Poirot: Murder on the Orient Express

Masterpiece Mystery kicked off its 2011 season with an encore presentation of last year's Murder on the Orient Express, based on the novel by Agatha Christie. Orient Express is perhaps one of Christie's best-known novels, and with good reason. It's a terrific introduction to one of her most famous sleuths, the inimitable Hercule Poirot, and thanks to a sprawling cast it lends itself to colorful adaptations (it's been filmed two times prior to this). Since I did a terrible job keeping up with Mystery reviews last year, I'm hoping that PBS's decision to air encore presentations of Poirot and Marple episodes will afford me the chance (and the incentive) to bring my Masterpiece Mystery page up-to-date. Here's the story summary from the PBS website:

Hercule Poirot is visiting Istanbul, but is called back to London to work on a case. Poirot's old acquaintance Xavier Bouc, who is director of the Orient Express, secures him a last-minute ticket on the impressive train. The train is completely booked, carrying an eclectic group of passengers such as Princess Dragomiroff and her nervous maid, Hildegarde Schmidt, English governess Mary Debenham and Swedish missionary Greta Ohlsson.

During the journey, ruthless American businessman Samuel Ratchett approaches Poirot. Ratchett cryptically explains to Poirot that he needs to give something back before he can be forgiven, but fears he'll be murdered in the meantime. He asks Poirot for protection, offering a large sum of money, but Poirot refuses. The next morning, Poirot awakens to find the train stuck in a snowdrift and Ratchett dead.

Aided by Dr. Constantine, Poirot examines the murder scene and finds a variety of confusing clues. He interviews those who last saw Ratchett alive: his manservant Edward Masterman, personal assistant Hector MacQueen, and conductor Pierre Michel before making a striking realization about Ratchett. The evidence points towards a particular explanation for the murder, but Poirot also considers a darker, alternative theory. Isolated by the snow and potentially on the train with a killer, Poirot is embroiled in one of the most vexing cases of career, and will soon be forced to make one of the hardest decisions of his life.

Now, I've been a fan of David Suchet's portrayal of Poirot almost from the time he started bringing Christie's Belgian sleuth to life (in 1989, can you believe it?). I've also read the novel Murder on the Orient Express two or three times at least. So I feel like I have a fairly good handle on Poirot's character and the source material (although admittedly it's been a couple of years since I've re-read the book). That's why the tonal shift, established with the opening scenes of this film, is somewhat inexplicable to me. The script (penned by Stewart Harcourt, a veteran of the Marple series) adds two scenes not found in the novel that set a darker tone for the story and Poirot's character than is warranted, in my opinion. The first scene sees Poirot drive an army officer in Palestine to suicide when he is caught lying after Poirot's investigation. This tragedy is followed by another, when Poirot witnesses mob mentality take over the streets of Istanbul when a woman is stoned to death for committing adultery. The senselessness of both situations - and perhaps a niggling sense of guilt for failing to stop the tragedies - puts Poirot in an extremely foul, introspective mood and leads him to ruminate on the nature of justice. It is perhaps not as black and white as he would like to think.

Most of the time I really don't mind when scripts add scenes or rework Christie's novels if the essence of the main characters I love (i.e. Poirot or Miss Marple) remain essentially true to themselves (notable exceptions being the completely unnecessary incest subplot in Marple's Murder is Easy). The opening scenes of Orient Express are, in my estimation, completely unnecessary additions to the story and set a darker tone than I'd prefer for one of my favorite Christie mysteries, finally starring my favorite incarnation of Poirot. Poirot comes across as so depressed, moody, and angry by turns at various times throughout this adaptation that I felt as though my beloved sleuth had aged at least twenty years, completely unnecessarily to boot. That said, I didn't hate this adaptation - anything starring Suchet as Poirot is worth watching at least once in my opinion, and a stellar cast and glorious period detail make this production a feast for the eyes. However, when "ranking" film adaptations of Orient Express, this one sadly has to fall a tick below the 1974 Albert Finney-as-Poirot film version (believe it or not...).

Christie created one of her most memorable, colorful casts of characters when she penned Orient Express, and any film version is a prime opportunity to gather a slew of famous faces to take part in the famous whodunit. As the director of the line Xavier Bouc (Serge Hazanavicius), an old Poirot acquaintance, tells the detective, the Orient Express is one of the few places on Earth that serves as a "great equalizer," where commoners can mingle with royalty, all taking advantage of the line's cross-country transportation abilities. Where else would such unlikely companions find themselves sharing the same dining car - except, perhaps, in an open republic of  a society like America.

The linchpin of the piece is the abrasive American businessman Samuel Rachett (Toby Jones), who attempts to hire Poirot for protection since he's convinced he's the target of a murderous plot. Poirot takes an instant dislike to Rachett and refuses the man's proffered offer of an exorbitantly high fee. I'm hard-pressed to imagine a better choice than Jones to portray the slimy Ratchett. I'm sure he's a perfectly lovely individual in person, but to be blunt he looks so...odd, I guess you could say...that when he's playing the villain it's completely believable. The only positive role of Jones's that comes to mind is his turn as the voice of Dobby the elf in the Harry Potter films. The day after Poirot's refusal, the occupants of the coach wake up to find the train stuck in a snowdrift, and Ratchett brutally murdered in his cabin.

