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 2.1: "A Far Away Country About Which We Know Nothing"

The recently re-booted Upstairs Downstairs, which premiered in the spring of 2011, returned to Masterpiece Classic Sunday night for the premiere of its second and final series. I thoroughly enjoyed the all too short three episode first season, and  am looking forward to seeing where the show takes these characters this year, with the ominous spectre of war looming ever-closer on the horizon. Here's a short episode summary from the PBS website:

A new baby has arrived at 165 Eaton Place in the hands of Lady Agnes Holland, who is weakened from giving birth. Meanwhile, Sir Hallam Holland’s aunt, Dr. Blanche Mottershead, is stirring up tension in the house. Mr. Pritchard is doggedly trying to maintain peace and order in the absence of Miss Rose Buck, while also readying for an unnerving prospect – war.

Gas masks are issued and long-buried secrets about the staff are revealed against an increasingly uneasy political backdrop. While the house staff struggles with the juxtaposition of patriotism and conscience, Sir Hallam stands firm in his diplomatic convictions, helping to negotiate what may be the final chance to avert war. But as the possibility of maintaining peace becomes more apparent, will England be able to sleep quietly for long?

Ed Stoppard (Zen), Keeley Hawes, Blake Ritson (Emma, Mansfield Park), Alex Kingston and Adrian Scarborough (Cranford) star in the stirring return of season 2 of Upstairs Downstairs, from Heidi Thomas (Cranford, Return to Cranford).

It's now 1938, and Adolf Hitler is demanding that the Czechoslovakian government turn over the Sudetenland. Sir Hallam Holland (Ed Stoppard) is one of the only politicians in the foreign office concerned with stopping Hitler's gradual takeover of Europe. But with Neville Chamberlain in office, the policy of appeasement rules the day, and Hallam is forced to weigh the consequences of bucking the establishment (as his wife so helpfully points out later in the episode).

Lady Agnes Holland (Keeley Hawes) is recovering from the difficult birth of her second child, born several weeks premature and leaving both mother and child physically weakened. But when war seems imminent, Agnes is determined to face the coming storm from 165 Eaton Place, and returns home, bringing with her crippling fears for the safety of her children.

Much has changed in the two years since we last visited Masterpiece's most famous address. The indomitable Lady Maud (Eileen Atkins) has died, and her position in the household has been filled by her half-sister Blanche (Alex Kingston), an outspoken archaeologist. Atkins's absence is keenly felt in this hour, as her character was one of the highlights of season one. She bowed out of production reportedly due to unhappiness with the direction the scripts were taking. She sadly isn't the only familiar face missing from this season, as co-creator Jean Marsh, who plays Rose, had her role severely curtailed due to her own health problems. Rose is only briefly referred to in this episode -- the character contracted tuberculosis, apparently, and is at a sanatorium. This is a huge blow for the show, as Rose is in many respects the heartbeat of the series, the thread linking the original run with its current incarnation. (To a lesser extent, Ellie Kendrick is also missed as the vivacious young maid, Ivy -- unless I missed something, her absence remains unexplained.) Also, I should probably note that while I think Kingston is a fine actress, with her NEVER-ENDING tenure on Doctor Who I'm suffering from a bit of fatigue, and this episode she doesn't really do anything interesting except upset Mr. Amanjit. So THAT is boring.

In Rose's absence, the running of the household has fallen entirely on the shoulders of Mr. Pritchard (Adrian Scarborough), the butler, who embraces both that role and his new position as an Air Raid Warden with a fervor that many of his subordinates find a bit grating, to say the least. His passion for wartime preparation reaches new heights when, spurred on by Lady Agnes's concern over a lack of gas masks for babies, tracks down a supposedly "gas-proof" pram. Now, just looking at it, which looks like a miniature portable OVEN, should have been enough of a clue to the family that this invention was a disaster in the making. But it's left to the footman, Johnny (Nico Mirallegro), to prove just how much so in a most unorthodox fashion. Spurred by a short conversation with his mistress after she faints, still ill from her hospital stay and worried over her baby's weak lungs, Johnny decides to test the pram on Lady Maud's beloved pet monkey. Monkey in pram, pram in closed garage, car turned ON...and the poor monkey sacrifices his life for his family. :P

Now, I must admit I was a little bummed to see Maud's pet so quickly dispatched with, as he was the source of much comic relief in the first season. But if he had to go, at least his death saved the Holland baby from suffocation. Given Johnny's past run-ins with the law, he's terrified that he'll lose his position if Sir Hallam learns that he is responsible for the pet's untimely death (especially since it so upsets his younger sister, Pamela, played by Sarah Gordy -- who had been living in a nursing home due to Down's Syndrome until her discovery in the season finale). Mr. Pritchard risks his own standing with Sir Hallam by stepping up and taking responsibility for Johnny's actions -- a sacrifice that leads to an afternoon in jail and the unpleasant revelation of a past that proves most unsavory due to the current political climate.

