completely written out of the show, because as the world moves closer and closer to war I would dearly love to see the selfish twit receive her comeuppance. Till that day, I'll content myself with the moment Hallam confronts her and is left rather shell-shocked by her callous disregard for the family. A harsh wake-up call, but a necessary one.

Another excellent aspect of this episode was the devastatingly emotional way in which Hallam's often-testy relationship with his mother reaches the boiling point. He's infuriated that she whisked Lotte away without so much as a by-your-leave, and after hunting up the asylum address - over Mr. Amanjit's (Art Malik) objections (and seriously, WHAT WAS UP WITH AMANJIT'S HAIR IN THAT SCENE?!) - he takes off, only to discover that Maud has sequestered Lotte at the SAME HOSPITAL AS HIS SISTER (Sarah Gordy)! Is this over-the-top and dramatic? ABSOLUTELY. But I LOVED it. This discovery shakes Hallam to the core, and forces a confrontation with his mother that ultimately brings the two closer together. We live in such a different world now, realizing that children with Down's Syndrome were sent away from their families to live in homes, because "that's just what people did" then is a harsh, heart-breaking reality. The fact that Pamela recognized Hallam, thanks to the fact that her room was covered in photos chronicling his life just tore me to pieces - such a brilliant, emotionally-charged moment, really well-played by Stoppard. Also, I have to give kudos to Ritson for his acting in the conversation with Hallam that precedes his reconciliation with Maud - the whole speech about forgiveness, the line "when there's no forgiveness, love is just...unbearable" - Heidi Thomas, that was a brilliant moment.

Sadly, Agnes's character has been more frustrating than likable for most of this series. Hawes is such a great actress, capable of bringing wonderful emotional depth to a role, and I think this script really under-used her to a large extent. Apparently we're supposed to contribute Agnes's reluctance to tolerate Lotte in her home and basically ceding control of the household to Maud to some combination of pregnancy stress and mother-in-law frustration. Her turn-around by the end of the episode was welcome, but sadly under-developed. I thought it was a nice touch to have her "bond" with Maud over the highly melodramatic birth of her child in the BATHROOM DURING EDWARD'S ABDICATION SPEECH (seriously?!). Crazy over-the-top, but it was a fantastic excuse for the unflappable Pritchard (Adrian Scarborough) to reveal some hitherto unknown medical knowledge and gain LOTS of goodwill with the Hollands, resulting in the return of footman Johnny (Nico Mirallegro), who has presumably dried out and maybe taken an anger management class or two.

Part three ends on a heart-warming Christmas note, with the entire household, sans Persie, gathered to celebrate the holidays. I am seriously saddened to see this show end, and I'm already looking forward to the new series, anticipated for 2012. I seem to recall a rumor that the 2nd series will be six hours long - this should go a long way toward rectifying the "rushed" feel of series one. So much story was crammed into so little time - while I loved every second of it, I can't help but wish we'd been given more time to get to know the residents of 165 Eaton Place, and for the intricate personal and political dramas woven throughout the story to have unfolded a more liesurely pace.

While I was thrilled to see Lotte recovered, the series would've benefited from a brief explanation of how she came to return to Eaton Place so quickly. It was absolutely wonderful to see her interact with Hallam - I love the fact that he's stepping up into the role of surrogate father, and now that Agnes has had her baby, she seems much nicer - so there's hope there too. I also loved the fact that Hallam has brought his sister Pamela into his home - one hopes that we'll see more of their relationship in future episodes.

It would be easy to focus on what Upstairs Downstairs is not, but I for one am happy the show possessed such lofty story-telling goals. I admit it, every once in a while I just want to be entertained by a fast-paced, compelling and addictive melodrama - and on that score, Upstairs Downstairs delivers in spades. The historical background of this series fascinates me, and I love the way the script has our characters interact with real-life historical figures. It makes the story, and the consequences of one's actions, that much more compelling to watch unfold. I'm really looking forward to revisiting this show on DVD. If you made it through all three installments, I'd love to hear your thoughts!