Ratchett's murder forces Poirot to take a closer look at his fellow passengers, since as the only remotely qualified investigator on board he's recruited to apply "his little grey cells" to the problem of who killed the businessman. The clues don't seem to add up - twelve knife wounds were inflicted, all at varying angles and with different degrees of force, a burnt paper fragment with the letters "AISY ARMS," a monogrammed woman's handkerchief, a button from a conductor's uniform, Ratchett's missing cash, and the confusing accounts of the night's activities from the passengers combine to make a puzzling snarl for Poirot to unravel. Poirot being Poirot, he quickly draws the conclusion that Ratchett was in fact none other than Cassetti, a notorious gangster responsible for the kidnap and murder of the American Daisy Armstrong. The shocking crime - and Cassetti's subsequent, and sickening, acquittal - destroyed the Armstrong family. And if you went into this film unfamiliar with the story, that mess of unlikely suspects and confusing clues is the genius of Christie's novel. In an enclosed, defined space, how can Poirot divine the killer when nothing adds up and everything seems unrelated?

Several beloved, familiar faces make up the cast of suspects, and I just want to spotlight some favorites. David Morrissey, most recently seen in South Riding, plays Colonel Arbuthnot, Daisy's father's best friend in the service. In a huge ensemble cast like this, Morrissey doesn't get a great deal of screentime, but it's refreshing to see him play a more noble, driven character - as opposed to the mess he plays in South Riding. I do adore his voice, and he looks quite dashing in the late 1930s-era suits. It was also a treat to see another Masterpiece vet, Hugh Bonneville, make an appearance as Edward Masterman, Ratchett's butler and previously Daisy's father's orderly in the army. Bonneville, of course, made a big splash on Masterpiece earlier this year anchoring Downton Abbey as Robert Crawley, Earl of Grantham.

I was thrilled to see this production cast an old favorite of mine, actor Samuel West, as Dr. Constantine, the Armstrong family doctor and the conspirators' first line of defense in attempting to divert Poirot's line of investigation. I developed a huge crush on West when he played the young Caspian in the old made-for-TV production of Prince Caspian and the Voyage of the Dawn Treader. Following that turn, he played the ill-fated Leonard Best in Howard's End, Mr. Elliot in some people's favorite version of Persuasion, St. John Rivers in the 1996 version of Jane Eyre, as well as appearances in Hornblower and Foyle's War. Sadly, the man has never achieved the kind of on-screen success and exposure that I think he deserves, so it's always a treat to spot him in a new role.

Eileen Atkins is another cast standout, playing Princess Dragomiroff, godmother to the ill-fated Daisy's mother. Atkins is one of a handful of grand British actresses who own the screen just by showing up. As Princess Dragomiroff, Atkins is mesmerizing - regal, cold, and calculating, she knows she's taken a calculated risk by traveling on the Orient Express and is prepared to accept the consequences of her actions. If anyone is going to carry off the whole Russian princess thing, it's Atkins. She most recently appeared on Masterpiece as Lady Maud in the highly enjoyable "re-boot" of Upstairs Downstairs, and is a veteran of Cranford and the Marple series, to name just a few of the credits in her illustrious career.

This may not be a favorite Poirot episode, but it is certainly one of the most visually stunning. Everything about this production is top-notch, from the clothing to the detail in the train compartments. This film truly brings a glittering, lost era to vibrant life, and makes me desperately wish I'd been around to travel the Orient Express in its heyday. While Christie's story, and Poirot's ultimate decision regarding the fate of the train passengers, raises some interesting questions about the nature of justice, I do feel like the ultimate tone of this film is "off" when compared to the book and Suchet's previous performances as Poirot. However, the concluding scene, with its stark, snowy-white backdrop, is stunningly well-filmed.

Whether you're an old-time Christie fan or a newbie, I'd love to hear your thoughts on this film if you caught its rebroadcast last night!

• Watch behind-the-scenes videos on the making of Murder on the Orient Express
• Watch Murder on the Orient Express online through 6/5/11
• Purchase the DVD from Amazon as part of Poirot Collection 5.

Masterpiece Mystery starts tomorrow!

Masterpiece Mystery begins tomorrow night with an encore presentation of Agatha Christie's Murder On the Orient Express, starring the inimitable David Suchet as Poirot and a slew of other familiar faces in the all-star cast. Here's a bit about the story:

Hercule Poirot solves the greatest case of his career aboard the world's most glamorous train in an encore presentation of Agatha Christie's Murder on the Orient Express, Sunday, May 22, 2011 on MASTERPIECE MYSTERY! Star David Suchet is joined by a first-class rail car full of great actors, including Eileen Atkins (Upstairs Downstairs), Barbara Hershey and Hugh Bonneville (Downton Abbey). Watch the full episode online starting Monday, May 23.

Upstairs Downstairs, Part Three: "The Cuckoo"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Upstairs Downstairs, Part Two: "The Ladybird"

Upstairs Downstairs continued its three-part run on Masterpiece Classic yesterday with an hour that was even more moving and action-packed than its predecessor. After being introduced to the world of 165 Eaton Place last week, we dive headlong into the tumultuous, highly-charged political atmosphere of 1936 as those tensions impact the Holland family and their servants in unexpected ways. Here's the episode summary from the PBS website:

As fascism spreads within Europe, its threat is felt at 165 Eaton Place, both downstairs and up. A new parlormaid, Rachel Perlmutter, arrives safely from Germany having lost nearly everything, but carrying a secret. And the foreign office calls on Sir Hallam to appease the exiled Emperor of Ethiopia, whose country has been annexed by Benito Mussolini. But Hallam's diplomatic skills are also required at home — Maud continues to find Agnes lacking in her duties, as Agnes's attentions are happily occupied elsewhere. Persie takes a detour from the boring requirements of her social debut, rejecting a performance of La Bohème in favor of a flirtation with a servant and a dangerous ideology — pursuits which imperil her moral and physical standing.