The arresting officer, a Sgt. Ashworth (Kenneth Cranham), is initially inclined to treat Pritchard leniently -- until he discovers in Pritchard's record that he was a conscientious objector during the Great War. Once word of this leaks to the rest of the staff at Eaton Place, it creates a huge rift in the ranks, as the cook Mrs. Thackeray (Anne Reid) and Maud's former secretary Mr. Amanjit (Art Malik) cannot fathom a world in which that choice can be viewed as anything but cowardice. Mrs. Thackeray lost her husband to the war, and Mr. Amanjit fought, so their pain, and the anger at Pritchard exempting himself from their sacrifices and collective suffering threatens to permanently fracture the smooth running of the Holland household. (This is as good a point as any to mention the addition of a new kitchen maid, Eunice, played by Ami Metcalf.)

I thought the script handled Pritchard's history exceptionally well, particularly in how it informs his current drive to do everything in his power as a warden and as butler to see to the safety of his "family" of employers and fellow servants. The painful tensions that his youthful pacifism (born out of a Quaker upbringing) bring to light the sad truth that really their are no victors in war -- no matter what side one allies themselves with, the conflict will leave you irrevocably changed. Slight aside -- Mr. Amanjit completely losing it and shooting up the garden seems to underscore the idea that without Maud's presence, does he really have a place on this show? I mean I get that his overly harsh reaction to Pritchard can be interpreted as grief over a beloved employer's death and fear over uncertainty about the future, but given how much I loved his character in season one the extreme he swings to in this episode is a bit jarring to say the least.

Interestingly enough the simmering conflict below stairs brings out a flash of the best Lady Agnes is capable of -- much needed as this character continues to be troubled by a distinct lack of warmth, of sympathy. I love Hawes, she is one of my favorite actresses, but unfortunately the scripts often paint Lady Agnes as a bit too cold and emotionally -- perhaps brittle is the word I'm looking for. She really steps up when Amanjit's target practice in the garden forces her to lay down the law and remind every member of her household that no matter what they believe, where they've come from, they all call 165 Eaton Place home -- and united they must stand or the war will see them destroyed. That said, given her apparent lack of support for her husband's anti-appeasement views -- well that discord, that tension, is apt to cause problems in their relationship, or so I predict.

With the birth of her second child, a new nursery maid is hired -- the pretty Beryl (Laura Haddock). Her fashion-forward ways are initially frowned on by the oh-so-proper Pritchard, but I love her spirit and spunk. Haddock is a relative newcomer to me, having previously appeared in Miss Marple: A Pocket Full of Rye. The pretty Beryl immediately catches chauffeur Harry Spargo's (Neil Jackson) eye, and I cannot TELL you how happy the promise of a little romance from that quarter makes me. Much of season one was caught up with Spargo's ill-advised "romance" with Lady Persie, Agnes's sister, and his flirtation with socialism, but since Persie fled London for Berlin Spargo has, apparently, gotten his head screwed on straight. He seems so NORMAL now that he's not caught up with socialist shenanigans, which makes me happy, because I think Neil Jackson is adorable. Also, I appreciate the fact that he apparently wants to do right by Sir Hallam's end of season show of faith in giving him a second chance to keep his job.

I love how any Beryl/Spargo flirtation is limited to MEANINGFUL LOOKS in this episode. They have the potential to be such an adorable couple, and after the mess Spargo nearly made of his life with Persie I have high hopes for his future romantic prospects -- particularly since Beryl is so likeable. I loved the scene at the end of the episode, when Harry rather embarrassingly allowed Beryl to basically give him a manicure, since his hands took a beating digging trenches and sandbagging houses in advance of a feared air blitz. Beryl is all "HUSH AND LET ME WORK, peroxide does wonders" and Harry is all "YOU'RE SO SMART (and pretty!!)" and then she drops the bomb that her mother was discovered with her head in the oven, so that's a bit of an emotional burden to carry around, and he's all sympathy and LET US BE FRIENDS, and she's all this job is only a temporary fix until I save enough money to become a proper hairdresser, and *WINK WINK* I LIKE YOU. Warm fuzzies, right? *wink* :)

Speaking of the infamous Lady Persie -- with rumors of war abounding, Lady Agnes is desperate to see her wayward sister safely home in England once again. So when Hallam is sent to Berlin to accompany Chamberlain for the talks with Hitler (that result in the infamous "peace for our time" comment), he looks up his wayward sister-in-law. Oh, this reminds me -- this episode sees the return of Hallam's friend the Duke of Kent (Blake Ritson), a friendship that is sorely tested by Hallam's commitment to anti-appeasement -- I thought their exchange about the letter from the king, appealing to Hitler to avoid another war, was very interesting. Anyways, back to Persie (Claire Foy) -- she's as shocking and unrepentant as ever, or so it seems when Hallam meets her for drinks in her shocking red dress (cliched sign of a fallen woman? irregardless the dress is TO DIE FOR).