• Read my review of Part One, "The Fledgling"
• Read my review of Part Two, "The Ladybird"
• Read Laurel Ann's review of Part Three
• Purchase the DVD from Amazon

Emma, part 3

Bet you thought this write-up was never coming, right? :) Goodness knows I am completely incapable of leaving a series on British film unfinished, never mind the blogs are weeks off schedule. Oh well. *wink*

I'm actually glad I left off writing about the final episode of Emma until I could watch it on DVD. To start with, here's the episode summary from the Masterpiece website:

What was intended as a day of fun turns into a day of agony for everyone on the Box Hill excursion. Things come to a head when, egged on by Frank, Emma behaves very badly, insulting Miss Bates. Emma is berated by Knightley and realizes that her behavior was shameful. She tries to repair things with Jane and Miss Bates, but Jane will not see her. Miss Bates tells her that Jane has cried all night and decided to accept a job as a governess. Meanwhile, Knightley goes to stay with his brother in London — he will be away for a while. When Frank's aunt dies, the Westons expect him to propose to Emma — but his actions set in motion a chain of events that both shock Emma and make her realize something that has been in plain sight all along.

This is the "payoff" episode of the Emma story, when Emma begins to realize that her machinations may have cost her the love of her life. Don't you love it? :) The episode opens with the strawberry picking expedition at Donwell Abbey. Knightley (Jonny Lee Miller) has pulled out all of the stops to ensure Mr. Woodhouse's (Michael Gambon) comfort, since he is always so loathe to leave his own home. It was a sweet moment, as you can see that Knightley's practically begging Emma to see that he's doing this all for her, and Emma, while appreciative, is happily oblivious to that fact. This portion of the program also has a very funny scene with Mr. Elton (Blake Ritson) leading his new bride (Christina Cole) to Donwell on the back of a donkey. The look on Ritson's face is comic gold. :)

I think this production of Emma does the best job, that I've seen anyway, of showing real growth and transformation in Emma's character. Romola Garai has completely exceeded my expectations with her performance. She starts off so sure of herself, so superficial in so many, many ways, and by the conclusion of this film version we see her become kinder, more understanding, more considerate. The scenes between Garai and Gambon and father and daughter do an excellent job of highlighting the kind, patient side of Emma's character. Garai's Emma expresses such a love and patience for her father that's wonderful to see. And I love Gambon's take on Mr. Woodhouse - the way he plays the character really seems to indicate that he really struggles with - well, I'm not sure - senility? social anxiety disorder? Sandy Welch's screenplay and Gambon's acting make Mr. Woodhouse much more than a high-maintenence presence on the pages of Austen's novel.

This episode covers the Box Hill excursion, which has to be one of the most painful episodes to read or see enacted on-screen, thanks to Emma's thoughtless set-down of Miss Bates (Tamsin Greig). I really appreciated the way this scene played out, showing Emma as she realizes she's gone too far, and how she graduall becomes fed up with Frank Churchill (Rupert Evans). Garai plays the scene by having Emma realize that she doesn't like the woman she's become when she's with Frank - but, since he's the type of gentleman she's always dreamed of, it's a hard realization to come to terms with. Speaking of Churchill, this adaptation left me feeling more than ever that poor Jane Fairfax, played with an almost elfin-like quality by Laura Pyper, is DOOMED. I always marvel at Jane's ability to put up with Frank's little games, but Pyper's take on Jane makes the character seem more vulnerable, somehow, than what's been shown in previous Emma films.

After the Box Hill debacle, Emma clearly has endured, perhaps for the first time, a painful dose of cold, hard reality. The following day her costumes even undergo a transformation, as she wears black and gray to visit Miss Bates in an attempt to make amends. She handles the revelation of Frank and Jane's secret engagement with a lot of maturity - balanced, of course, by a humorous moment when she berates Frank for daring to lead her on. Emma's changed a lot over the course of this series, but it's moments like that which remind you that some things never change. :)