A genuine companionship grows between Rachel and Mr. Amanjit, both outsiders who share knowledge of loss firsthand. Rachel tells Mr. Amanjit, "We are not forced to accept the things that grieve us," but it is Hallam who embodies that sentiment when he draws the line about who will live in his house, and how.

As you can tell, the show covered a lot of ground in this hour. Now that the household has been established, I get to focus on my favorite aspect of this miniseries - how the politics of the time are impacting the characters. Residents of 165 Eaton Place both upstairs and down seem to be settling into their roles within the household - though peace may be just an illusion. Lady Agnes (Keeley Hawes) is determined to see her devil-may-care sister Persephone (Claire Foy) make a successful debut, though she appears uncommonly distracted as regards the debut and the running of the household in general, much to her mother-in-law Lady Maud's (Eileen Atkins) irritation. Agnes, you see, is guarding a closely held secret - after years of disappointment, she's pregnant again, and her joy at the un-looked for gift is marred by fear that this child won't make it to term. The discovery of the pregnancy led to a really poignant moment between Agnes and Hallam (Ed Stoppard). They aren't a "perfect" fairy tale marriage by any stretch, but they possess a real affection and regard for each other that I love watching on-screen.

Lady Persie is, by far, my least favorite character in this ensemble. She's such a self-absorbed twit, a glaringly obvious trainwreck waiting to happen that I have very, very little sympathy (if any) for her. She's privileged and bored, and with fascism being fashionable among many members of Britain's aristocratic classes, it's easy to see where her character is headed. The glaring dichotomy between people like Persie, who are drawn to experiment with dangerous idealogies like fascism because of its seductive, forbidden lure, and those who have directly experienced persecution at the hands of fascists is one of the hour's most powerful themes. The only thing Persie had going for her in this episode was some spectacular 1930s fashion, particularly a jaw-dropping crimson evening gown. Superficial, yes, but it fits with her character (and oh my word I adore the costumes in this production!).

Chauffer Harry Spargo (Neil Jackson) is the avenue through which Persie becomes interested in the British fascist movement. It's interesting that ultimately Spargo seems capable of questioning the movement, while Persie determines to embrace it whole-heartedly. Persie and Harry finally fall into the affair forecasted in Part One, and sadly for Harry there is no doubt that their affair is merely a distraction for Persie, a way to occupy herself in her never-ending quest to avoid boredom. However, I have my doubts that the superficiality of their relationship is reciprocated from Harry's perspective. I think, or perhaps I am simply hopeful, that Harry is just naive enough to think that a shared interest in the fascist movement and its doctrine of equality is enough basis for a meaningful relationship with a woman well above his social class. (Gratuitous Harry picture alert! You're welcome!)

The downstairs staff sees a new addition in the form of Rachel Perlmutter (Helen Bradbury), who brings the painful effects of the fascist movement home to Eaton Place in a tragically personal way. Rachel is a beautiful, articulate, and refined German-Jewish refugee who fled her home bearing the secrets of her past life heavily on her fragile shoulders. At first glance one couldn't imagine a more ill-suited candidate for the position of parlormaid than Rachel. As the episode unfolds, so does Rachel's history, and we learn that she came from a privileged background, stripped of her rights in Germany simply because of the "crime" of her Jewish heritage. I really admired Rachel's character and loved her storyline - she exudes a quiet strength and kindness, all in the face of unimaginable horror and loss, that one cannot help but admire.

Rachel manages to strike up a friendship with Maud's secretary, the elusive Mr. Amanjit (Art Malik). Prior to Rachel's arrival, Amanjit occupied this solitary sort of "in between" status in the household - not a member of the family, and not quite a servant, he took all of his meals alone. No one thought to question this status quo until Rachel's arrival, when she proffers the hand of friendship and the two discover a shared understanding of heartbreak and loss. It is to Amanjit that Rachel confesses her greatest secret - she brought her young daughter Lotte (Alexia James) with her to England, and pays caregivers to watch the child so she can work.

The action of this episode builds towards opposing ideologies coming to blows at a fascist rally in London. When Harry appears for breakfast dressed in his blackshirt uniform for the rally, Rachel's reaction is shocking, powerful, and extraordinarily well-played by Bradbury. While the other servants sympathize with her horror at being confronted with fascism given her history, it's fascinating to see how none of them can really get where she's coming from since they haven't experienced its terrors firsthand. I particularly loved the scene when Rose (Jean Marsh) attempts to comfort Rachel after Mrs. Thackeray (Anne Reid) urges everyone to simply ignore Harry's uniform in favor of resuming their meal. Rose is genuinely compassionate towards Rachel's emotion, but I loved Rachel's explanation of why she couldn't simply pretend the ugly reminder of her past in Germany away. It was a powerful reminder of the saying "evil triumphs when good men do nothing" - and in spite of all she's endured, the idea that fascism could encroach on her new start in England spurs Rachel to take a stand as one of the anti-fascist protestors.

It was interesting to compare the political riot scene in this episode with a similar scenario from Downton Abbey. While Persie and both Sybil in Downton are superficially similar, their motivations for political involvement couldn't be more different. Persie is wholly selfish and maybe even a bit power mad, and the tragedy of her character is that the violence that erupts during the rally doesn't dissuade her from becoming more involved in the movement. The riot scene was brilliantly staged in my view. It was a genuinely frightening scene, moreso because I had become so emotionally invested in Rachel's character that I found myself seeing the protest through her eyes, and realzing in a fresh way what an extraordinarily brave thing she was doing in making her stand.

