Downton Abbey Series 4, Part 7

Source: Pinterest link via HuffPo UK

Well, I've (obviously) fallen a bit behind in my Downton Abbey blogging, seeing as season four concluded on Sunday. But never fear, my goal is to catch up THIS WEEK, starting with part seven!

After the near-death experience with Downton's newest residents -- pigs! -- Mary (Michelle Dockery) and Blake (Julian Ovenden) are quite chummy. YES. I approve of this development, as the only other option on the horizon is Gillingham, and I think he's an idiot. (I wish Napier was a serious contender, but then who would Fellowes bring back at random times just to go SEE! SERIES CONTINUITY! I FORGET NO ONE!) Mary and Branson (Allen Leech) go to visit the pigs (because that's a thing now), now under the care of Tim Drewe (Andrew Scarborough), the farmer who took over the family's tenancy following his father's death. Edith (Laura Carmichael) tags along for this visit, because visiting pigs IS a thing now and heck, anything is better than thinking about her pregnancy. Drewe is, apparently, a Pig Whisperer, and so Mary and Branson offer him the job of seeing to the animals' care. And because he's SO GOOD WITH PIGS, Edith gets STARS in her eyes, and we all know what she's thinking, right? The Pig Whisperer is the perfect man to RAISE MY BABY!! Oh, Edith...I suppose there are worse measures of one's character...and desperate times call for desperate measures...but at this moment this sorta feels like a new low. :P

With Robert (Hugh Bonneville) still in America getting his brother-in-law's scandal squared away (or something...still not sure WHAT exactly he's supposed to be facilitating regarding that mess), Cora (Elizabeth McGovern) is all stressed out organizing the annual church bazaar. I love how these annual events show up once, never to be repeated. LOL! She tries to get Rose (Lily James) to help, but that initiative is a non-starter (no surprise there, eh?), as Rose has better things to do, like arranging not-so-clandestine meetings with Jack Ross (Gary Carr) in neighboring Thirsk. This is NOT GOING TO END WELL, as the couple is spied by Branson getting cozy in a tea shop. Branson is completely out of his element in attempting to deal with something of this nature, so he foists the scandal-in-the-making off on Mary, who I believe I shall start calling The Fixer. *wink*

Edith is becoming increasingly desperate (and unhinged -- see above: random farmers make great fathers!), leading to a surprise visit to Downton from Rosamund (Samantha Bond). While Rosamund attempts to disguise the true purpose of her visit as being a dutiful daughter visiting her recently ill mama, Violet (Maggie Smith) of all people isn't fooled in the least. Maggie Smith has been an absolute GEM this season, as is her norm, but this hour she was on fire -- the Dowager's quips and looks and brilliantly funny moments kept coming at a rapid-fire pace throughout the entire installment! ABSOLUTE HEAVEN. (Also, Edith is supposed to be FIVE MONTHS pregnant in this episode? That is RIDICULOUS.)

Rosamund decides that rather than give the baby to a local farmer, she and Edith will take a spur-of-the-moment trip to Switzerland so she can LEARN FRENCH. Because going to Switzerland for that makes SO MUCH SENSE. Violet, smelling a rat, holds court (literally, this woman is a QUEEN of the screen!) -- and neither Edith nor Rosamund have a prayer of keeping their secret when faced with her eagle-eyed gaze, confirming Violet's suspicions that Edith is pregnant. The Dowager insists on paying for their trip -- and can I just tell you I LOVE these moments when Violet's heart is revealed, showing just how far she'll go for any member of her family. (Side note: I really hope that Edith's baby daddy doesn't just disappear in Germany. That would be a really lame send-off.)

Back-tracking a bit to catch up on a few other notable happenings, among them Ivy (Cara Theobold) receiving a letter from Alfred (Matt Milne), where he PROPOSES MARRIAGE, in between telling her about his father's death and his impending visit to Downton as a consequence. What the HECK, Alfred?! Ivy is taken aback to say the least, as is Mrs. Patmore (Lesley Nicol), but we all know Mrs. P. is more worried about Daisy's reaction than Ivy's future, right? LOL. To make a LONG story short(er), Ivy decides (thank goodness) to refuse Alfred, Daisy goes off on her (again) for breaking his heart and driving him away from Downton, and Mrs. P. takes pity on her and suggests she go visit her father-in-law Mr. Mason (Paul Copley), a.k.a. the only other person in Daisy's life with any sense. More on THAT in a moment. :)

Wishy-washy Gillingham (Tom Cullen) returns to Downton, again, because he JUST CAN'T QUIT MARY, but not before Anna (Joanne Froggatt) tearfully confesses the identity of her attacker -- Gillingham's valet. Mary is outraged and wants to do something, anything, to bring Green to justice, but Anna insists that the secret must be kept between them so Bates (Brendan Coyle) doesn't go off on the guy and end up in prison again. To Mary's credit, she tries to stop the visit, but wires are crossed and it's too late as Gillingham is already en route. When they arrive Bates comes out of the shoe-shining room (seriously, did anyone else notice that while Robert is in America, he is practically LIVING in there??) to notice Anna's reaction to the creep, and to hear that they live in Piccadilly (cue revenge plotting music).

After saying goodbye to Gillingham, AGAIN, Mary is sent into crisis management mode when Rose tells her that she's engaged to Jack Ross. Now, apparently Rose wants to marry Jack to really stick it to her mother, whom she hates (when did this start? also, your mother has been halfway across the world for MONTHS...get over it!), so you know this is a love match for the ages. *eyeroll* Mary plans a quick trip to London, accompanied by Anna, in order to try and talk Jack out of marrying her cousin. This whole storyline was really pointless, wasn't it? Because when they meet, instead of fighting for Rose, instead of having anything remotely resembling a meaningful conversation on the impact of interracial relationships during this time period, Jack has ALREADY decided to break the engagement. I repeat: What. Was. The. POINT?! Completely expected side note: while Anna is in London, Bates takes a day trip to York, which even Carson (Jim Carter) think is weird, but goes along with...yeah, sure, I buy that... :P AND Gillingham breaks his engagement. AND Mary gets him to agree to fire Green, but keeps Anna's secret.)

How are we all feeling about Branson's potential new love interest in the form of schoolteacher Sara Bunting (Daisy Lewis)? I'm...wary. Intrigued, but wary -- mainly because thus far she seems so set on accusing him of abandoning his principles by working for the Crawleys. I DID think the scene where he comes upon her with a broken-down car was cute, and I do like how her often annoyingly intrusive questions and assumptions force him to take stock of his relationship with the Crawleys -- and, at least thus far, make him realize that he IS a part of the family. He might not agree with them, but he does care about them, and that care is reciprocated. So in the sense that she is kind of forcing him to come to terms with his new life, I approve. But the constant needling about his politics...that could get old really fast. :P

Getting back to Violet being awesome -- she invites Isobel (Penelope Wilton) for tea because Mary's godfather, Lord Merton (Douglas Reith), who we met way back at the beginning of season three, is coming over. She apparently has no patience for his rather dour ways, but finds more entertainment in the occasion than she expected when Merton shows an unexpected interest in Isobel! Violet's shock and awe face was killing me -- and the icing on the cake was when Merton sends flowers to both women, care of Violet, and Isobel's arrangement is bigger! LOL! Not that I'm fond of Merton (yet), but I do think this is a VERY promising development for Isobel -- and while she's frustrated me on occasion, honestly I wouldn't wish the doctor on my worst enemy so a new guy is good! :)

Things actually happen for Molesley (Kevin Doyle) here! Concerned for Baxter (Raquel Cassidy) after overhearing Thomas (Rob James-Collier) bullying her about secrets, he attempts to befriend her, encouraging her to not let Thomas try to turn her into O'Brien 2.0 (well, not exactly those words, ha!). She starts looking at him like he's hung the moon or something, and he can just barely deal with it, and they share a cute moment at the fair when he beats Jimmy (Ed Speleers) at a strength test at the bazaar. Perhaps Molesley's never-ending sad-sack bad luck is finally turning around! Color me SHOCKED!!