The BEST part of this installment is, of course, getting to see Emma and Mr. Knightley finally, finally declare their love for each other. This moment is made even sweeter by all of the emotional turmoil Emma must endure first; one, by worrying that her propensity for thoughtlessness has cost her Knightley's esteem and two, that he may actually prefer her friend Harriet (Louise Dylan). By this point Emma actually considers Harriet a friend, so the possibility that she could lose Knightley to her is even more painful. I loved the way Miller played Knightley during these scenes. The combination of uncertainty, hope, and nerves is really quite adorable. :) And I loved the way Garai expressed Emma's joy and relief at realizing her love for Mr. Knightley will not go unrequited. This brings me to an important point - if you only watched the broadcast version of Emma, for goodness' sake track down the DVD. PBS inexplicably made the call to cut a short but wonderful scene between Emma and Mr. Knightley, where they discuss when each first realized they were in love with the other. The moment when Emma confesses that when she looked into her heart, she found Mr. Knightley - well, it's a sweet little moment to savor. :) I also absolutely LOVED Emma's freak-out scene when reality has set in and she fears that she can't marry because that would require her to leave her father. Seeing a rattled Emma juxtaposed with a very calm Knightley is quite funny (and I loved the shot of them going in to tell Mr. Woodhouse their plans, and Knightley reaches behind Emma to grasp her hand - so sweet!).

This adaptation of Emma has proven to be a superb addition to the long list of Jane Austen-related films. The pacing and acting are superb across the board, as are the costumes and sets. Welch's script hits all of the necessary story beats (to my mind, anyway) while providing a fresh perspective and look at the story that's so familiar to fans of Gwyneth Paltrow or Kate Beckinsale versions. Of course a major highlight of this production for me was getting to see Jonny Lee Miller play another Austen hero, and he did not disappoint. :) I also have a greater appreciation for Romola Garai as an actress. She balances Emma's self-centeredness with her growing compassion and, dare I say it, a touch of humility as well. I also must comment on Samuel Sim's gorgeous score, it was absolutely beautiful. Very, very well done all around BBC. :)

*Oh, I almost forgot - I LOVED the mention of Mr. Woodhouse's chickens at the end of this show - too funny!

Emma, part 2

Well, in case ya'll couldn't tell last week, I was a little busy with reading and book reviewing, so the final two Emma reviews never happened. I mean to rectify that situation directly. :) Here is the episode two summary from the PBS website:

Emma teases Mr. Knightley about Jane, but he remains tight-lipped. Meanwhile, Frank and Emma plan a ball, and Emma wonders whether she might be in love with him. With her matchmaking officially abandoned, Emma feels cooped up and bored. Mr. Knightley suggests a day trip to Box Hill for a change of scene. He also tells Emma that he suspects Frank and Jane are secretly in love. Emma rebuffs the suggestion — she can personally vouch for Frank's indifference to Jane.

I have to say, I'm not a fan of how PBS divided this program so it would cover three weeks' worth of Masterpiece Classic time. To get two hours the first week, and then only a hour the next (really, only 45-50 minutes) just left me feeling a little ripped off. The show is too good to watch in such "tiny" segments, LOL! Needless to say, this program will be enjoyed many times over when my DVDs arrive from Amazon (currently it's only $21.99!).

This segment of Emma explores our heroine's misconception that she's in love with Frank Churchill (played by Rupert Evans). How this plays out on-screen is a great example, I think, of how well Sandy Welch's script and Romola Garai's performance work well to give this incarnation of Emma a little more depth, spending a little more time exploring why she acts the way she does, and how she perceives the circumstances playing out in her sphere of influence. I love how Garai dances between Emma's propensity for self-centeredness and her slowly awakening care and compassion for those around her, such as Harriet (Louise Dylan). Speaking of Harriet, I've been pretty pleased with Dylan's performance. She's a relative newcomer (see her IMDB page), but with appearances in Merlin and Lewis, and now this, she could be well on her way to building a solid resume.

My favorite introduction in this episode is the infamous Mrs. Elton - I actually think I screamed when she walked on-screen. Mrs. Elton is played by Christina Cole. Not only is she a fantastic actress in my opinion, but she has the market cornered in playing classic shrews. In addition to the role of Mrs. Elton, she's played Caroline Bingley in Lost in Austen and Blanche Ingram in Jane Eyre (not to mention noticable guest spots in shows like Doctor Who and Poirot). Cole is a perfect match to Blake Ritson's icy and pretentious Mr. Elton, and her take on Mrs. Elton provides an excellent foil to Emma, who is left positively stuttering with rage and frustration at her impudence. When Mrs. Elton first appears in church, Mr. E.'s introduction of her was hilarious - I loved how Ritson deadpanned his delivery of expounding on one of his favorite scriptures, "let deceitful lips be made dumb." That was just so unexpected, but so appropriate, I loved it!