The results of the rally/protest will rock the Holland household to the core. It was fascinating to see Hallam, burdened by his work at the Foreign Office, indulge his wife's desire to ignore radio coverage of the rally. That highly domestic scene was a stark contrast to the violence erupting on London's streets. Rachel is deeply shaken when she sees Persie at the rally, and barely makes it home accompanied by Amanjit before succumbing to a violent asthma attack. Persie, meanwhile, has a sort of shell-shocked reaction to the rally - instead of the violence proving a deterrent, it's almost as if she's excited by it, but doesn't know how to process her emotions - so she drives off in the family car. Harry's reaction to the rally is what gives me hope for his character - instead of acting defiant in the rally's aftermath, he seemed genuinely troubled. (Side note: the filmmakers were able to put Jackson's background as an amateur boxer to excellent use during the riot scene - see above.) I loved the fact that he calls the police on Persie for stealing her own family's car. Not only does this reveal that he was worried about her, and the effect her reckless behavior could have on others, but it led to a fascinating confrontation with Hallam, who is understandably furious when he  gets the call that he has to bail out his sister-in-law. When Harry falls back on the excuse that he "had" to take Persie to the rally since he's "only" staff, it reveals an interesting tear in the fabric of the master/servant relationship. Between Hallam and Harry, the lines of expectation and responsibility between master and servant have become somewhat blurred.

Tragically the stress of the protest proves to much for Rachel, and she dies - her time at Eaton Place was all too brief, but her short stint as a member of the household has left an indelible impact. The scene where Amanjit weeps over her body TORE ME TO PIECES. Very well played, Mr. Malik. I only wish this series was longer, so I might have seen the secretary's friendship with Rachel unfold at a more liesurely pace (versus six months crammed into a hour runtime). One of this hour's best developments concerns Rachel's now orphaned daughter. Hallam, absolutely disgusted with the way fascism has touched his household, decrees that Lotte can live with them as long as she needs to - much to Agnes's chagrin. I was really annoyed with Agnes at this juncture - if Hallam can so bluntly realize the need to step in to save the child from being sent back to Germany, Agnes's hostility toward this addition to the household was quite hard to stomach. I really hope she has a turnaround next week.

Hallam really starts coming into his own as a character in this installment. He's a man who takes his work very seriously and wants to excel. But he finds that the expectations of his position with the Foreign Office are increasingly at odds with his own personal beliefs about the dangers of fascism and what his country's response should be to the growing threat. When Hallam is tasked with appeasing the exiled Ethiopian emperor, whose country was just annexed by Mussolini, he finds himself disgusted with his role of spouting meaningless platitudes to a man whose lost everything. I feel as though Hallam is a character on the brink of making some momentous changes in his life - and while ultimately they will be for the good, as is so often the case they are apt to be misunderstood by those closest to the individual in question. Witnessing the impact his work with the Foreign Office is taking on his personal life, and his growing understanding of and aversion to the fascist menace is turning Hallam into one of the show's most compelling, sympathetic characters. I cannot wait to see where the show will take him next as the world move closer to the advent of World War II. After last week, I was left wondering which character would emerge as the heart of the "upstairs" world - and after this installment left me literally cheering for Hallam's brave stand, I suspect I know.

Rachel's presence was felt in a very intimate, personal way through her friendship with the young housemaid, Ivy (Ellie Kendrick). Ivy can be so immature it's easy to forget just how young she actually is, and how her experience as an orphan has left her in sore need of anything resembling a mother's love and positive female role models. While she initially resents having to share her room with Rachel, over time the two become friends, and it's heart-wrenching to see Ivy begin to look on Rachel as a sort of surrogate mother-figure. The closing scene, when Ivy take's Rachel's daughter Lotte under her wing and begins to comfort her by singing the lullaby Rachel shared with her had me bawling. That's the type of beautifully-realized character maturation that I love to see, and Kendrick plays the scene with a poignancy that belies her age.

I can't wait until next week's installment - but I'm really crushed that next week is "the end" of this show that I've found to be wildly enjoyable. Once I made the conscious decision not to dwell on the fact that this series is far, FAR too short, it's been easy to marvel at just how much the filmmakers have been able to pack into each installment. The impact the tumultuous years just prior to World War II is having on these characters makes for fascinating television. Kudos once again to Heidi Thomas for delivering a smart script that packs an unbelievable amount of detail and character development into a too short timeframe, and to director Euros Lynn for keeping the action of the story moving at a brisk pace.

• For a limited time, you can watch Parts One and Two of Upstairs Downstairs online at the PBS website
• Read my review of Part One "The Fledgling"
• Read Laurel Ann's review of Part Two at Austenprose

Upstairs Downstairs, Part One: "The Fledgling"

Upstairs Downstairs began its three-part return to Masterpiece yesterday, and for someone almost wholly unfamilar with the original classic show, I found myself unexpectedly moved watching 165 Eaton Place, the most famous address in Masterpiece history, come to life once more. Here's the summary of episode one, entitled "The Fledgling," from the PBS website:

It's 1936, and 165 Eaton Place sees its first stirrings of life after years of neglect when the house's new master, Sir Hallam Holland, and his wife, Lady Agnes, cross the threshold. Though dust shrouds every surface, Lady Agnes is stirred to proclaim, "This house is going to see such life!" And with relish, she sets about an extravagant restoration and enlists the help of the staffing agency Bucks of Belgravia and its owner, former longtime 165 Eaton Place housemaid, Rose Buck.