During the bazaar, Daisy (Sophie McShera) pays a long overdue visit to her father-in-law, who encourages her to let go of her bitterness over the Ivy/Alfred situation and say goodbye, wishing him well and leaving their friendship on good terms. She takes his advice (of course, because when has he ever steered her wrong?), bringing him a basket of food as a peace offering of sorts and sincerely wishing him well. It's a wonderful moment, and so sweet to see how proud Mrs. Patmore and Mrs. Hughes (Phyllis Logan) are of her maturity. Also, not gonna lie, it's fun to see Alfred second-guessing himself and realizing that all this time, he may have been pining after the wrong girl (DUH). GO DAISY!

Wrapping things up, Robert and Thomas return from America during the bazaar, which is a hit (convenient timing, that). Gillingham shows up to give Mary the SHOCKING NEWS (not) that his valet was killed by "stumbling" (sure...) into the street and getting hit by a car. But poor Anna...instead of getting to feel relieved that she'll never have to see her rapist again, she's NOW worried about what Bates really did on his day off. He is such a sly fellow, eh? :P AND Blake shows up, just to tell Mary that HE CAN'T QUIT HER EITHER, and it's ON with Gillingham because he is NOT giving up without a fight.

EXCITING TIMES, right?! Finale recap coming soon!! :)

*Photo copyright Masterpiece/ITV/Carnival Films. No copyright infringement intended.

upcoming films...

So I took the afternoon off and went to the movies this afternoon (more on that a bit later), and was pleasantly surprised by three trailers that look very promising --

Salmon Fishing in the Yemen



Ewan McGregor! Emily Blunt! SALMON! Color me intrigued. According to the IMDB, the film is slated to open in the US March 9th -- though I suspect that is a limited release date.

The Best Exotic Marigold Hotel



Isn't this cast amazing? Judi Dench, Maggie Smith, Bill Nighy, Tom Wilkinson, Penelope Wilton!? Did I mention BILL NIGHY?! According to the IMDB, this is slated to open May 4th.

W.E.



This film has been on my radar for a while now thanks to my interest in the history. But this film - James D'Arcy is playing Edward, LAURENCE FOX is playing his brother Bertie, and the rest of the cast of the historical portion of the film is equally pedigreed. I could care less about the Madonna connection...but with D'Arcy and Fox in this film I'm so there. :) According to the IMDB this one opens February 3rd, probably in limited release first.

South Riding, Part Three

South Riding concluded on Masterpiece Sunday night, and with it the somewhat hit-or-miss Classic portion of PBS's 40th Anniversary season has come to a close. I'm somewhat conflicted about this production - on the one hand, I had some issues with the program trying to cram too much info into too little time, giving character and relationship development the short shrift, while on the other hand, I have to give the program credit for ending on a much better note than I was anticipating after last week's installment. So let's discuss for a bit, shall we? :) Here's the Part Three episode summary from the PBS website:

Sarah returns from Manchester disappointed and anxious, as her efforts to find Robert are dashed, and Lydia greets her with nothing but bitterness. A bottle of Scotch and the companionship of Joe Astell ease her loneliness, but the new year brings her back to business. Sarah firmly pleads with the complacent Mr. Holly to try to find a solution for Lydia, but he continues to think only of himself. Meanwhile, in the face of relentless worries, Robert turns to Mrs. Beddows for reassurance about Midge, who finally begins to show acceptance of her situation. But when Huggins asks Robert to drop his opposition to the land deal, suggesting it could be to his own financial benefit, the enraged Robert loses control and makes an accusation with devastating consequences. What follows are hard choices for the residents of South Riding, who face a future of uncertainty and heartbreak, but also of hope.

After the hookup that wasn't to be, Robert (David Morrissey) leaves Manchester without a word to Sarah (Anna Maxwell Martin), who's disappointed and understandably concerned. Though I have to say, to Martin's and the script's discredit, Sarah comes across as less worried about Robert's panic/stress-induced attack and more concerned with the fact that he wasn't stroking her ego and making a second try at their little would-be affair. Thoughts? While I really like Martin in a general way as an actress, I rather wish this storyline had allowed her to play a more mature "inspirational" teacher figure. For someone so determined to blaze a progressive trail, Sarah can be occassionally quite clueless and immature about the realities of the situations she finds herself faced with.

Christmas comes and goes and Sarah's prize pupil, Lydia (Charlie Clark), is still unable to resume her scholarship and return to school following her mother's sudden death. Sarah meets with Lydia's father, Mr. Holly (Shaun Dooley), to pressure him into finding another solution to his childcare problems so Lydia doesn't "waste" her educational potential. That scene annoyed me a bit, primarily because if Sarah is so gung-ho and insistent on getting Lydia back in classes, why isn't she doing something about the Hollys childcare issues herself? I thought Mr. Holly's initial resignation to Lydia's fate, if you will, was interesting and very realistic - he apparently holds the view that since his own opportunities for educational advancement didn't pan out, and since his request for aid was denied there is nothing more to be done. Really rather tragically pragmatic - and one would wish that since Sarah finds this viewpoint so abhorrent she would actually do something to change the situation, instead of gripe about it. All things considered, Lydia's terse response to Sarah's overtures is completely understandable - Sarah should count herself lucky that Lydia didn't bite her head off.

Mr. Holly surprised me in this episode, though upon further reflection I think his way of "fixing" the caretaking issue was really quite moving. I was reminded of pioneer stories, where people married out of necessity, and hoped for love after the vows. I really enjoyed the sparks between Holly and the widowed Mrs. Brimsley (Marie Critchley). Lydia is, of course, understandably reticent about having her mother "replaced" so quickly - and I wish as a viewer I'd been given more time to see a relationship develop between Holly and Mrs. Brimsley beyond their casual, flirtatious banter. Dooley and Critchley had a really lovely screen presence together that I would've liked to see more of - sadly a casual of the enforced three hour run-time.

When I heard that Douglas Henshall was appearing in this production, I was really hoping for a major role, i.e. that his character would be a viable love interest for Sarah - but alas that was not to be. Henshall's character, Joe, the politician and activist, was sadly for Sarah consigned to the role of "pal," since she was determined to throw her affections away on a married and unbalanced man. *sigh* I was happy to see Joe's screentime increased in this episode - especially since he finally calls Sarah out, and no longer content to play the best friend role in her life, announces he's leaving South Riding, unless Sarah gives him a reason to remain. And of course, the stupid woman lets him go. However, I have no doubt Joe is better off in the long run. :)

I was thrilled to see Mrs. Beddows (Penelope Wilton) at long last finally come into her own in this final installment, and become the critical, pivotal character I expect an actress of Wilton's caliber to play. Better late than never, I suppose. :) In Part Two it was revealed that Mrs. Beddows was present at the birth of Robert's daughter Midge (Katherine McGolpin), so it makes sense when Robert, facing finanacial ruin, asks his old friend to serve as Midge's guardian should anything happen to him. Robert's request proves eerily prescient when he turns up dead. Gossip immediately starts flying that Robert committed suicide, since he was facing total ruin when the corrupt Snaith (Peter Firth) sues him for slander.

