Trust Julian Fellowes to strike gold again.
The creator and primary writer behind Downton Abbey has overseen an impressive and always engaging run since the television serial debuted back in September 2010. Six series — encompassing 52 episodes — and three big-screen films later, Fellowes has lost none of his narrative magic.
 |
| The Downton clan — from left, Lady Edith (Laura Carmichael), Lord Grandtham (Hugh Bonneville), Lady Mary (Michelle Dockery), Tom Branson (Allen Leech), Cora Grantham (Elizabeth McGovern) and Bertie Hexham (Harry Hadden-Paton) — pause during dinner, to ponder some uncomfortable decisions. |
Even so, I worried that the absence of Maggie Smith’s Dowager Countess Violet Crawley would leave a gaping hole in the many carefully crafted relationship dynamics, which Fellowes established over so many years.
Happily, she’s very much in evidence, and not merely via the handsome portrait displayed prominently in the estate’s grand hall. The Dowager Countess’ spirit also is present, and her marvelously tart one-liners have been taken up by Penelope Wilton’s Lady Isobel Merton, who delivers them with equal genteel frostiness.
The year is 1930, and the Crawleys — Lord Grantham (Hugh Bonneville), Lady Cora Grantham (Elizabeth McGovern), Lady Edith Hexham (Laura Carmichael) and her husband, Lord Hexham (Harry Hadden-Paton) — have just enjoyed a performance of Noël Coward’s operetta, Bitter Sweet. They’re in posh orchestral seats, of course, while Mr. Bates (Brendan Coyle), his pregnant wife Anna (Joanne Froggatt) and Miss Baxter (Raquel Cassidy) watch from an upper balcony.
A backstage visit grants additional exposure to Coward (Arty Froushan, who truly nails the role), star Guy Dexter (Dominic West) and his valet/companion, Thomas Barrow (Robert James-Collier), former Downton junior footman-turned-butler.
Coward ultimately plays a significant role in the film’s third act, and his presence also allows for carefully placed and thematically significant songs, including “I’ll See You Again,” “The Stately Homes of England” and “Poor Little Rich Girl.” The first is from the operetta, while the latter two are clever, Coward-esque songs by soundtrack composer John Lunn, who has been with the series from the beginning. (And yes, his iconic title theme is suitably placed.)
A running plot line from the first two big-screen films continues to stress the Crawleys: the increasing financial difficulty of maintaining Downton, along with their lifestyle, amid the socio-economic changes taking place during this period between wars. To that end, the family has placed great hope in an inheritance due Cora, following the death of her mother; her “black sheep” brother — Harold (Paul Giamatti), not seen since the TV show’s fourth season — arrives to share these details, accompanied by financial advisor Gus Sambrook (Alessandro Nivola).
But that issue is torpedoed abruptly, by the public revelation of Lady Mary’s (Michelle Dockery) divorce from her husband, Henry Talbot. This makes her persona non grata at Lady Petersfield’s Ball — the highlight of the social calendar — where Mary is ordered to leave, because in their aristocratic circle she immediately shifts from society darling to shamed outcast. (Additionally a pity, because we don’t get to see much of the sumptuous gown in which costume designer Anna Robbins garbed her, for this scene.)
As always is the case, Fellowes ingeniously weaves in additional subplots, large and small, which involve numerous other members of Downton’s massive Upstairs Downstairs roster of characters. The venerable Mrs. Patmore (Lesley Nicol) is poised to retire as head cook, passing that role to young Daisy (Sophie McShera), while the latter’s husband, Andy (Michael) similarly is about to assume the role of head butler, taking over from Mr. Carson (Jim Carter), much to the relief of his wife (Phyllis Logan).
Carson can’t stand the thought of a life no longer defined by duty and purpose; she wishes he could adapt to spending more time with her. Similarly, Lord Grantham is having second thoughts about placing the estate in Lady Mary’s very capable hands, given the scandal that has enveloped her.
Both Bonneville and Carter excel at the angst and uncertainty generated by the decisions they must make ... and live with.
Watching Daisy travel through her lengthy character arc also has been a joy, since McShera was just 24 when she began the role.
Although Fellowes and director Simon Curtis pay careful attention to everybody, Lady Mary clearly is this story’s central focus. Dockery has re-shaped her role with subtle precision, over the years, transforming Lady Mary from a cold, critical and often impatient perfectionist to the kinder, warmer and far more benevolent woman she has become, by the end of this film. Achieving détente with her sister Edith also is a welcome relief.
That said, it’s droll that Lady Mary makes the same impulsive mistake here, that she did during the third episode of the TV show’s first season.
On a lighter note, Lady Merton — who delights in shaking things up — assumes the role of president of the annual County Fair, and dismays snobby chairman Sir Hector Moreland (Simon Russell Beale) by bringing “the lower class” onto the board, in the form of Daisy and Mr. Carter.
On the other hand, Fellowes slightly overplays the behavior of poor Moleseley (Kevin Doyle), once Isobel’s butler, but now a budding screenwriter: forever waging war with his typewriter, much to the chagrin of his wife, Miss Baxter. Although Doyle always has played the character as mild comic relief, Molesley’s hair-brained scheme here, toward the story’s conclusion, makes him look like a total buffoon.
Long before this occurs, though, we have doubts about Sambrook, because Nivola plays him with such smarmy impertinence. He seems the epitome of a P.G. Wodehouse scoundrel.
Cinematographer Ben Smithard grants us numerous sweeping vistas of Downton and its surround grounds, while editor Adam Recht helps Curtis move things along at an always engaging pace. Dockery’s final scene, as Mary stands before her grandmother’s portrait, is an emotional killer.
All involved know exactly what to do, and when. While no great truths or revelations emerge during the course of this story, it’s simply wonderful to visit everybody again.
No comments:
Post a Comment