Rose brings her cherished memories and high standards to the project, assembling a motley staff ranging from seasoned snobs to fledgling teens. Upstairs, the unexpected arrival of Hallam's mother, Lady Maud — returning from India with a Sikh secretary and a monkey in tow — introduces both eccentricity and tension as she interferes with Agnes's management of the house. Somewhat in over her head in her new position, Agnes is further tested upon the arrival of her devil-may-care younger sister, Lady Persie. As King George is dying, and against a backdrop of uncertainty, the residents of 165 Eaton Place host an elegant party to launch the Hollands in London society, and together attempt to field obstacles, both comical and sinister, that come their way.

Are you ready? This is going to be a long post, people. :) It's interesting to get two lavish dramas in the same year centering around aristocratic households on the cusp of great change - first with Downton Abbey and the advent of World War I, and now with 165 Eaton Place witnessing the tumultuous years leading up to World War II. I absolutely love studying World War II history and the 1930s and 40s, so the world of the Holland family and their servants is immediately fascinating to me, and every detail, from the furnishings to the clothes, is a veritable feast for the eyes. An added bonus is that this series dovetails nicely with the recent film The King's Speech - where that film was a royal view of events leading up to World War II, this series gives us a more "everyman" perspective on Edward's coronation and subsequent succession crisis leading up to the crowning of George VI and the advent of war.

Sir Hallam Holland (Ed Stoppard) serves in the Foreign Office, and upon his father's death has returned to England with his lovely wife the Agnes (Keeley Hawes), who is determined to make her mark on London society. Their new home, 165 Eaton Place, has been closed up for years and is in dire need of renovation - but the state of the house is no deterrent to Agnes, who sees nothing but potential. The house is like some sort of decrepit fairy tale castle - through the dust sheets and cobwebs, the filmmakers capture the potential, and hint at the former grandeur and life that once inhabited the walls. In order to establish her household, Agnes seeks out the assistance of Bucks of Belgravia, an employment agency run by Rose Buck (Jean Marsh). When Rose discovers that Lady Agnes is reopening 165 Eaton Place, the house she called home for forty years, when she was in service to the Bellamy family, her face lights up, and suddenly the film is infused with this almost magical sense of anticipation and poignancy. Rose finds the opportunity oversee the resurrection of her old home impossible to resist, bringing her love of the home and tradition to the task, and finds herself tested by the changing times along with the new residents of Eaton Place.

I know I've only observed Hallam and Agnes for an hour, but I'm already a big fan of their marriage - Stoppard and Hawes bring a real warmth and chemistry to their roles. I'm not too familiar with Stoppard's work - he's appeared in Miss Marple and Nanny McPhee Returns, and later this year we'll get the opportunity to see him when Masterpiece Mystery debuts the new Zen series. He's easy on the eyes, no? :) I'm anxious to see how Hallam's work with the Foreign Office impacts his character as the show progresses. He strikes me as conscientious and dedicated, though at present a little overwhelmed by the establishment of his new household and the family drama that ensues when his mother appears. I'm a huge fan of Keeley Hawes, and was looking forward to this series based on her presence alone. Hawes just exudes class, and I'm hard-pressed to imagine a more perfect actress in the role of the up-and-coming, eager to impress society Agnes (and let's face it, Hawes rocks the 1930s clothes!). A Masterpiece veteran, Hawes has appeared in programs like Our Mutual Friend, Wives and Daughters, Under the Greenwood Tree, and Miss Marple (and to top it all off, she's one of the luckiest women alive, married to Matthew Macfadyen...I am so jealous :P). Agnes comes from an aristocratic background, though her family has never been well off, and she's so anxious to impress I'm anticipating her eagerness for social success to cause some strain in her marriage.

Hallam's mother, Lady Maud (Eileen Atkins), is on track to become one of this series' most memorable characters. Atkins is a class act, appearing in everything from Cranford to the most recent adaptation of Robin Hood as Eleanor of Acquitaine. She was also one of the co-creators of the original Upstairs Downstairs, though she never appeared during the show's initial run - so this opportunity, to help anchor the program's return, is really a chance for Atkins to come full circle. Maud's introduction was absolutely hysterical, and sets up a nicely adversarial relationship with her daughter-in-law, whom she's never met, and who unforgettably mistakes her as an applicant for the position of housekeeper. Maud promises to be one of the series' most colorful characters - she's no-nonsense and intelligent, and strikes me as a bit bohemian, especially since Solomon the scene-stealing monkey is her ever-present companion. :)

Maud has brought a Sikh secretary back with her from India to take down her memoirs - Amanjit Singh, played by Art Malik. I am pretty unfamiliar with Malik's work, but it is worth noting that he appeared in Allegory of Love, one of my favorite Inspector Lewis episodes, and he's slated to appear in a Poirot episode, which we'll hopefully see on Masterpiece Mystery this summer. Amanjit promises to be a fascinating character. In his role as secretary, he's "above" the downstairs staff but "below" the family - a bridge between both worlds. He seems extraordinarily kind, especially in his interactions with the younger servants, and he must have the patience of a saint to cope with Lady Maud. :)

Agnes is looking forward to launching her little sister Persephone's society debut. Persephone, played by Claire Foy, should be a very familiar face to long-time blog readers - she played the title character in Masterpiece's stellar adaptation of Little Dorrit. Persie is a disaster waiting to happen. She bitterly resents growing up titled but poor, and she has a fiery, rash disposition that, given the political realities of the time, are guaranteed to get her in trouble. Simply put, she's a self-absorbed twit. I'm also predicting an affair with the chauffer, Harry Spargo (Neil Jackson), as the sparks flew off the screen at their first encounter. (Besides, it's an unwritten rule of these shows that younger women of the household must have an affair with the chauffer). Jackson is GORGEOUS (check out that jawline...just sayin'!), and I must be remembering his appearance in Quantum of Solace as he looked quite familiar last night. Another unwritten rule of these programs is that chauffers must have socialist tendencies, only now, seeing as it's 1936, I do hope Harry wakes up and doesn't fall completely to the dark - a.k.a. Nazi - side.