Sarah is, predictably, crushed at the news of Robert's death. Her reaction and vocal insistence on denying Robert's suicide borders on the ridiculous. Their "relationship," such as it was, was based on a single unconsummated hook-up and a handful of friendly encounters liberally interrupted with clashes over South Riding's future. Sarah's reaction to Robert's death and the loss of their "relationship" reminded me a bit of Mary's over-the-top reaction to the death of her diplomat "lover" in Downton Abbey. Both women annoy me by their insistence at becaming so consumed by these dead-end (no pun intended) relationships that never were anything meaningful to begin with, they ignore the positive possibilities staring them in the face. Sarah's reaction is especially disappointing, because she's presented as a character you think should know better. Oh well...c'est la vie...perhaps in the book she does. (Robert's death is revealed to be an accident, and I have to admit the fact that he dies in a freaking landslide - well doesn't it just figure? Oh the dramatics...)

Midge suffers an interesting - and disturbing - fate when her maternal grandfather (Ralph Risch) shows up at Robert's funeral and essentially demands custody from Mrs. Beddows. Midge, who's done another 180 and become unnaturally (for her, anyway) calm since her father's death decides to move in with her grandfather - the man who has basically ignored her for her entire life. The girl appears consigned to a loveless future, and considering her mother's mental problems who knows what secrets her grandfather hides. Vaguely creepy and oh so sad - Midge appears destined to repeat her mother's life.

Unsurprisingly, Sarah decides to flee South Riding following Robert's death - and this leads to perhaps my favorite moment in the series, when Mrs. Beddows calls her out for cowardice and shames her for running from her grief. Joe had tried to give Sarah a reality check earlier, which she (stupidly) brushed off, but Mrs. Beddows knows the one way to reach Sarah, to get her to stop thinking about herself, is to appeal to her passion for seeing students like Lydia better themselves. And after delivering a cheer-worthy dressing-down and slap-upside-the-head reality check, Sarah (thankfully) decides not to go to London to wreck Joe's life (pure speculation on my part - HA!), and stays in South Riding - where, hopefully, she grows up.

In spite of my frustrations with some of the storylines (honestly, if you couldn't tell, the whole land-grab deal didn't interest me at all, even though it did have a direct impact on Robert) and some eye-rolling and predictable moments, South Riding ended on a better note than I expected after last week's installment. I've got to give Andrew Davies credit for scripting such a save - there's a reason the man has been one of the "go-to" writers for adapting classics for over a decade. Robert's old home is turned into a mental hospital, and the troubled Muriel (Lydia Wilson) finally gets her dearest wish - she can go "home." Since it was abundantly clear she was never going to get better, I really liked this resolution to her tragic story - and since she's back in South Riding, I like to think Mrs. Beddows will keep an eye on her. Lydia lives up to her academic promise and goes to Oxford, and Sarah gets her longed-for new school building (just don't think about the months - at least - that the show crammed into the final five minutes). And I like to think that Sarah will live up to the promise of her introduction - that, having shed some of her immaturity and naivete, she's grown into a teacher to cheer for.

I plan on watching South Riding on DVD, as I'm curious what the full three-hour program looks like. Historically the "missing" 6-10 minutes PBS trims from Masterpiece productions for ads more often than not vastly improve the tone and flow of the show. I'd also like to read the novel - since it clocks in at over 500 pages, I'm confident that there is a wealth of character and story development that, due to the budget constraints of cramming the story into three hours, were trimmed or cut beyond recognition.

While South Riding did not live up to my expectations, it was an interesting and well-filmed period piece, gorgeous to look at - full of great detail and delicious 1930s costumes. This is not a "happily ever after" for all story, and I just wish that Masterpiece viewers had been given the luxury of five or six hours to see this little-known classic brought to life - I think more time would've helped my reception of the show tremendously. If you watched South Riding, I'd love to hear your thoughts!

• Read my review of Part One
• Read my review of Part Two

South Riding concludes tomorrow

South Riding, and the "Classic" third of the 2011 Masterpiece season conclude tomorrow night. Here's a bit of what we have to look forward to in Part Three of this drama based on Winifred Holtby's novel:

Progress has its champions, but also its casualties when tragedy strikes Sarah Burton and her community. See the conclusion of South Riding this Sunday, May 15, 2011, on MASTERPIECE. Anna Maxwell Martin (Bleak House), David Morrissey (Sense & Sensibility), and Penelope Wilton (Downton Abbey) star in Andrew Davis' adaptation of Winifred Holtby's classic novel. 

• Click to read my review of Part One
• Click to read my review of Part Two
• Click to watch South Riding online through 6/14/11

South Riding, Part Two

South Riding continued last Sunday with Part Two of its three-part run on Masterpiece Classic, where events for all characters took a decidedly darker turn. Here's the episode summary from the PBS website:

With the inspiration of Joe Astell, the razing of the squalid Shacks and development of modern new housing is brought to a vote, in spite of Robert Carne's disapproval. But it comes too late for the Holly family, and the gifted student Lydia, thriving under Sarah's mentorship, must give up her talents and dreams.

For his part, Robert is unable to imagine a future for South Riding precisely because he is a prisoner of the past, as the secret agony of his guilt is revealed. Guilt also torments the lusty Methodist minister Alfred Huggins — guilt and a pair of blackmailers. He plays directly into the hands of Councilor Anthony Snaith, whose gentle prods toward investment in an area of land called the Wastes send Huggins head-first into a risky scheme. Financial woes compound Robert's troubles, and he ventures to Manchester in the hopes of heading off the bank from repossessing his ancestral home. Sarah, on her way to visit her sister, has too stopped in Manchester for the night, and their chance meeting leads to events for which neither is prepared, and an all-too-temporary respite from the messy collisions of life's complexities.

I finally got the chance to watch this episode Thursday night. I have to say, South Riding is not turning out to be quite the type of program I was expecting (i.e. a straightforward romance), based on the previews and episode information I'd managed to read online. It is much, MUCH grittier and darker than I was anticipating. I don't mind "gritty" and "dark" when it is done well (preferably shot through with rays of light) - and that is where this miniseries falters just a bit. One cannot, I think, help but get the feeling that the filmmakers are trying to do way too much in way too little time. While I applaud it for "aiming high," character-wise South Riding is suffering in my view from a lack of time for character development.

One problematic character is Midge Carne (Katharine McGolpin). It was clear from the first moment she's introduced that she is a wildy unbalanced child - the question is, how and to what degree? Father Robert (David Morrissey) is clearly incapable of helping her as she needs, since he carries around such guilt about her mother (more on that in a second) and stress about his nearly-bankrupt estate. Based on Midge's introduction in Part One, and then her subsequent appearances, I have to think she's been very ill-served by the script and pace of the show. One moment she's hysterical, the next she's eerily calm and by all appearances functional, even capable of tormenting an ill-equipped schoolteacher. There is no middle ground, but maybe that is accurate for her type of mental issues, I don't know. The way her inner "switch" flips back and forth just doesn't quite add up to me, at least how it's been presented thus far. Ultimately Midge strikes me as a tragic, ticking time bomb. Even her fascination with Sarah (Anna Maxwell Martin) feels dangerous - she seems to have the type of personality that needs to obsess, and that obsession(s) leads to wildly imbalanced emotional responses.