Apparently Persie still likes hanging out with Nazis and has no intention of easing her poor sister's mind by returning to the safety of hearth and home. Hallam does NOT take this well, as he's already depressed about Chamberlain's capitulation to Hitler's demands vis-a-vis the Sudeten, and if last season is any indication this is a man who likes SAVING PEOPLE. And Persie is a prime candidate, because appearances or no that woman is a hot MESS. Before leaving Persie for the evening, the two share an unexpected kiss -- a slip that I have no doubt will haunt Hallam for the rest of the season (because really, he is too smart -- well he has the POTENTIAL, anyway -- to be with a woman as flaky as Persie). At least Spargo has moved on, that is this episode's saving grace let me tell you! :P

This is a very solid start to the new slate of episodes, which has the potential to prove overall more satisfying than the previous season since it covers a six hour runtime versus last year's three. I love, love, LOVE the look of this show -- the bold colors, the gorgeous sets, the colorful characters. But most of all I am addicted to how screenwriter Heidi Thomas has crafted her drama against the backdrop of pre-war London. With Hallam so involved in the Foreign Office, the impact of the coming conflict can never fail to reach his home and it is fascinating to see the effects play out on characters both upstairs and down.

Zen: Ratking

Zen (sadly, tragically!) concluded its wildly entertaining three-week run on Masterpiece Mystery with perhaps the most interesting mystery yet. And while the end of the episode left me longing for more, if the show had to get canceled (silly BBC!) it ended on perhaps the best possible note - it left me wanting more, and left my new favorite smoldering sleuth in a very good place. Be warned, this post is apt to be long and rambling and ALL over the place. :) Here's the episode summary of Ratking from the PBS website:

There's a new boss on the murder squad, Ernesto Hueber, and to his position he's brought an ironclad Code of Conduct, an antagonistic relationship with the powers that be and a bitter contempt for Zen. No "fraternizing" with coworkers and no freedom to define and skirt his own boundaries means certain noncompliance for Zen. Between his growing relationship with Tania and a new morally ambiguous case handed to him by the Ministry, Zen now must navigate the potential minefields of the girlfriend, the boss and the law.

To pay a kidnapping ransom is illegal in Italy. But that is exactly what Zen is tasked with by the Ministry when the head of the powerful Miletti family is kidnapped and his lawyer is murdered during the ransom drop. With his rival Fabri on the case and a mysterious stranger on his tail, Zen is poised to take a fall. Will the feisty Venetian find a slippery solution to his high-stakes dilemma, or is he finally out of luck?

Based on Michael Dibdin's bestselling Aurelio Zen novel, Ratking stars Rufus Sewell (Middlemarch), Caterina Murino (Casino Royale), and Ed Stoppard (Upstairs Downstairs).

Ratking opens with the murder of a middle-aged lawyer, Francesco Pirotta (Franco Maria Salamon), shot to death after delivering a briefcase full of ransom money - an activity that, no matter how well-intentioned, is illegal in Italy. Pirotta was the lawyer of the powerful and influential Miletti family (living proof that the extremely rich really ARE different from the rest of us), whose patriarch Ruggerio had been kidnapped several days before. The family was attempting to deal with the kidnappers on their own and without involving the police, since to do so would see their monetary assets frozen by the government to prevent things like disastrous ransom drops.

Thanks to the Ministry's interest in his career, it's a foregone conclusion that Zen (Rufus Sewell) is assigned this nightmare-in-the-making of a case. The "patronage" of Minister Geurchini (Anthony Higgins) and his aide Amedeo Colonna (Ben Miles) only make Zen's standing at work increasingly untenable. Since his biggest advocate and boss, Moscati (Stanley Townsend) has been sidelined thanks to a heart attack, the department has a new and extremely strict superior - Ernesto Heuber (Michael McElhatton). Heuber institutes a "no inter-office affairs" policy and takes an immediate dislike to what he views as Zen's publicity-seeking ways thanks to the coverage of his recent case successes.

This episode is packed with the sly humor that is just one of the many (many, MANY) factors that make Zen such a compelling character. Time after time a government official, coworker, or member of the Miletti family question Zen's judgment or make disparaging remarks about his capabilities, and he doesn't say a word and just walks off. He doesn't have to do anything else - that's the beauty of Sewell's portrayal. All it takes is a look, an expression, the quirk of an eyebrow, and Sewell conveys a wealth of information without uttering a syllable. GENIUS. SOMEBODY HAND THE MAN AN EMMY.

I'm perhaps biased by some warped personal preference, but if a mystery story centers on a highly dysfunctional family like the Milettis, I am predisposed to love it. When Zen goes to interview the Miletti family, he first meets the arrogant second-in-command Carlo Fagioli (Callum Blue), who married the boss's ice queen daughter Cinzia (Sarah-Jane Potts). I loved Blue in the made-for-TV World War II-era film In Love and War. He was a big part of the reason I saw Princess Diaries 2 in theaters (yes, really), and most recently he played a critical role in the three-part "Kali" storyline on my beloved sci-fi show Sanctuary. Blue seems to relish playing a selfish, obnoxious character like Carlo, and frankly it's fun to watch him in this setting (the sharp suit he sports is just an added bonus). The essence of his character is perhaps best-highlighted in his RUDE dismissal of a nun (Katie Murphy) seeking charity assistance for her order's orphanage ministry. Potts, meanwhile, is notable mainly for her extraordinary and disturbing ability to convey her fixation with her on-screen brother, Silvio, and her art-deco style haircut.