Jean Marsh's Rose is the heart of the show, a reality I am compelled to acknowledge even though I don't have the history with the show that long-time fans (like my momma) can lay claim to. I found it impossible not to be moved by Rose's emotion on returning to 165 Eaton Place, and subsequently receiving the housekeeper's keys at the end of the episode. Bringing life back to this house is a sort of sacred trust for Rose. She's definitely an "old school" servant, whose devotion to the family she spent most of her life serving is unequalled, and it is a job she holds in honor and respect. I absolutely loved watching Rose's exasperation with Lady Agnes - particularly when she claims that she "doesn't need" a housekeeper, a claim whose fallacy is proven all too quickly. By the end of the episode, when Maud takes matters in hand and reaches out to Rose, offering her the position of housekeeper, I could've cheered. Marsh and Atkins bring their history as friends and co-creators of Upstairs Downstairs to play in that scene, and it's a poignant but heartening moment. The world may be changing at a rapid-fire pace, but there's wisdom in seeking balance between the old and the new as one moves forward. While I'm not as familiar as I'd like to be with Marsh's most famous role, I did enjoy her appearance as Mrs. Ferrars in the 2008 version of Sense and Sensibility.

Two of the Holland family's first hires are Ivy Morris (Ellie Kendrick) as housemaid and Johnny Proude (Nico Mirallegro) as footman. Kendrick made a memorable Masterpiece debut as the title character in the newest production of The Diary of Anne Frank. Flirtatious and strong-willed, the role of Ivy couldn't be a bigger change of pace, and Kendrick handles the change in tone with relish and aplomb. Ivy clearly has a lot of growing up to do, and her spirited personality is guaranteed to get her into trouble - and that is sure to be a lot of fun to watch. The role of Johnny marks Mirallegro's Masterpiece debut, and for such a youthful character the role delivers unexpected depth and poignancy. Working in the Holland household is Johnny's chance to start over, and with a universally likeable personality the world could be his for the taking - if he can conquer his drinking and brawling problem. Oh, the DRAMA! Kendrick and Mirallegro have some wonderful on-screen chemistry, and I look forward to seeing how the show develops their relationship.

Rose rounds out the Holland household by hiring her friend Mrs. Thackeray (Anne Reid) as cook and Mr. Pritchard (Adrian Scarborough) as butler. Reid is another Masterpiece vet, having played Mrs. Rouncewell in Bleak House and the Gypsy woman in the 2006 version of Jane Eyre. I LOVED Mrs. Thackeray's character. She takes extreme pride in her abilities, speaks her mind, and isn't above being bribed by Rose to accept the position of cook in the Holland household, especially after Rose tempts her again and again with descriptions of the new modern conveniences the Hollands are having installed in their kitchen. Scarborough, interestingly enough, had a brief role in The King's Speech as the BBC radio announcer - but more than that, he should be familiar to fans of Cranford since he played mayor/shop owner Mr. Johnson. Pritchard promises to be an entertaining character. He strikes me as extremely kind, but he's so high-strung he's comical, and he's so vocal about his abstinence from alcohol one has to wonder if he's in a constant state of fighting withdrawal. Clearly a man who thinks on his feet, as he proves during the Hollands' first dinner party, Pritchard promises to be an entertaining, worthy, and capable addition to the household.

As I mentioned earlier, the events in this miniseries dovetail nicely with the history depicted in The King's Speech, especially since the infamous Wallis Simpson (Emma Clifford) makes an unforgettable appearance at Lady Agnes' first party. Mrs. Simpson has promised to bring a "particular friend," whom everyone assumes will be her not-so-secret lover the king. Shockingly this "friend" turns out to be Joachim von Ribbentrop (Edward Baker-Duly), Hitler's unofficial official envoy to London, seeking to network with British aristocrats. What a party crasher, especially for a staunch anti-Nazi official like Sir Hallam, who envisions his career going up in smoke if it's assumed that he sanctions Ribbentrop's views by hosting him in his home. Ditching Ribbentrop provides the household with its first opportunity to band together and unite in a common cause, with hilariously memorable results. Ribbentrop's appearance bodes ill for the Holland family, as Persie seems all too taken with him, and I suspect his presence in London will cause Hallam no end of trouble. I absolutely love this type of intersection of fiction and history, and I'm anxious to see how real-world events impact the lives resident at Eaton Place.

I can already tell my biggest problem with Upstairs Downstairs is going to be that the show is only three hours long. And not even that thanks to the commercials that PBS inserts at the end of the broadcast - I estimate that Part One was trimmed to about fifty minutes total. I'm eagerly anticipating watching the series on DVD when it releases later this month, since the DVD runtime is listed at a full three hours.

While story-wise this program doesn't have the luxury of a six hour runtime like Downton Abbey, I loved the world I was introduced to last night. Major kudos go to scriptwriter Heidi Thomas (also a Cranford alum) who crammed such delicious character quirks and historic detail into what felt like an all-too short hour. Director Euros Lynn, who is a familiar name to anyone as obsessed with Doctor Who and Torchwood as I am keeps the action moving at a brisk pace - I just wish he, and all of the cast and crew members, had more time to work with. But all things considered, for a series to leave me wanting more is a pretty good thing, no? :)

Chock-full of memorable characters and gorgeous settings (seriously, I was enthralled by the clothes, jewelry, furniture, and marvelous colors that brought the show to life last night - a feast for the eyes!), Upstairs Downstairs is another not-to-be-missed entry in Masterpiece Classic's 40th anniversary season. I look forward to witnessing this ensemble "gel" as a new family is established at Eaton Place, building the Holland household from the ground up. Well done, and bring on Part Two! If you watched the show I'd love to hear your thoughts!