I haven't been overly fond of the show's decision to have Robert played in flashback by another actor, in this case Daniel West, while Muriel is portrayed by the same actress (Lydia Wilson) in both flashback and "present day" scenes. Personally I don't think David Morrissey looks so "old" that a younger version is required, but given the revelations about Robert's past in this episode I have a theory. It is revealed that upon his return home from the front in WWI, Robert found his wife flirting with three men in their home. Enraged and frustrated (which is understandable), he proceeds to rape her (UGH!), the act resulting in the pair's only daughter. This scene was not for the faint of heart - while it isn't explicit nudity-wise, it's a horrifying, emotionally charged scene, compounded by the revelation that Muriel is very cognizant of the fact that she's not "supposed" to have children (or has been advised against it in the past, that is not specified), and takes precautions to prevent pregnancy - precautions that Robert, in his jealous rage, doesn't care to make sure are in place. So my theory is that the filmmakers cast West in the role in some attempt to make the older Robert more sympathetic. I have a hard, hard time with this. Any way you slice it, rape is a heinous crime - and in films or books, even when the perpetrator expresses guilt/remorse after the fact, I have a hard time "forgiving" them - because with that act, a switch irrevocably flips in my perception of the character in question. Thoughts?

Robert has a lot on his plate, I get that. In addition to the after-effects of being gassed during the war (hence the amyl nitrate, which was apparently used as - a highly addictive? - treatment for cyanide poisoning), he's in danger of losing his anscestral home to repossession by the bank. On top of all this, there's the crippling guilt he carries that his actions - the rape - resulted in the pregnancy that completely tipped Muriel over the edge into full-blown insanity. David Morrissey is an excellent choice for playing the "post-attack" Robert, I will give the casting director that. As I mentioned in my review of Part One, Morrissey proves quite adept at playing the tortured soul. While I am disappointed that the storyline went the direction it did regarding Robert and Muriel's past, I can't think of an actor better than suited than Morrissey to play the repentant/tortured Robert, who feels so guilty and overwhelmed by life that he's on the verge of a mental breakdown himself. I just wish that this miniseries had more time to develop the consequences of the weighty issues South Riding's characters are (trying to) cope with. If as a viewer I'm supposed to somehow "look past" Robert's actions, I really need more of his backstory - perhaps that backstory is provided in Winifred Holtby's novel. Just thinking out loud here...

Anna Maxwell Martin continues to shine as Sarah, making her mark on the school and generally becoming a favorite of students. However, her character suffers in this installment of the series for lack of time to really delve into what makes Sarah "tick," if you will. In Part One, the filmmakers gave us a hint of the romantic tragedy in Sarah's past - losing her fiance in the war - and she shares a meaningful exchange with Joe Astell (Douglas Henshall), South Riding's most vocal crusader for social change. That conversation marked a spark of real connection between Sarah a Joe, a connection that I admittedly favor over Sarah's insistence to pursue a relationship with Robert. Yes, she and Robert shared that whole tremendously exciting (to be read with sarcasm) interlude in the barn with the cow giving birth, but beyond that I don't feel like I've been allowed to see why she is so invested in Robert.

Prior to the failed Robert/Sarah hook-up in Manchester (spectacularly blown up by either a PTSD attack or guilt), Sarah and Rober do share two rather nice scenes. The first occurs after Midge's goading leads the harried teacher Miss Sigglesthwaite to snap, striking her with a ruler across the face. Sarah is, of course, equal parts horrified by the act and perhaps a bit concerned how her failure to see that one of her teachers was on the brink of a nervous breakdown impacted the child of her most vocal critic. But since Robert knows a thing or two about mental strain, he's quite forgiving - Morrissey plays Robert brilliantly, with a balance of bone-tiredness and kindness. The second scene occurs in Manchester when Sarah and Robert meet for dinner - and oh, I am such a sucker for romantic dancing in film. SUCH. A. SUCKER. Sarah's dressed to the "nines" as they say and Robert is quite dashing in a tux - the whole scene is a prime example of how well this film recreates the fashion, romance, and atmosphere of the 1930s - a favorite moment.

My favorite storyline is turning out to be Lydia's (Charlie Clark), the scholarship student at Sarah's school who makes her home in "the Shacks," South Riding's slums community. Under Sarah's watchful tutelage, Lydia is thriving at school, but her future is put at risk when her family endures a shocking tragedy with the untimely death of her mother (Jennifer Hennessy), who bleeds to death - a tragic consequence of trying to terminate an unwanted pregnancy. Her father (Shaun Dooley) applies for hardship aide to the village council, and since Lydia's education is an "option," not a life-or-death necessity, the family's application is rejected, leaving Lydia no other choice than to assume her mother's role as care-taker to her younger siblings. The scene where the once-jovial Mr. Holly humbles himself before the council asking for aid and his summarily rejected just broke my heart - despite the family's hardships, Lydia's father was anxious to do anything necessary to further his daughter's dreams of a future beyond the squalid Shacks - and the blow to their efforts shakes father and daughter to the core. Lydia had quickly become Sarah's star pupil, and I loved their scenes together - but I thought it was interesting that Sarah came across as so - clueless, for lack of a better term, in regards to the harsh reality of Lydia's family situation. That's one of the things that I think fuels Lydia's anger toward Sarah at the end of the episode - coming to her with essentially platitudes instead of concrete aid must've felt like rubbing salt into an open wound.

I could touch on the whole blackmail plot involving Huggins (John Henshaw) and Bessy (Janine Mellor), as well as the land deal with shady developer Anthony Snaith (Peter Firth), but to be honest with you those story threads just weren't all that interesting to me. They felt extremely tangential to the Sarah/Robert and Lydia storylines, which were infinitely more absorbing. I have to admit to being quite disappointed by the lack of scenes involving Joe in this episode - I wonder if he receives additional screentime in the DVD cut of this miniseries? One can only hope, because Douglas Henshall is too fabulous to waste IMO. As is Penelope Wilton as councilwoman Mrs. Beddows!

If you've watched South Riding thus far, I'd love to hear your thoughts! While I thoroughly love the world of this miniseries - the clothing and period detail are superbly handled - I'm a little less enchanted with the pacing and character development in this hour of South Riding - major actions, especially between Sarah and Robert, seem to be developing without the backstory or plausibility that I'd like. The "great" Andrew Davies can only do so much with a script that only allows for three hours. *sigh* Anyways, please share your take on Part Two if you watched it Sunday, as I'd love to discuss!

South Riding, Part One

Masterpiece began airing its final presentation of the Classic Season with Part One of South Riding, based on the novel by Winifred Holtby. Being entirely unfamiliar with the novel, but intrigued by the previews and the stellar cast (not to mention how much I love the 1930s!), I didn't know what to expect. In short, I loved it and can't wait for next week. Now on to the LONG post. :) Here's the episode one summary from the PBS website:

It's 1934, and Sarah Burton, the new headmistress of Kiplington Girls High, is returning to her native, conservative northern town, bringing fiery determination to empower her girls and yank the sorely outdated school into the future. But everything from her fashionable ensembles to her anti-war sentiments and modern ideas attract the disapproval of the stern, brooding landowner, Robert Carne, who doggedly clings to a vanishing way of life even as the past tightens its malicious grip on him. Oppressed by overwhelming debt — and his absent wife's portrait hanging in the estate he can no longer afford to upkeep — he is forced to send his beloved but unstable daughter, Midge, to Kiplington Girls High, where again, he crosses swords with Sarah.

The Depression has hit hardest in the local slums, the Shacks, where Sarah's other standout student, Lydia Holly, is trying to overcome the squalor that surrounds her. A development scheme to provide sanitary housing, advocated by Sarah's ally and admirer Joe Astell, pits him against the reactionary Carne. But Carne's animosity toward Sarah is alleviated, however temporary, when the two share an exhilarating, intimate encounter at the very boundary of life and death.

Host Laura Linney mentioned in her introduction to this episode that an entire generation of young men was lost in World War I, leaving a "surplus two million" women without husbands and therefore traditional lives as wives and mothers. Author Winifred Holtby was one of those women, who made a name for herself as a novelist and journalist, and the heroine of her most famous novel is an unconventional teacher determined to fling open the doors of the world to her young students, determined to teach young women that above all they not allow themselves to be limited by birth or convention.