Silvio is played by Sebastien Armesto, who should be a familiar face to Masterpiece fans. Armesto played Edmund Sparkler in Little Dorrit (and was hilarious!), Mr. Haslam in Bright Star, and King Ferdinand VI in the latest Pirates film. Silvio is your stereotypical debauched aristocrat with major daddy issues, a disappointment to a powerful father and, quite frankly, a disaster waiting to happen. You know things are going to go badly, very badly for his character when he shows up wearing a lavender shirt and a pink coat and pouts. *wink*

Ed Stoppard finally justifies his presence in this series as Zen's personal and professional rival, Vincenzo Fabri. When Zen specifically requests Giorgio de Angelis (Vincent Riotta) as back-up, Heuber takes the opportunity to exercise his authority by sending in Fabri instead, who does such a pathetically obvious job of sucking up to Zen that its laughable. Much to Zen's chagrin, Fabri is good friends with the Miletti family, complicating case. There is this hilarious exchange when Fabri suggests quite seriously that they bungle the case in order to disgrace Heuber - Zen's look of speechless incredulity was so pitch-perfect it just cracked me up. Sewell has a real gift for understatement. :)

Matters are further complicated when the lawyer's widow, Donatella (Zoe Tapper) goes public with the case, claiming to want justice for her husband. Tapper has appeared in a variety of Masterpiece programs, including Foyle's War, Jericho, and Miss Marple, as well as playing the role of Mina Harker in the short-lived series Demons. Donatella suggests that the Milettis orchestrated her husband's murder because he knew their secrets. Her outrage is so seethingly palpable and fake that it really made me appreciate the twist the storyline takes when Zen discovers the truth about Donatella's relationship with a Miletti family scion. This story is jam-packed with twists and turns and double-crosses that make watching the relationships unravel on-screen absolutely fascinating viewing.

One of the biggest draws of this series for me has been the complex portrayal of Zen's personal relationships, namely with his girlfriend Tania (Caterina Murino) and his Mamma (Catherine Spaak). While I hate the fact that Zen & Tania's relationship kicks into high gear while they're both still technically married, I'm not gonna lie on a purely fangirl level I adore Sewell and Murino on-screen. Their chemistry is electric and the pair truly excel at playing messed-up individuals striving to desperately grasp some happiness in their personal lives. When the Miletti case reaches a dangerous crossroads, and Zen might actually lose his life, their "I love you" exchange just melted me. First Tania says it, and then Zen CALLS HER BACK, whispers "I love you" and HANGS UP?! That moment pretty much epitomizes everything I love about Rufus in ten seconds - so much restrained passion, emotion, and kindness is in that scene it overwhelms, it really does. There is also a similar exchange with his mother, when he basically thanks her for everything she's ever done for him, then kisses his hands and gestures towards her in salute and WALKS OFF!! He just WALKS OFF and leaves his mother shattered in the kitchen!! Oh my word that was brilliantly played. If you don't understand why I love Rufus Sewell so much, just watch those scenes - they pretty much say it all.

Ben Miles as Colonna has been a constant presence in this series, but his role is significantly expanded in this episode and full of unexpectedly humorous exchanges with his reluctant protege. The professional double-standards the "unfortunately" honest Zen are forced to operate within are, quite frankly, mind blowing. The government wants Miletti recovered safely with a minimum of publicity, since he bankrolls the party in power. The nonchalance with which Colonna hands over a suitcase FULL of laundered money for a second ransom payment is hilarious, because only Zen recognizes the absurdity of the moment. If the money drop fails it's only Zen's career on the line, so one of the best parts of this episode is the revelation of how Zen has learned to work the system in his favor, much to Colonna's chagrin. *wink*

The pacing and atmosphere of this episode was superbly handled. I especially loved Zen's first failed ransom drop attempt - the setting, the crowd, and Adrian Johnston's score all worked together in perfect harmony to build suspense. This made the payoff incredibly satisfying, when thanks to cooperation from his private eye friend Gilberto (Francesco Quinn), Zen is able to conceal his and the government's complicity in the illegal ransom plot (embarassing Heuber is just a bonus). I loved the fact that we got to see more of Gilberto in this episode. He and Zen have a stormy friendship, but their regard for each other is so well played I wish Gilberto's role had been greatly expanded in the series (for narrative purposes AND the fact that Francesco is DROP. DEAD. GORGEOUS.).

It's interesting, because over the course of this series I've come to appreciate that Zen would be the last person in the world to say that anything comes easily for him. But Ratking gives him that illusion, even for just a brief moment - he's got the girl, the plan to rescue Miletti appears successful - and in a flash it all disappears, leaving him on the brink of personal and professional ruin. You know you probably need to re-evaluate your life when your girlfriend's soon-to-be ex-husband tries to kill himself in front of you (and fails - seriously, this should be read as a cautionary antecdote against affairs), and then your kidnapping investigation blows up in your face in a spectacular fashion, leaving the man you're trying to rescue dead.

But the thing that I like so much about Zen is that he refuses to concede defeat. With nothing left to lose and everything to gain, he persists in his investigation and uncovers the truth, nearly dying in the process. Surviving Ratking was a hard-won victory, and Rufus Sewell proves he was the perfect actor to portray the highs and lows, the depth and nuance in this "everyman" character. And the payoff is oh-so-sweet - strong-arming Colonna into giving him the temporary job of chief, and using his newfound clout to pursue correct (if unpopular) lines of enquiry? PRICELESS, people, freaking PRICELESS.