I mentioned earlier the whole Emma/Frank Churchill dynamic - I think it plays out really, really well in this adaptation. I loved Emma's rather dewy-eyed infatuation with Frank. Garai plays it in a way that strikes me as very honest, and I think underscores the fact that while Emma thinks she can run everyone else's lives, she is completely clueless when it comes to knowing her own heart. Churchill completely takes her for a ride, but I have just the tiniest bit of sympathy for her because Garai lets one see that Emma's affections could be in peril. She's a control freak, yes, but I like her. :)

Of course the highlight of this program is the way the Knightley/Emma relationship develops. There's more time to see events unfold here, versus in the 90 minute or so feature films that have been Austen-film staples for the last ten-plus years. Jonny Lee Miller's take on Mr. Knightley has been absolutely FANTASTIC. My favorite moment in this episode comes at the Highbury ball. Not only does Emma get to witness Knightley's chivalry (when he rescues Harriet from being snubbed by Elton), but she acknowledges that where Mr. Elton was concerned, Knightley was 100% correct. That's major progress, right people?! :) And then there's the dance. Excuse me while a swoon for a second. ;) To my knowledge, this is the first Emma adaptation that doesn't preface the dance with the exchange that Emma and Knightley aren't "so like brother and sister that dancing would be improper" (or something like that, just quoting from memory here). THANK YOU, Sandy Welch, for skipping that quote. It serves to "freshen" the moment, since all the story beats are so well-known, plus it doesn't throw up in one's face that Knightley is like twice Emma's age (or close to it). I have no problem with age differences in romantic pairings, don't get me wrong - I'm just tired of having it mentioned in Emma films because it always seems to come off rather awkwardly to my ears.

All that to say - the look Knightley gives Emma when she says she'll dance with him, if only he'll ask - that pause, that look, is to die for. Well played, Jonny Lee Miller, well played. In that moment, Miller lets you see just how much Knightley cares for Emma. There's no frustration with immaturity, there's only love, affection, and a belief in their possible future that's lovely to see. This Knightley is intense and determined, and I love it!! I just have to point out, though, the hilarity to be found in one of his solo scenes (after the ball, when he visualizes dancing with Emma). That moment is such a rip-off of the Darcy-watching-Elizabeth-play-the-piano-scene-and-then-daydreaming-about-it moment from Pride and Prejudice that it's not even funny. Well, it is funny, especially when you consider that he's imagining watching Emma dance when he was dancing with her...the total disregard to perspective cracked me up. ;)

I could go on and on, and mention Knightley's smack-down of Mrs. Elton regarding the as-yet-undetermined Mrs. Knightley being the only woman who would manage his social affairs, or Knightley's thinly veiled jealousy and concern about Frank's relationship with Emma, but I suppose I'll stop now. :) So tell me, at what point did Jonnny Lee Miller win you over? Because I refuse to entertain the possibility that he didn't. ;)

Emma, part 1

Spoilers...

This new adaptation of Jane Austen's Emma is, by many, the most anticipated title of the 2010 Masterpiece Classics season. Packed with well-known British acting talent, and with a script by Sandy Welch (who also adapted North & South and Jane Eyre), this new Emma has lots of potential - and I, for one, did not come away disappointed. :) Here's the summary of episode 1 from the PBS website:

Rich, independent and kind spirited, Emma Woodhouse has no interest in marriage herself, but is inspired by matchmaking for those around her. Once she has married off her close companions, she settles on the pretty Harriet Smith to fashion into her new playmate and ally. She persuades Harriet that she is too good for her suitor, the farmer Robert Martin, and encourages her to set her sights higher. But close family friend Mr. Knightley warns Emma that her meddling will cause great pain. Undaunted, Emma continues her efforts on Harriet's behalf.

Meanwhile, Emma is intrigued by the mysterious and elusive Frank Churchill, whom she hopes to meet at a party. Frank does not arrive, but instead Emma becomes the subject of unwanted attention from the vicar, Mr. Elton.

A few weeks later, village gossip focuses on the arrival of young Jane Fairfax and a large piano that she has been sent by a mystery admirer. Emma refuses to believe that Mr. Knightley could be the secret admirer.