The teacher in question is Sarah Burton, brought to life by Anna Maxwell Martin. Martin is a familiar face to fans of British drama. She played the role of Bessy Higgins, Margaret Hale's best friend in North & South, followed by her breakout role for Masterpiece Classic audiences as Esther Summerson in the fabulous, amazing, epic, and beloved Bleak House (fun fact - also scripted by Andrew Davies). Martin is a wonderfully expressive actress, with a rather magnetic screen presence, all qualities put to excellent use as she introduces audiences to the fiery, forward-thinking Sarah. From her fashionable, colorful (I want that red dress SO BADLY! Yes, I love it so much it deserves TWO photos!) ensembles to the passionate energy she exhibits in her interview for the position of girls' school headmistress, it's clear that Sarah is a woman who will not be denied, determined to make a difference in the lives of her pupils. Sarah may be a native of the South Riding area of Yorkshire, but it's abundantly clear that she is returning to her hometown determined to change it - and that drive meets with stiff opposition from more conservative, set-in-their-ways townsfolk.

Chief among those who cling to the old ways is Robert Carne (David Morrissey), a local landowner, whose manner is as stern and brooding and stormy as any ardent fan of Jane Eyre's Rochester could wish. Morrissey (deservedly) gained notice among Masterpiece viewers with his portrayal of Colonel Brandon in the 2008 miniseries version of Sense and Sensibility. I've got to admit, in fairness to Morrissey, I really underestimated his ability to play the tortured soul so well. Carne is barely getting by financially, is haunted by memories of his wife, Muriel (Lydia Wilson), who was clearly unbalanced, and has the rearing of an emotionally unstable young daughter, Midge (Katherine McGolpin).

I loved the way the film sets up the introduction and conflict of ideals between Sarah and Robert. Sarah, dressed to the nines, is running to catch a train to the headmistress job interview, while Robert is first seen on a horse, racing to the same destination as he makes up part of the interview committee. First of all, WHO DOESN'T LOVE A MAN ON A HORSE? But beyond that deliciously enjoyable moment, the scenes nicely juxtapose the the clashing ideals and ways of life that are being brought to bear on the South Riding community. Modern vs. traditional - I just thought those moments were really well staged and visually stunning.

Midge is an interesting character. I need theories on her behavior, so chime in with comments. Is she crazy like her mother, or is she unstable because she thinks she killed her mother? That somehow she's responsible for her mother's death? Because that's how I read Midge's crazy behavior in the scene that introduced her. Thoughts? Also, while the child is clearly, desperately in need of some positive reinforcement, did it unsettle anyone else just a bit the way she "flips a switch" to become all quiet and functional at school? What sort of crazy family are the Carnes, exactly? OH THE DRAMA! I love it. :)

Admittedly one of the primary reasons I was excited about this program was the presence of actor Douglas Henshall, playing war veteran and activist Joe Astell. Henshall first came to my attention as the dearly loved and missed original team leader Nick Cutter on Primeval, followed by a fantastic turn in the Masterpiece Contemporary drama Collision. Earlier this year he appeared in the theatrical release The Eagle, and later this summer it looks like he'll be appearing in a new episode of Inspector Lewis (YAY!). First of all, and I just need to get this out of my system - Henshall's accent is absolutely TO DIE FOR in this show. Seriously, I could listen to the man talk rubbish ALL DAY and be perfectly happy.

Astell is one of the board members who interview Sarah for the headmistress position, and I loved watching his face react to her unconventional answers. You could see him thinking this, this is a woman whose interesting, this is someone I would like to know better. And happily for Astell and myself, his unspoken wish comes true when the two sit together a musical evening showcasing local "talent." :) During the patriotic medley at the end of the program, Sarah - much to her chagrin and embarrassment - is overcome with emotion. Astell's quiet and kind demeanor draw forth the story of the fiance killed in the war, the man whose loss changed her life forever, by forcing her to make a life for herself, instead of the one she'd planned to live at his side. I loved the moment the two of them shared, quietly bonding over the shared pain of loss and scars sustained through the war. Robert is all nice and brooding, don't get me wrong, but I needed more Joe in this episode. Oh that accent...it just kills me. :)

In addition to exploring the changing roles that were opened to women in the 1930s, South Riding is a glimpse at a small town and the effect change, secrets, and gossip can wreak on a close-knit community. One such plot thread that will be interesting to see the consequences of is the minister Alfred Huggins' (John Henshaw) inability to keep his pants zipped. He indulges in an affair with Bessy Warbuckle (Janine Mellor), exposing himself to blackmail when she turns up pregnant with another man willing to marry her, both desirous of being paid off. It will be interesting to see how Huggins' frantic desire to maintain his "good name" in the community backfires as its guaranteed to do in a drama of this type. And I just have to say, while I'm enternally grateful that the scene where Huggins and Bessy get it on in the alley refrains from being explicit, seriously what was up with the noises Huggins was making?! I really thought the man was going to drop dead of heart failure - it would've been interesting to see what the show made of that, hmm? :-P

Another plot line sure to prove critical to the storyline is how the town council handles South Riding's slum community. Astell is at the forefront of the drive to develop a new, affordable and sanitary housing development, which pits him against anyone opposed to rapid change (i.e. Carne) or those only looking for financial return (i.e. Anthony Snaith, played by Peter Firth). I am familiar with Firth as a rather casual viewer of MI-5, but I've never seen him in a period drama so that change of scenery is nice. 

Sadly, councilwoman Mrs. Beddows (Penelope Wilton) is introduced and then practically dropped from the hour's activities. I adored Wilton's turn as Isobel Crawley earlier this year in Downton Abbey. Mrs. Beddows promises to be a possible ally for Sarah on the town council, though she tempers her support for Sarah's endeavors with an injunction not to "move too fast," because that's simply not the way things are done in South Riding. Wilton is a joy to watch on-screen, her characters are so full of life, and I am hard pressed to think of an actress better-suited to the role of lone woman on a council of men than she.

The slums is home to Lydia Holly (Charlie Clark), a scholarship pupil at Sarah's school who quickly proves to be one of her most promising students. A bit rough around the edges, and sensitive about her less-than-privileged background, Lydia is hungry for knowledge and affirmation, and education could be her ticket out. I look forward to seeing the teacher/student relationship develop between Sarah and Lydia, as Sarah is sure to be a fierce advocate of anything that will benefit Lydia's future. I loved the scene where Sarah has Lydia read her poem in front of the class, and the glowing look that overcomes her when her efforts are applauded. As Kaye reminded me on the Facebook feed that developed on my wall regarding South Riding, the school aspect of this series has a very Dead Poets Society feel to it.

Sadly for my Douglas Henshall-loving heart, the end of this episode sets up Robert as the romantic forerunner in Sarah's life. *sigh* Because of course, Sarah and Robert are going to fall in love because they take such an instant dislike to each other - and those Pride and Prejudice-esque sparks, when they fly they can be pretty irresistable. But I have to say, Morrissey is proving much more adept and interesting in the role of tortured, angst-ridden male lead than I expected. However, I have got to comment on the turning point scene. Sure, I love drama of Sarah's car running out of petrol, and in her search for help she comes across Robert attempting to help his prize cow deliver her calf (which was in breech? I think?). After all, nothing says love like taking turns STICKING YOUR HAND UP A COW'S UTERUS, RIGHT? RIGHT?!? Um, eewww. I freely admit in respect to situations like this I am a city girl through-and-through. :)

And perhaps my favorite twist - the closing scene where it is revealed that Muriel is alive. YES. CRAZY WIFE IN THE ATTIC (whoops, I mean asylum) FOR THE DRAMATIC WIN. I approve. I feel like this proves Holtby must have possessed an appreciation for the Brontes and Jane Eyre, therefore I like her.