• Preorder Upstairs Downstairs from Amazon
• Read Laurel Ann's review at Austenprose

Upstairs Downstairs returns to Masterpiece...

Or perhaps it's more proper for me to say that Upstairs Downstairs begins for me on Masterpiece Classic this Sunday, since I've never seen an episode of the original show. My mom, however, raves about the original, so as well as eagerly anticipating this program myself I'm looking forward to getting her take on the "reboot" of this Masterpiece classic series.

Here's just a bit about the story from the PBS website:

When the master of 165 Eaton Place, Sir Hallam Holland, carries his wife across the threshold of their new home, Lady Agnes exclaims with pleasure, "What a ghastly old mausoleum!" Neglect has strewn cobwebs everywhere and furred the surfaces with dust. But with a sumptuous renovation and the help of the indomitable housekeeper Rose Buck (Jean Marsh), the iconic address so beloved in the original series Upstairs Downstairs is soon restored to its former glory.

It's 1936, a tumultuous time in Britain, and within the walls of 165 Eaton Place, characters from an orphanage, a damp Welsh castle, the heart of the British Raj and elsewhere together will face a changing world, not just upstairs and downstairs, but side by side. Written by Heidi Thomas (Cranford, Madame Bovary), Upstairs Downstairs stars co-creators of the original series Jean Marsh and Eileen Atkins (Cranford, Bertie and Elizabeth). Also starring are Ed Stoppard (Any Human Heart), Keeley Hawes (Wives and Daughters), and Claire Foy (Little Dorrit).

With a stellar cast and a script by a proven favorite writer of mine, I have high hopes of enjoying this new series - particularly since I don't have any preconceived notions of the original show with which to compare this version to. My only concern, if you want to call it that, is that I enjoyed Downton Abbey SO MUCH the upstairs/downstairs drama of this show will pale by comparison. But I'm hoping that the new time period will help me keep the two series disassociated in my mind. :) And anyways, I love Keeley Hawes - she's one of my favorite actresses, and I'm thrilled she's headlining this show!

Click here to read a helpful breakdown of the characters populating the colorful world of Upstairs Downstairs, or download the .pdf version.

Okay, PREVIEW TIME! Trailer #1 - can I just tell you how much I love the "Feeling Good" background? :)



Trailer #2:



Behind the scenes interviews:



I don't know about you, but I am SO EXCITED! See you on the other side with my review! :)

Tomorrow on Masterpiece Mystery...

Tomorrow on Masterpiece Mystery we get the premiere of Murder on the Orient Express. While this story may feel overly familiar since it's one of Agatha Christie's most famous (and often adapted tales), this is the first time David Suchet has played Hercule Poirot in this story. And since in my view Suchet IS Poirot, well, this is long overdue. Here's some info about the broadcast:

Hercule Poirot solves the greatest case of his career aboard the world's most glamorous train in Agatha Christie's Murder on the Orient Express, premiering Sunday, July 11, 2010, on MASTERPIECE MYSTERY! Star David Suchet is joined by a first-class rail car full of great actors, including Eileen Atkins, Barbara Hershey and Hugh Bonneville.

This is truly an all-star adaptation. In addition to Atkins, Hershey, and Bonneville, this version also features performances from Toby Jones, David Morrissey, and SAMUEL WEST! Excuse the excitement on the latter, but I've loved Sam West for years. :)

Robin Hood

Random observation: I rather feel like the same people who designed the above poster also worked on this one...what do you think?

When I first heard that Ridley Scott was making a Robin Hood film, I was incredibly excited - especially when I heard that it would be somewhat similar - perhaps an unofficial sequel - to Kingdom of Heaven, which is my favorite Scott film. (Please, if you've never seen the director's cut of Kingdom, do so asap!) And then this teaser trailer came out, and my interest in the movie nose-dived. That has to be one of the worst teasers ever cobbled together for a major film. Thankfully for this movie I stumbled upon a much, much better trailer back in April when I was putting together this post - and my interest in the movie revived. :)

This is most definitley not your traditional Robin Hood story. It's a dark, intense origin story where Scott has attempted to place the character of Robin Hood in a very real historical context. Though not a true sequel to Kingdom of Heaven, it makes an excellent companion film (sort of the "homefront" to Kingdom's Crusade-set action). The film opens with Richard the Lionheart (Danny Huston) leading his weary army back home to England, sacking French castles on the way. If you're expecting a traditional Robin Hood storyline, Scott dispatches that notion pretty quickly as Richard kicks the proverbial bucket and dies enroute. Robin (Russell Crowe) and his men (Little John - Kevin Durand, Will Scarlet - Scott Grimes, and Allan A'Dayle - Alan Doyle) are lowly archers and men-at-arms in Richard's army. With the king dead, the four decide to strike out for home. But their plans change when the come upon Richard's loyal lieutenant, Sir Robert Loxley (Douglas Hodge - almost didn't recognize him, he played Dr. Tertius Lydgate in Middlemarch), tasked with returning Richard's crown to England. Loxley and his men were ambushed and massacred, and he tasks a reluctant Robin with returning his sword to his father, Sir Walter Loxley (Max von Sydow) in - wait for it - Nottingham. :) Robin & company assume the identity of knights in order to make their way home easier - and of course Robin assumes Loxley's identity.