Zen is a shining standout in Rufus Sewell's filmography. He's such a wonderfully layered, nuanced character - on the one hand, seemingly unflappable and self-assured, on the other hand capable of incredible kindness (oh I LOVED the fact that he donated the government's ill-gotten ransome money to a NUN!) and heart-stopping vulnerability, all while being drop dead gorgeous and adorable. Just when I thought my Rufus Sewell obsession had perhaps reached its height, the man gives me this series - all I can say to that is, more please.

• Read my review of Zen: Cabal
• Read my review of Zen: Vendetta
• Order Zen on DVD
• Watch Ratking online through 8/30/11

Zen: Cabal

Masterpiece Mystery continued its love-fest with Rufus Sewell...I mean its three-part run of Zen mysteries this weekend with an episoded entitled Cabal. This episode further involves Zen in the increasingly dangerous world of political intrigue and cover-ups, where a slip-up might not just cost him his career, but his life. Here's the episode summary from the PBS website:

The dashing Roman detective Aurelio Zen is stuck in the hot seat when an important aristocratic family's disreputable son falls to his death from a bridge over the Tiber River. The powerful Ministry, to insulate itself against scandal, puts Zen on the case and demands his swift dismissal of the death as suicide. But the beautiful prosecutor Pirlo, exuding power and no shortage of allure, presses for a probing investigation...and a little something with Zen on the side.

With these cross-purposed powers breathing down his neck, Zen then learns of the Cabal, a shadowy criminal organization at the highest levels of Italian society. But Zen isn't buying conspiracy theories. He's simply trying to survive his dilemma as a pawn in a potentially sinister political game.

It's a case that demands a calm and delicate touch, and the stress is showing for Zen, even at home, where the stylish reputed maverick lives...with his mother. But he's relieving some tension in the arms of the murder squad's gorgeous secretary Tania Moretti. That is, until smug colleague Vincenzo Fabri moves in, leaving Zen in the hands of the overeager Pirlo, and a case that threatens to alienate Zen from everything — and everyone — he finds important.

Based on Michael Dibdin's Aurelio Zen novel, Cabal stars Rufus Sewell (Middlemarch), Caterina Murino (Casino Royale), and Stanley Townsend (Sherlock).

The episode opens with a shocking death. Umberto Ruspanti, the troubled scion of an aristocratic and well-connected family, falls from a bridge near the Tiber River to his death. Zen (Rufus Sewell) is called out to investigate in the wee hours of the morning. Poor Ruspanti's untimely demise allowed for some major Zen/Mamma (Catherine Spaak) as he gets ready to leave his apartment and discovers that his mother has made him an espresso. BESIDES the obvious fact that no man should look that good in a suit (really, where are the guys who wear suits like that?) that early in the morning, how cute was Rufus being all concerned about waking his mother up? ADORABLE. *sigh* :)

Unfortunately for Zen, Colonna (Ben Miles), the aide to Minister Guerchini (Anthony Higgins), requested Zen's presence on the case. The government wants Ruspanti's death quickly ruled a suicide and quietly hushed up, since there is fear that any investigation would raise unnecessary questions about the current government. Where there's smoke there's usually fire, no? Seriously, this whole "there's not a problem, but just in case we need THIS outcome" directive thing is a bit humorous. OF COURSE in Zen's life no investigation can be straightforward. Despite the discovery of an apparent suicide note at Ruspanti's apartment, there's the fact that the apartment was ransacked, and marks on the deceased's face indicate a struggle immediately prior to his death. Zen also discovers that Colonna's desire for a swift suicide ruling is at odds with gorgeous prosecutor Nadia Pirlo's (Cosima Shaw) desire to see Ruspanti's death further investigated. She wants Zen personally and professionally, if you catch my drift, and keeping both her and the government at bay just so he can attempt to do his job becomes a tricky balancing act.

I really love Zen's self-depracting nature and his near complete lack of self-assurance, the latter especially when it comes to his personal life. On one hand I have trouble buying the idea that a man who looks like Rufus does, who carries himself like Rufus does, who can friggin' wear a suit as well as Rufus does would have ANY insecurity issues. But the fact that Zen does have these struggles in his personal life is really part of his charm, no? :) He has this lost little boy quality, and his insecurity that someone like Tania (Caterina Murino) could be well and truly interested in him (their mutal infidelity issues aside) is just ADORABLE. And on yet another completely superficial, massive Rufus Sewell fangirl note, does he not seem like one of the best kissers ever captured on film? EVER? Because the coffee shop kiss at the beginning of the episode floored me. Floored me, I tell you.

Personally and professionally it seems like Zen is viewed as a bit of an underdog - and really wouldn't you say that's due to his rather quiet nature (which is so precious it KILLS me...I am SO easily distracted...)? The moments when someone is under-estimating Zen are some of the funniest in the film. This script has a real dry, sarcastic wit - mostly coming from Zen's character - which I just adore (since I have joked on occasion that sarcasm is my love language). *wink* Power players like Colonna and Pirlo seem to always under-estimate his intelligence and grasp of a situation - they may think they're playing him, but really they are the ones being played.