I thoroughly enjoyed the start to this new series, and I cannot begin to tell you how exciting it is to see a story that is fresh and new and unknown (to American audiences, anyway) presented on Masterpiece. Fast-paced and engrossing, and thanks to the prolific Andrew Davies smartly scripted, I found the first hour of South Riding to be smart, engaging television. I adored all of the period detail - the 1930s were known for such fabulous clothes! And the filmmakers did an excellent job with the use of color (particularly with Sarah's ensembles) and light to showcase the push-and-pull between tradition and progress. The 1930s is such a meaty decade, full of terrific story possibilities, and a time period I'm admittedly biased towards - I couldn't be more thrilled to see period dramas exploring this time, bring something fresh and gloriously different to my TV screen. Here's hoping the next two installments live up to the promise of the first.

I am so looking forward to the continuation of this series next week. And then, after that, a re-viewing of the miniseries on DVD, which should be the unedited, full three hour version. Based on last night's runtime which clocked in at about 50 minutes, like Upstairs Downstairs it looks like Masterpiece cut about ten minutes per hour from South Riding to allow for the introduction and ADS. *sigh* Frustrating, but not unexpected given PBS's history with editing. I am hoping of course for more scenes with Douglas Henshall, and really all of the secondary characters that populate this drama.

If you watched last night's broadcast I'd love to hear your thoughts!

• For a limited time, you can watch episodes of South Riding online at the PBS website
• Read Rachel's thoughts on South Riding at a Fair Substitute for Heaven
• Preorder South Riding from Amazon, scheduled to release 5/17/11

South Riding starts Sunday!

I am so incredibly excited about the next presentation on Masterpiece Classic, starting this Sunday. South Riding is a new three-part drama with a script penned by the prolific Andrew Davies and brought to life by a slew of Masterpiece veterans. Here's a bit about the story we have to look forward to:

Don't miss Bleak House's Anna Maxwell Martin as a feisty young headmistress campaigning for change and avoiding love in Depression-era Yorkshire when South Riding debuts this Sunday, May 1, 2011, on MASTERPIECE Classic. David Morrissey (Sense & Sensibility) and Penelope Wilton (Downton Abbey) also star in Andrew Davis' adaptation of Winifred Holtby's classic novel.

The above teaser neglects to mention that a favorite of mine, Douglas Henshall (yay for Primeval!) is also in this production. You can watch a short preview below:

Watch the full episode. See more Masterpiece.

Look for my review of Part One on Monday! :)

Downton Abbey, Part Three

The fabulous Downton Abbey continued Sunday with Part Three of its (*sob* only) four-part run on Masterpiece Classic. As much as I'm excited and curious about the upcoming Classics productions - Any Human Heart, Upstairs Downstairs, and South Riding - goodness, I'm going to miss this show. Thankfully, season two of Downton is already in the works, with the recent announcement that it will be followed by a Christmas special, so we have a lot to look forward to in the 2012 Masterpiece Classic schedule already. :) Here's the summary of Part Three from the PBS website:

The fair has come to town, and with it comes romantic hopes for several Downton Abbey inhabitants. In a triumph of the absurd, Violet asks a baffled Matthew to use his legal acumen to dissolve the entail — the very document by which he is to inherit Downton Abbey. Matthew's findings and his hopes for Downton cement his growing closeness with Robert, and a new warmth suffuses his encounters with Mary. But Mary's thaw doesn't extend to her sister Edith, as their competition becomes crueler. Cora simply wants Mary married, but newly circulating rumors may hinder that aspiration. Meanwhile, Violet's power struggle with Isobel moves from the hospital grounds to the annual flower show as Isobel casts her democratizing gaze upon Violet's prize-winning roses.

A kind gesture by Bates is not lost on Anna; but he cryptically professes to not being capable of more. Sybil discovers the politics of gender and class, with the help of the socialist chauffeur, Branson, and Carson discovers that several valuable bottles of wine have gone missing. The vulnerable kitchen maid Daisy, under increased pressure and ire from a fretful Mrs. Patmore, possesses a dangerous secret that she learned upstairs.

I loved the fact that the show brought us an honest-to-goodness turn of the century fair. Such an event is really a great social equalizer, as both Downton's servants and the younger family members derive enjoyment from the colorful occasion. This episode brought Mrs. Hughes's (Phyllis Logan) past to light, as she is reunited with her girlhood beau, Joe Burns (Bill Fellows), who longs to rekindle their romance. It was really rather heart-wrending to watch this storyline play out, as in Part One Mrs. Hughes expressed some doubts about dedicating her life to service. Her choice to stay at Downton is a powerful illustration of the sacrifice of a life "in service," while also speaking to how her life, rising through the ranks of Downton's staff, was a very real career choice that changed her perspective on life and independence, if that makes sense. 

Another part of the reason Mrs. Hughes chose to stay at Downton was because she is really sort of a mother-figure to the downstairs staff, and a commanding officer to those whose plots and shenanigans cross the line and threaten to disrupt the balance of the downstairs order. Poor William (Thomas Howes), the second footman, goes through the absolute wringer this episode. He's still crushing on Daisy (Sophie McShera) who, bless her lil' ol' heart, is still pining after Thomas (Rob James-Collier), who really ups the villainy quotient here. Thomas is just frustrated, and when his plans are thwarted he turns mean, and William is sadly an easy target. He asks Daisy to the fair, and she's got so many stars in her eyes that she can't (yet!) see Thomas for what he is - a manipulative jerk. William may be rather simple, but after the events of the fair I have a great deal of respect for his character. He's extraordinarily kind, and much more deserving of the title of gentleman than Thomas could ever hope to be.

Thomas's partner-in-crime, the lady's maid O'Brien (Siobhan Finneran) is equally frustrated, and turns to plotting upset among the Crawley family when she catches wind of the rumor that Daisy's burdened by a heavy secret - she witnessed Mary and her mother carrying the Turkish diplomat from her room back to his following his untimely demise. O'Brien plays on second sister Edith's (Laura Carmichael) jealousy of Mary by apprising her of Daisy's secret, and Edith, being a respected member of the family manages to pull the secret from the vulnerable Daisy with little trouble. I suspect, or should I say rather hope, that Thomas and O'Brien's machinations will backfire in their faces and we'll get to see them receive the comeuppance they so richly deserve!

Violet (Maggie Smith) and Isobel's (Penelope Wilton) continued rivalry provided some of this installment's most memorable and funny scenes. Violet finally gets to show up Isobel when she correctly diagnoses the hand rash Isobel's butler, Molesely (Lionel Guyett), is suffering from as a plant allergy instead of the infection Isobel diagnosed and unsuccessfully attempted to treat. Maggie Smith's "harrumph" of victory was SO funny! In addition the hospital, Violet and Isobel take their very genteel, private "war" to the battleground of the annual flower competition. Poor Violet is in complete denial that she wins first prize every year as a courtesy for being the Dowager Countess. I was unexpectedly delighted when after much ribbing from both Isobel and her son, Robert, Violet "graciously" decides to take it upon herself to award the cup to the well-deserving Molesly's father and his gorgeous prize roses. I love the fact that Violet had to ultimately make the decision to do so herself, it was an extraordinarily classy moment, both humorous and touching when Violet refuses to admit to the soft-hearted gesture - I think she derived no little sense of satisfaction from being recognized as magnanimous. *wink*

Matthew (Dan Stevens) is finally starting to acclimate to life at Downton and begins to take a genuine interest in the running of the estate. I really loved the developing friendship between Matthew and Robert (Hugh Bonneville) as Matthew begins to look on Robert as mentor and friend. Robert proves to be much more than "just" an aristocrat, and Matthew's open regard and growing respect for Robert and his desire to better Downton creates a father/son relationship between the two, much to Mary's chagrin. Sadly for Edith, and a harbringer of events to come, Matthew has no interest in the often-overlooked middle Crawley daughter. He's attracted to Mary (Michelle Dockery), but at the same time very, very wary of her due to her anger over being displaced as heir because of the entail. I thought it was absolutely hilarious when Violet asks him in his capacity as a lawyer to look into breaking the entail (the swivel chair moment ranks right up there with the "what is a weekend?" comment). I love that Matthew has enough character to do so seriously smf I believe he'd willingly give up his status as heir if it were feasible. But since, at this point, it isn't, the awkward position that places him in with regards to Mary is rather painful to watch since he's highly aware his presence causes her pain.