I'm going to stop with the story recap here (that's probably enough of an introduction, anyway) and delve into the characters and acting for a while. I'll save Robin and Marion for last. :) Back in England Richard left behind a very selfish, immature younger brother - John, played by Oscar Isaac - with serious mommy issues. Eleanor of Acquitaine is played superbly by Eileen Atkins. She's regal and powerful and has a wonderful screen presence - an unexpected jewel of a performance. John is, of course, a disaster in the making, and as soon as the crown settles on his head he goes full steam ahead with his plans to tax, tax, tax. Isaac's performance is interesting and makes you wonder how John would've turned out if he hadn't grown up knowing he was viewed as so obviously the lesser brother. William Hurt makes an interesting appearance as the loyal William Marshal, pushed aside by John for disagreeing with his taxation schemes. Marshal is a rather interesting "bridge" character - thorughly loyal to the crown, he also has a very realistic view of the crown's shortcomings when dealing with its subjects.

It's absolutely tragic that this is the only picture I could find of Mark Strong in character as the villainous Godfrey. It really doesn't do the man justice, just so you know. As I discussed with Lori and then some other friends on Facebook, if this movie couldn't feature Richard Armitage as Sir Guy, there's no one I'd rather see stand in the role of Robin's nemesis than Mark Strong. Ever since appearing as Septimus in Stardust, Strong has become the go-to guy to play villains and you can't turn around without seeing him in a new project - Sir John Conroy in The Young Victoria, Lord Blackwood in Sherlock Holmes, and now upcoming appearances in new sci-fi franchises like the Green Lantern. While he makes a habit of playing evil, morally repulsive characters, can we just take a moment to appreciate this:

The man is gorgeous, no? Look at those soulful eyes. *swoon* Give me a second to scrape myself off the floor and we'll get back to the point of this post....okay, yeah, Godfrey. Excellent villain. Strong quite simply owns the screen every time he appears. Intense, magnetic, evil, and brilliant, Godfrey is a worthy villain in the tradition of all on-screen Gisbornes.

While Strong delivers in spades, I have to admit to being disappointed in Matthew Macfadyen's appearance as the Sheriff. Now I have a long history of loving Matthew's screen appearances (click to read my reviews of his performance in Little Dorrit), but in Robin Hood he appears nearly unrecognizable (the hair was gross people, I just need to say it) and for maybe, maybe all of about five minutes of screentime. REALLY?! It was a bit disappointing to say the least. However, I have got to give Matthew credit for giving this largely thankless role a slyly comic turn. In fact, if Ridley Scott ever decided to make a sequel - and frankly, the end of this movie begs for one - I think Matthew's take on the iconic Sheriff of Nottingham role would be a highlight.

Last but certainly not least, this brings us to Robin and Marion (Cate Blanchett). I had serious reservations about Crowe and Blanchett's casting in such iconic roles, but both performances blew me away. I've always been rather ambivalent about Russell Crowe - while I think he's inarguably talented, and I've enjoyed his performances in movies like Master and Commander, I've never been nuts about him like so many people I know. And I've never, EVER gotten the whole Crowe-is-a-dreamy-heartthrob thing until this movie. Oh my word. Excellent job playing the whole strong, man of few words, incredibly charismatic and intelligent type. Wowzers. :) I will say that I thought Robin's backstory and connection to Sir Walter was just a little too convenient, but all things considered it worked.

Here Robin's lady is no maid, rather the widow of Sir Robert Loxley. Married as a self-described "old maid" for only a week before Robert left for the Crusades, Marion has spent ten years trying to keep her father-in-law's estate going, which is a largely thankless job in the face of crippling taxes and thievery from what I'm going to call the "Lost Boys of Sherwood Forest." Like Marian in the lately lamented Robin Hood television show, Blanchett's Marion is a fighter, but infinitely more mature and seasoned by circumstances. I really loved Blanchett's portrayal of Marion, though I do think her fight scene at the end of the film was rather poorly thought out and generally unnecessary (though it did allow Crowe and Blanchett to enact their own version of the famous water kiss in From Here to Eternity, LOL!). Oh, and before I forget, the "Lost Boys" really, REALLY needed to be explained better. Their appearances felt rather random.

I wasn't expecting such a strong romance to develop in this movie. After all, it is a Ridley Scott film, chock-full of the requisite battle scenes and political intrigue. But Crowe and Blanchett have some crazy on-screen chemistry that I never expected to see and it works really, really well. When one brings together two actors of that caliber sparks are bound to fly, right? :) This film gives us the most mature, grounded, real Robin and Marion love story that I think I've ever seen brought to life. The relationship between these two characters grows as much or more with a look than dialogue, and I just loved that. Watching the two of them get to know each other and appreciate each other's character and strengths is absolutely wonderful to see, and the way Crowe looks at Blanchett can steal your breath - he's so. freaking. HOT. in those scenes.

I love Scott's ability to bring this time period to life. It's gritty and violent (though in keeping with the film's PG-13 rating miraculously bloodless), but there's a wild beauty to the scenery that you just want to lose yourself in. I also thought Marc Streitenfeld did a good job with the score - prior to this, I am not familiar with his work. Ridley Scott and company have crafted a fascinating exploration of Robin Hood's origins, but the last five minutes or so of the film will, if you're like me, leave you desperate for a sequel. That's when the storyline heads into more traditional Robin Hood territory. Given how Ridley Scott has set up this world, and the life Crowe and Blanchett have brought to the iconic Robin and Marion roles, I would love to see how this team would continue their version of the Robin Hood legends. After all, King John has to see sense and sign that pesky Magna Carta... ;-)