The web of intrigue surrounding Ruspanti's death gets more tangled when the man's lawyer, Gattuso (Allan Corduner) comes forward, claiming that Ruspanti was murdered because he was trying to sell the secrets of a group of powerful men. This concept is reinforced when Zen is kidnapped at gunpoint by Gianni (Hilton McRae) who claims that the Cabal, a highly secretive and powerful organization, killed Ruspanti for attempting to defect. Gianni has been living in hiding for years, and wants to help Zen expose the Cabal's secrets. Zen, however, is a little to practical for the conspiracy theories. I thought Corduner looked extraordinarily familiar - turns out he's appeared in Foyle's War, Daniel Deronda, De-Lovely, and Defiance, to name a few of his credits. And McRae might look familiar to fans of the 1999 version of Mansfield Park, as he played Mr. Price.

This issue of the Cabal - who they are, what they do, the very question of their existence - introduces an over-arching theme to the Zen series with pretty much limitless possibilities for danger and intrigue. When watching last night's episode I couldn't help but bemoan my foreknowledge of Zen's cancellation - after watching only two episodes I have to rate that a terribly short-sighted move on the BBC's part. But, looking on the bright side of things, if Zen was destined to be a one-season wonder, at least I am getting the chance to revel in what has so far been consistently high-class television. :)

In his quest to uncover the true nature of Ruspanti's death, Zen falls in with Arianna (Valentina Cervi), a high-priced call girl (or courtesan, as she prefers), who was Ruspanti's friend and sometime lover, and who has very highly-placed clients (namely Guerchini). While I think her multiple clothes-changing scene could've been shortened significantly, I will own that Zen's awkwardness at her lack of inhibitions was hilariously cute. I really liked Arianna's character - she was nice and street-smart and savvy, and I loved the fact that she and Zen seemed to fall into an easy friendship (nothing more, really!) over the course of the investigation.

This episode introduces Mara (Julie Cox), Zen's estranged wife who wants to finalize their divorce. She and Zen were so genteel when trading barbs, weren't they? Cox is a familiar face I haven't seen on-screen in ages - she appeared in an episode of The Scarlet Pimpernel film series, as well as Marple and Poirot. Since Zen and Tania's "affair" is progressing, I'm a bit relieved that they're both taking steps to finalize their splits, since that is the route they've oh-so-clearly settled on. It was interesting to see the impact of the divorce talk on Zen's psyche - he has no desire whatsoever to remain wed to Mara, but the idea of putting a "period" to that epoch in his life - a failure at that - is extremely troubling. He's a character who feels deeply, and that "unfortunate reputation for integrity" creates some moments of painful introspection.

In addition to the introduction of the shadowy Cabal, my favorite aspect of this episode was Zen's longing for Tania. Rufus Sewell just does this adorable lost puppy-dog expression thing so friggin' WELL. Vincenzo Fabri (Ed Stoppard) is still determined to bed Tania - so its rather sweetly satisfying when it's revealed that Zen's jealousy is for nothing, because Tania was playing him. And the way Zen acquires a "free" apartment for Tania in the heart of Rome is just genius. I love the way he holds that chip in reserve, so to speak. The "reveal" to Tania is just priceless. What I really loved was watching Zen watch her - Sewell's face just seems to light up from deep within, his chemistry with Murino is so on fire. And the kiss? Holy cow, two kisses like that in one episode. I die of joy, I really do. *swoon*

While this episode didn't have action sequences quite on the level of Vendetta, I loved the introduction of the Cabal - especially when it's revealed at the end of the episode that Colonna is a member and Gianni's BROTHER. Loving the drama. *wink* People, Ben Miles SHED A TEAR!

With nice little touches - like Zen conspiring with his co-worker, de Angelis (Vincent Riotta), to extend their investigation, or when he beats up a co-worker for placing crass bets after their boss, Moscati (Stanley Townsend), ends up in the hospital from a heart attack - this episode further established Zen's world and his glorious, wonderful, messed-up character. Oh, before I forget - regarding Zen's coworkers - I really want Gilberto (Francesco Quinn) to get more screentime. I'm already sorry there's only one episode left next week - this is a world I've really enjoyed spending time in. Okay fine, I admit it - this show is basically my Rufus Sewell dream-come-true. :P Full of gorgeous Italian scenery and fascinating characters, Zen has been a welcome change-of-pace for Masterpiece, and personally I've been loving it. I'd love to hear your thoughts!

• Read my review of Zen: Vendetta
• Watch Zen: Cabal online through 8/31/11

Zen continues tomorrow

It's no secret I loved the debut episode of Zen on Masterpiece Mystery last Sunday - you can check out my thoughts on the first episode, Vendetta, here. I loved it so much I even hunted up a new Rufus picture just for the reminder post...you can thank me in the comments. *wink* Here's a bit about the new episode:

Rufus Sewell stars as the sometimes bumbling but always stylish Aurelio Zen in Zen: Cabal, airing Sunday, July 24, 2011 at 9pm (check local listings) on MASTERPIECE MYSTERY! When a disgraced aristocrat falls to his death, Zen must determine suicide or murder even as his smug rival moves in on Tania. Caterina Murino (Casino Royale) and Ed Stoppard (Upstairs Downstairs) also star in this adaptation of Michael Dibdin's novel.