Mary is still reeling over losing her virtue to a man who died in her bed, and that coupled with her potent anger her strictly proscribed social role has the makings of an explosive combination. I got really annoyed when she blew up at her mother Cora (Elizabeth McGovern) over being "beyond saving" because she'd "taken a lover." Maybe I'm arguing over semantics but one night does not equal "taking a lover" in my book - the latter implies relationship growth or repeated action, and Mary and the diplomat never moved beyond the lust stage, nevermind that she seemed to not really know what was going on. I suspect that before this season of Downton Abbey ends, Mary is in for a RUDE awakening. Until this point she's been operating under the impression that her privileged status as daughter of a respected peer makes her untouchable. But when word of a rumor that Evelyn Napier will not pursue a relationship with her because of her character (read: lack of virtue), Cora recognizes even if Mary does not that the clock is ticking on Mary's opportunities to marry advantageously and with her reputation intact.

Youngest Crawley daughter Sybil (Jessica Brown-Findlay) continues to dabble in "revolutionary" class ideas by helping housemaid Gwen (Rose Leslie) apply for secretarial work. I absolutely hated seeing Gwen's career hopes crushed in this episode - she's tempted to give up, but Lady Sybil won't allow her to admit defeat. Sybil is (thus far, anyway) easily the most sympathetic and likable of the sisters. She seems genuinely interested in Gwen and the two strike up a friendship of sorts in this episode that Sybil's older sisters wouldn't dream of initiating at this stage in their lives. Last week saw the brief introduction of the new family chauffer, Branson (Allen Leech), who proves to share Sybil's views on social equality. Though I suspect that Sybil will prove to be a relative innocent where Branson is concerned both politically and personally. Not only is he good-looking and personable, but he's got an appealingly roguish manner about him that I think could prove irresistable to Sybil. I loved the scene where Sybil makes her entrance in her "shocking" harem-pants style dress, and Branson peeks through the window grinning at her decked out in such forward-thinking fashion.

Bates (Brendan Coyle) and Anna (Joanne Froggatt) prove once again to be the stars of this week's installment and the heart and soul of Downton's staff. I love how Bates is settling into his role as valet and taking on a sort of father figure/protector status towards staff members like William when he's abused by Thomas or Daisy when she's manipulated by Thomas and O'Brien. Of course this is setting him up with a big target on his back, but after seeing Bates slam Thomas against the wall in this episode I have no doubt he can handle whatever comes his way. Seriously, was that moment not wonderful? I had no idea Brendan Coyle had that in him, be still my heart! My Bates/Brendan Coyle crush became a full-fledged obsession in this episode, particularly after he sneaks a tray to Anna when she's sick with a cold in the maids' quarters. How sweet and adorable was that?! The flowers! The romantic tension! I LOVE IT! And despite the fact that Bates has some dark secret that prevents him from pursuing Anna, I nearly cheered when she was the one to declare she loved him. You go girl, that's all I've got to say. :) I've always liked Brendan Coyle, but I simply adore how Downton Abbey has provided him with a character that's transformed him into such a sweet, romantic leading man.

Ending on the ominous scene of Edith penning a letter to the Turkish embassy, I can't wait to see how that plays out. Edith is so jealous she's blind to the potential ramifications of her rash action, as are those who fed her jealousy by apprising her of the rumors about Mary. One of the many things this show does so well is reveal how intricately intertwined the lives of the Crawleys are with those of their servants. The ability for all of the downstairs staff to have their livelihoods depends on the physical and economic "health" of their upstairs "family," and with the entail still being questioned and tested and Mary's reputation hanging by a thread, it could be argued that the Crawley fortune is a house of cards waiting to tumble at the merest hint of scandal. As Cora so wisely tells her recalcitrant eldest daughter, times may be changing, but it's unlikely they'll change enough to impact Mary's future the way she assumes. This is British drama at its finest, a worthy way of celebrating Masterpiece's landmark 40th anniversary. I loved every moment of this installment and can't wait to see where the show takes these characters next!

Catch up with or revisit my other Downton Abbey reviews:

• Part One, The Crawleys
• Part One, The Servants
• Part Two

Downton Abbey, Part Two

Downton Abbey continued this past Sunday with Part Two of its four-week run on Masterpiece Classic, and my suspicions that this is one of "those" shows that keeps getting better and better as time goes on has been happily confirmed. I'm going to try my best to confine my review of Part Two to one post, but I'm not making any promises. :) If you're new to the blog, or want to revisit my thoughts on Part One of Downton, here are the links: The Crawleys, The Servants. Now that I've had about three hours to familiarize myself with the world of Downton Abbey and the many, many "upstairs" and "downstairs" residents that call the estate home, I feel like I have a much better grasp on the characters and multiple, interwoven plotlines. Here's the summary of Part Two from the PBS website:

As Matthew and Isobel, the newly-arrived Crawleys settle into life in the village, Isobel offers her experience with modern medical techniques at the hospital, to the considerable consternation of Violet. Both Matthew and Mary bristle at the prospect of being matched to one another; still, Matthew indulges Mary's clever barbs even as a suitor in the form of Evelyn Napier is invited for a foxhunt, accompanied by the handsome attaché at the Turkish Embassy, Kemal Pamuk.

Downstairs, secrets reflect the ambitions, shames and desperate hopes of the servants, as housemaid Gwen tries to hide the contents of a heavy box set atop the wardrobe in her room; Carson abandons his customary dignity as he skittishly raids the pantry; and Bates refuses to share the source of his debilitating pain to his co-workers. Their concern and camaraderie markedly contrast the festering discontent of Thomas and O'Brien.

A sinister stranger barges into the house, demanding to speak to Lord Grantham, and an attractive stranger captivates Mary before setting into motion a chain of events that put the fate of Downton Abbey on even less stable ground.

Lady Sybil

I was quite happy to see many of the characters who I felt were barely introduced in Part One given more fleshed out storylines and personalities in this installment of the series. We're introduced to the secret hopes of Gwen (Rose Leslie) the housemaid, when Anna (Joanne Froggatt), the head housemaid discovers her secret. Gwen wants to be a secretary! It's fascinating to see just how radical of an idea this was in 1913 - virtually unheard of in many social circles, yet if a woman succeeded in training herself and secured a suitable position, she could achieve a level of independence unknown of scant years before. Time and technology has changed much. :) Not only do I a greatly admire Gwen's bravery in reaching for such a bold dream, but the support she receives from Anna further seals my good opinion of that housemaid's character. We are also finally treated to some insight into youngest Crawley daughter Sybil's (Jessica Brown-Findlay) character. When she discovers Gwen's aspirations she resolves to do all she can to help the housemaid realize her dream - clearly Sybil has the makings of a social and political activist.