When I heard another version of Emma was in the works, I confess to feeling less than excited - after all, Emma has been done many times before, and done well (I'm referring to the Gwyneth Paltrow and Kate Beckinsale versions). However, with a runtime of nearly four hours, we're happily treated to much more expansive treatment of Austen's story. The first portion of this miniseries opens with a prologue revealing the childhood of three of the principle players - Emma, Jane Fairfax, and Frank Churchill - and how the events that occurred during their respective childhoods set each person on the path towards becoming the character seen in the novel.

Of course the star of the piece is Emma and all her machinations, played here by Romola Garai. I've been a fan of Garai's work since she played Gwendolen Harleth in Daniel Deronda. She just looks like an Emma, know what I mean? Garai's got the looks, personality, and vivaciousness to pull off the role, and her performance is full of energy and life. I liked the way this presentation balances Emma's busybody qualities with quieter moments, little hints of self-reflection that make you think that perhaps Emma is not quite as self-satisfied and assured as she would like the world to believe. She's a bit more sympathetically portrayed than she has been in previous films, methinks.

Michael Gambon plays Mr. Woodhouse, Emma's father, and I think his take on the character has got to be the finest that I've ever seen. Mr. Woodhouse is such a fussy, needy character that it's easy for him to be portrayed strictly as comic relief. Here, Mr. Woodhouse is fussy and needy and constantly worried, but Gambon's performance adds some depth and real, almost tragic poignancy to the role. I also enjoyed seeing the interaction between Mr. Woodhouse and Emma, who I've always thought was a rather surprising caretaker. Garai's Emma may get a bit frustrated with her father, but her genuine regard and care for her anxiety-prone parent is abundantly apparent. Emma's never quite so self-absorbed that she loses patience with her father, and perhaps that is Austen's hidden saving grace that she imbued such duty and regard in a character she described as a "heroine whom no one but myself will much like."

I was quite pleased to see Jodhi May again, playing Emma's beloved Miss Taylor, her greatest matchmaking "success." May is probably best known for her performance as Alice Munro in The Last of the Mohicans, but she also made noteworthy appearances in films like Daniel Deronda and Defiance. Her quiet and elegant screen presence is the perfect foil to balance out Emma's energy and feverish matchmaking schemes. Blake Ritson is ideally cast as the pretentious curate, Mr. Elton. No stranger to Masterpiece viewers, he played Edmund in the 2007 version of Mansfield Park (a production that left MUCH to be desired, LOL) and one of the prisoners in the supberb film God on Trial. Ritson has this remote, aloof presence that's well suited to play a curate with aspirations to marry very, very well. The scene between Elton and Emma when he proposes, and all her schemes for marrying him and Harriet, is really quite funny. Another familiar face plays Highbury's most mysterious bachelor, Frank Churchill - actor Rupert Evans. Evans played Frederick Hale in the absolutely fantastic North & South, and Zander in ShakespeaRe-Told's modern take on A Midsummer Night's Dream. He's got the looks and personality in spades to carry off the rakish Frank Churchill role, and it's abundantly easy to see how Emma so quickly falls under his spell. :)

Now I've saved my favorite part for last - Jonny Lee Miller as Mr. Knightley. :) I absolutely fell in love with Miller after seeing his take on the character of Edmund Bertram in the much-debated 1999 version of Mansfield Park. I for one love that movie, and the last five minutes or so - sheer romantic heaven. :) Anyway, I don't think one can argue that it beats the 2007 version of Mansfield by a mile. Miller's casting was the first thing to really interest me in this production of Emma, and thankfully so far he's not disappointed me. This production of Emma really plays up the sparring between Knightley and Emma, and in this episode, during their scenes together, the sparks really fly. As much as I love Jeremy Northam and Mark Strong's takes on the Knightley character, I've got to say Miller probably gives the most intense, energetic performance of the three. I think one gets a better sense of Knightley's battle over his feelings for Emma and frustrations with her superficial pasttimes. This Knightley clearly not only wants better for Emma because he's known her basically since birth, but because he believes in her potential - and he also struggles with his attraction to her. And I'm all for more romantic tension, don't you know. :)

This epsiode of ends when Emma is faced with the horrifying realization that Mr. Knightley may have romantic intentions towards Jane Fairfax - and that would be an incomprehensible reality. So far I'm thoroughly pleased with the pacing, scripting, and acting that fills this latest adaptation of Emma. Definitely looking forward to seeing how the rest of this version unfolds. So, what did everyone else think? Part two airs Sunday night! :)