Oh I can't wait. Can. Not. WAIT. :)

Zen: Vendetta

How much fun was this, people? :)

Zen began its three-week run on Masterpiece Mystery last night with its first episode entitled Vendetta. Seeing as I am a rabid Rufus Sewell fangirl, I was predisposed to like this series - it also had in its favor that it shares much of the same production team that brought six superb episodes of the Kenneth Branagh vehicle Wallander to Masterpiece Mystery in previous seasons. Happily Vendetta delivered on all fronts, providing me with a heckuvalot of fodder for my Rufus Sewell obsession as well as a fast-paced, entertaining storyline and gorgeous, absolutely beautiful Italian scenery. Here's the episode summary from the PBS website:

Meet Zen. He has an unusual (Venetian) name and, in the shark tank of Roman politics, has an even more unusual reputation — as an honest detective. Aurelio Zen, the sometimes cool, sometimes bumbling, but always impeccably stylish murder squad detective is saddled with an "unfortunate" reputation for integrity, and it hasn't exactly helped his career. Nor is his personal life thriving. In spite of advances from female suspects as and colleagues alike, he is pushing 40 and living with his doting mother after a failed marriage.

But Zen is handed a chance to play politics and salvage his career when a debauched billionaire construction magnate is murdered in his heavily fortified mountain retreat. Zen is driven to find something it seems only he wants — the truth. Well, the truth and the murder squad's new secretary, Tania Moretti.
Meanwhile, a vengeful killer is making his way to Rome, brutally executing those who sent him away to prison for murder. The final target of his vendetta: Aurelio Zen.

Adapted from Michael Dibdin's acclaimed crime novel Vendetta and from the producers of Wallander, Zen stars Rufus Sewell (Middlemarch), Caterina Murino (Casino Royale), and Ed Stoppard (Upstairs Downstairs).

First things first: Rufus Sewell was MADE to play a role like Aurelio Zen. Smart, stylish, charismatic, yet at the same time adorably, boyishly unsure of himself, he owns the screen every time his character appears (which, thankfully for me, is in nearly every frame of film). :) Similarly to Wallander, Zen is a character burdened by a drive to get the job right - only in Aurelio's case he handles the setbacks his predisposition for honesty and absolute forthrightness have handed him both personally a professionally (seemingly, anyway) better than his Swedish counterpart.

Vendetta opens with the first of two cases that will intersect in unexpected ways as Zen's investigations progress. A high-court judge is ambushed in the Italian countryside by a now-terminally ill ex-con (on compassionate release), Tito Spadola (Peter Guinness) and his son Pepe (Gregg Chillin), who are determined to hunt down and kill the men responsible for sending Tito to prison for a murder he didn't commit years earlier - including one unsuspecting Aurelio Zen. (Never mind that Tito isn't exactly as pure as the driven snow to begin with, or that he really doesn't have a good grasp on the concept that two wrongs don't make a right - it's all about nuance, people, nuance.) Guinness played a small role as the Coroner in Bleak House, while interestingly enough Chillin apparently plays the role of Ron Weasley in the Harry Potter videogames. Guinness, especially, does a superb job playing the unhinged, driven ex-convict determined to exact vengeance against those who wronged him - he's suitably cold-blooded and intense, a great villain for this type of story.

Meanwhile, Zen arrives at police headquarters in Rome, and with just a look as only Rufus Sewell can give we see just how smitten he is with his boss's new secretary, the gorgeous Tania Moretti (Caterina Murino). Murino should be familiar to fans of James Bond films, as she played the ill-fated Solange opposite Daniel Craig in Casino Royale. Zen might not quite have down how to talk to Tania, but thank goodness he's classy enough not to participate in the office pool betting on who will sleep with her first (*sigh*). Moscati (Stanley Townsend), Zen's superior, informs him that they've been called to the Ministry for a pre-trial review of the evidence in the case of a murdered influential billionaire Oscar Faso (Alessandro Cica) and his call-girl "house guests." Minister Geurchini (Anthony Higgins) and his aide, Colonna (Ben Miles), want the case against the prime suspect (and Faso's business partner) Favelloni (Greg Wise) locked up tight, despite the lack of hard evidence and a sloppy investigation by the local police. Ed Stoppard is also introduced as Zen's workplace thorn, the oily, self-assured Vincenzo Fabri. Stoppard was seen earlier this year as Sir Hallam in the Masterpiece re-boot of Upstairs Downstairs.

The introduction of Zen's workplace introduces a slew of familiar faces. Stanley Townsend does an excellent job portraying Zen's gregarious, stressed-out supervisor, and if he looks familiar you might be a fan of Sherlock or Foyle's War. Anthony Higgins made a fairly recent appearance on the blog when I reviewed the Marple episode The Secret of Chimneys (my review). I vastly prefer Higgins's portrayal of a sauve Italian diplomat than a faux Herzoslovakian count. *wink* Ben Miles as his aide, Colonna, should be quite a familiar face to fans of period drama - he's appeared in the Marple episode A Pocket Full of Rye (my review), Lark Rise to Candleford, and Under the Greenwood Tree. As Colonna, Miles just exudes danger, a politician who'll do whatever it takes to achieve his goals, and I look forward to seeing how Colonna's somewhat strained interactions with Zen develop over the course of this series. And finally, I was thrilled to see Greg Wise as prime suspect #1 Favelloni, who "finds God" in prison and recants his "forced" confession, to the government's everlasting chagrin. Wise has been a favorite of mine ever since his unforgettable turn as Willoughby in the 1995 Sense and Sensibility. More recently he appeared in Cranford. I never would've imagined Wise playing an Italian, but with his lean good looks and sauve manners he acquits himself with aplomb in this episode.