Mentioning Anna brings me the opportunity to discuss what is fast becoming one of my favorite relationships on the show - the friendship (hopefully more? hopefully SOON? *g*) that develops between Anna and Bates (Brendan Coyle), the valet. When Bates and Anna find themselves alone in the servants quarters, and Bates teases her by saying "alone at last" - people, I kid you not, I melted. Brendan Coyle is just adorable. Of course, for every halting step forward in their relationship - such as "bonding" over the hilarious discovery that Carson (Jim Carter), the butler, had is secret life as a stage performer revealed in front of the Earl. While Carson was mortified at being embarrassed before lower staff members, the fact that Anna and Bates handled the news with discretion earns them, especially Bates, some much-needed grace from the butler's perspective. Bates's attempts to treat his limp on the sly with a painful-looking metal brace also reveal the sympathetic side of housekeeper Mrs. Hughes (Phyllis Logan), who I absolutely love now thanks to the kindness and understanding she shows him. The excrutiating brace reminded me of old-school scholiosis treatments - I have scholiosis and was treated with a brace for a time as a child, and believe you me as inconvenient and uncomfortable as my brace was, I am convinced it was nothing to the types of devices used to treat back curvatures even a mere fifty years ago. I desperately hope that Bates's reticence to share about his past (seriously, I'm dying to know the man's secrets!), and admit to vulnerability doesn't keep him and Anna apart forever...I would be crushed.

Matthew (Dan Stevens), the new heir, and his mother Isobel (Penelope Wilton) have begun to settle into life at Downton in earnest. Since Isobel was married to a doctor and trained as a nurse, she very naturally takes an interest in the local hospital where Violet (Maggie Smith), the dowager countess, serves as patroness. Isobel has some rather progressive ideas - she advocates the latest medical treatments and wants equal care for all patients, no matter what their social standing. And while these ideas may not seem all that radical today, in a world like Downton Abbey's that thrives on tradition and male dominance in areas like the medical profession, Isobel's push for improvements sets her at odds with Violet. I practically cheered when Isobel's suggested treatment for dropsy (I had no idea how awful that affliction is!) succeeded in saving the life of a poor farmer. Watching Isobel "butt heads" with Violet is going to be a lot of fun as this show progresses, and I'm really growing to love her character - Wilton has infused her with just the right balance of "modern" sensibilities and old-fashioned class. And watching Violet fume at having to share management of the hospital with Isobel was hilarious - Part Two continued the grand tradition set forth in Part One of giving Maggie Smith some of the show's funniest lines and seeing her steal scenes whenever she appears on-screen.

Kemal Pamuk

Isobel's son, Matthew, has been obstinately determined that his new status as heir will not change his character, and much to the chagrin of the Crawley family he has retained his "working class" sensibilities. My absolute favorite scenes with Matthew so far occur in this episode. Robert (Hugh Bonneville), the Earl, begins to take on the role mentor and seeing the estate through Robert's eyes begins to slowly but surely change Matthew's perspective on his cousins' lifestyle. When Robert gently suggests that Matthew's contempt of needing a valet has personally wounded the servant, the implication that he's been guilty of exhibiting his own class prejudices is staggering. The scene that shortly follows when Matthew asks his valet, Molesely (Lionel Guyett) for help and input nearly brought tears to my eyes. That moment of kindness and understanding was so sweet! If Matthew can balance his middle-class upbringing with some grace and understanding of the traditions that have formed Downton Abbey, he could turn out to be an heir to be reckoned with, worthy of respect.

Lady Edith

Of course Matthew is still getting no where with Mary (Michelle Dockery), who bristles at the mere suggestion that she should marry such a commoner to secure her inheritance. In Part Two we begin to see that Matthew is attracted to Mary, but of course loathe to admit it (shades of Pride and Prejudice, anyone?). Since Mary makes no secret of her disapproval of the new heir, her overlooked middle sister Edith (Laura Carmichael) begins to look on him favorably as a marriage prospect for herself. I really felt so bad for her when their afternoon of church visiting backfires with Matthew's mentions of Mary and the suggestion they bring his mother along on a future outing. Edith is so tightly wound, so resentful of her position as an "overlooked" younger daughter that I half expect her to do something quite rash before this miniseries ends.

Mary is still a difficult character to like, but if there is one thing this episode drives home it's the fact that her proud manner is a mask for extraordinary amounts of childish pride, naivete, and uncertainty. She remains hopeful that her prospects will improve with the arrival of Viscount Evelyn Napier (Brendan Patricks) for a foxhunt (which was a lot of fun to watch come to life on-screen). Unfortunately for the handsome Napier, he brings along a friend - Kemal Pamuk (Theo James), an attache to the Turkish embassy (and the first hint of the worldwide political climate that will result in World War I). Pamuk makes quick work of acting on Mary's oh-so-obvious attraction to his dark good looks, and seduces her with the 1913 version of one of the oldest lines in the book ("You'll still be virtuous for your husband"). Mary, being a total ninny, falls for it, and her stupidity has an unexpected (and if I'm being honest here, I thought frankly hilarious) result - Pamuk has a heart attack and dies in her bed. In order to save her reputation, she has to get Anna and her mother Cora's (Elizabeth McGovern) assistance in hauling him back to his room. I never, ever expected the show to have the man responsible for Mary's ruination drop dead in such a spectacular fashion, and I confess the sight of her long-suffering and PROPER mother hauling a corpse around Downton was so unexpected it cracked me up. Yes, I realize this probably says something awful, like I occasionally exhibit a disturbingly macabre sense of humor, but at least I'm owning to it.

Viscount Evelyn Napier

I feel so, so bad for poor Napier when he realizes that Mary has absolutely no romantic interest in him, even after Pamuk's death (I think trauma has something to do with the latter, though!). I really liked the painfully honest conversation he has with Cora, about his hopes for a marriage based on love. The man is a class act all the way and I really hope we get to see his character again. It will also be interesting to see the impact Mary's shocking indiscretion has on her relationship with her mother. I suspect that the full ramifications of her actions with Pamuk have yet to be felt.

Part Two of Downton Abbey succeeds on a grand scale, adding layers of rich characterization and raising the stakes for each member of the Crawley family and their servants. It is truly fascinating to witness how intricately entwined the lives and fortunes of the wealthy owners of Downton Abbey are with the servants who depend upon Downton for their livelihood. Unforunately for the Crawleys, Mary's dalliance with the Turk was not the secret she hoped - and like all hidden secrets and sins, the truth is sure to out and the impact will doubtless be felt by many more than just Mary (there's a lesson there, no?).

To anyone who may still be making their mind up about whether or not to watch Downton Abbey - I will say that this series pushes the envelope a bit more than many may be accustomed to in period drama. It definitely does not shy away from all aspects of life, the good and the bad. From my perspective, the show does not "cross the line" and become too explicit for my tastes (i.e., it cuts away from Mary's seduction scene), but I recognize that it may be too close to the line for others. I know that viewing tastes and preferences are varied among the readers of my lil' ol' blog, and I do try to recognize and be sensitive to that in my reviews.

What captivates me about Downton Abbey isn't just the smart script and gorgeous sets and costumes, but the raw authenticity of the characters. The characters' mistakes and actions - whether or not I agree with them, ultimately - have thus far, anyway, provided me with both entertainment to feed my period-drama loving heart and food for thought about the best and worse that humans are capable of. I'm looking forward to seeing where this wild ride takes the Crawleys and their servants next. :)

• Click to read Charity's EXCELLENT post "Life at Downton"
• Click to read Laurel Ann's thoughts on Part Two at Austenprose