In a nutshell, Moscati wants Zen to ensure Favelloni's conviction, Colonna wants Zen to prove Favelloni's innocence, otherwise the businessman might reveal unsavory secrets about his dealings with the current government, and he has to avoid getting killed by Tito & company. For help in unraveling the tangled mess of his professional life, Zen turns to a former associate now working in the private sector, Gilberto Nieddu (Francesco Quinn). If Quinn looked familiar, it turns out he's the son of legendary actor Anthony Quinn, who also did a stint on 24 (back in 2003 when I still watched that show).

At this point I feel the need to just break off and discuss various points of Rufus Sewell-related awesomeness in this episode. So if you'll indulge me... :)

• Zen gets offended when the Minister & his aide comment on his reputation for scrupulous honesty. Disturbing questions aside that this moment raises about the Italian justice system, isn't Rufus's faux outrage adorable?
• Zen wears Armani suits and lives with his Mamma (Catherine Spaak). Only someone who looks like Rufus Sewell and is all attentive and solicitous as only he can be is capable of making this work, nevermind APPEALING. *wink*
• When Tania asks for Zen's help in fabricating an excuse to leave her (presumably) overbearing husband for the evening, he gets so worried when she doesn't answer the phone that he drives to her apartment building (so sweet!). Then, when he drops her off at a bar and sees her leave shortly thereafter with a guy (who turns out to be a gay best friend), HE BANGS HIS HEAD AGAINST THE STEERING WHEEL. I don't think I can begin to fully articulate how perfect that moment was. *swoon*
• Zen can wake up in a cold sweat from a bad dream, retch in the bathroom sink, and then don a sharp suit and slurp down espresso, all while allaying his mother's concerns. Rufus Sewell should look into patenting this highly effective retch-to-heartwarming pivot thing. He has it down.
• After Zen and Tania have after-hours drinks and share a sort of His Girl Friday moment, he kisses her goodbye on the cheek. Check that, BOTH cheeks. Excuse me while I swoon, again.

More on Rufus later...this is an ongoing theme, obviously.

Filmed on location in Italy, besides Rufus Sewell's presence the film's gorgeous scenery and architecture are some of its biggest strengths. The film is saturated with warmth and color and history that adds a wonderfully exotic, intoxicating atmosphere to the storyline. Perhaps one of this episode's biggest draws is that it just feels so different from the normal mystery program Masterpiece airs (never underestimate the power of something new, hmm?). One of my favorite scenes is the episode's most harrowing - when Zen follows the itinerant girl Lucia into the network of caves that lead into Faso's mansion and is carried deep underground, lost in the watery maze. I don't know that I'm outright clausterphobic, but tight spaces aren't my favorite thing in the world, and that scene was tense, suspensful, and well-constructed. (And only Rufus could come out of that scenario battered and bloodied and still looking remarkably well put-together.)

I will confess that until reading the episode summary I had a little trouble keeping all of the characters' names straight and following some of the finer plot points as they unfolded. I attribute some of that to the mix of British and Italian actors, the latter with heavier accents, and PBS trimming potential five-plus minutes of the episode runtime for commercials (as is their norm for Masterpiece broadcasts, unfortunately). It probably goes without saying, but I'm looking forward to reviewing this episode on DVD.

It's probably hard to believe that I could find more to gush about, but really this episode does deliver the proverbial icing on the cake in spades. SPADES, I tell you! This episode ends with Zen and Tania passionately kissing in the elevator, and in case you're new to this blog I'm a big fan of Rufus Sewell in elevators (for prior evidence see the ShakespeaRe-Told adaptation of The Taming of the Shrew - my review). People, Rufus Sewell in an elevator makes my heart sing. MY HEART SINGS, I TELL YOU! (Yes, I can be that shallow. Indulge me and let me revel in it for a bit, please? *wink*).

Sewell and Murino have off-the-charts chemistry, and while I'd certainly prefer that  Zen was officially divorced, and not pursuing a relationship with a married woman, I can only say that when watching this show I was just seeing  Rufus being amazing, and wishing I was Tania. SHALLOW WISH FULFILLMENT, yes people, you read that right. :P

Zen proved to be a thoroughly enjoyable film, an intriguing blend of mystery, political drama, and humor, with a dash of old-school sensibility that recalls the Sean Connery-era James Bond films or the Roger Moore-helmed adventure show The Saint. (Adrian Johnston's quirky, sunny score really reinforces the "throwback" feel of the episode.) And with Rufus Sewell being freaking fantastic, it's a guaranteed bet I'll be tuning in next week. If you watched Zen's debut, I'd love to hear your thoughts!

Exit Question: Can a post contain "too many" Rufus Sewell-as-Zen photos? (Think carefully before you reply in the negative...) *wink*

• Watch Vendetta online through 8/31/11
• Preorder Zen on DVD from Amazon