Least Favorite Movie Period Dramas

Below is a list of ten of my least favorite movie period dramas:

 

LEAST FAVORITE MOVIE PERIOD DRAMAS

1. “Legends of the Fall” (1992) – Edward Zwick directed this dull and overrated adaptaion of Jim Harrison’s 1979 novella about the lives of a Montana ranching family during the early 20th century. Brad Pitt and Anthony Hopkins starred.

2. “Barbary Coast” (1935) – Howard Hawks directed this turgid tale about an Eastern woman who arrives in San Francisco during the Gold Rush and comes between a corrupt gambler/saloon keeper and a miner. Miriam Hopkins, Edward G. Robinson and Joel McCrea starred.

3. “Mayerling” (1968) – Omar Sharif and Catherine Deneuve starred in this lavish, yet dull account of the tragic romance between Crown Prince Rudolf of Austria and his mistress, Baroness Maria Vetsera. Terence Young directed.

4. “Idlewild” (2006) – André 3000 and Big Boi starred in this confusing and badly written musical set during Depression Era Georgia. Bryan Barber directed.

5. “Becky Sharp” (1935) – Miriam Hopkins earned a surprising Best Actress nomination (surprising to me) in this unsatisfying adaptation of William Makepeace Thackery’s 1847-48 novel, “Vanity Fair”. Directed by Rouben Mamoulian, the movie is known as being the first full-length production in Technicolor.

6. “Gods and Generals” (2003) – Stephen Lang, Jeff Daniels and Robert Duvall starred in this adaptation of Jeff Shaara’s 1996 Civil War novel and prequel to the much superior 1993 movie, “Gettysburg”. Ronald Maxwell directed.

7. “The Hindenburg” (1975) – Robert Wise directed this rather dull account of the Hindenburg air disaster. The movie starred George C. Scott and Anne Bancroft.

8. “Anna Karenna” (2012) – Joe Wright directed this stagey adaptation of Leo Tolstoy’s 1877 novel. Keira Knightley, Jude Law and Aaron Taylor-Johnson starred.

9. “Glorious 39” (2009) – Stephen Poliakoff directed this slow and pretentious thriller about a young woman who discovers that her family are pro-appreasers who wish for Britain to seek peace with Nazi Germany on the eve of World War II. Romola Garai starred.

10. “Alice in Wonderland” (2010) – Tim Burton directed this dull and overrated adaptation of Lewis Carroll’s 1865 novel “Alice’s Adventures in Wonderland” and 1871 novel, “Through the Looking-Glass, and What Alice Found There”. Mia Wasikowska and Johnny Depp starred.

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“DOWNTON ABBEY” – Series Three (2012) Retrospective

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“DOWNTON ABBEY” – Series Three (2012) Retrospective

It took me a while to get around watching Series Three of “DOWNTON ABBEY”. I had been inclined to watch it, while it aired on PBS last winter. But in the end, I decided to wait until the DVD release was offered through Netflix. 

I suspect that some of my reluctance to watch the show’s Series Three could be traced to my major disappointment over the lackluster Series Two. In fact, a part of me is amazed that the series’ shoddy look at World War I could end up with an Emmy nomination for Best Drama. But I figured that series creator, Julian Fellowes, would make up for the Emmy-nominated disaster known as Series Two with an improved third season. In the end, Series Three proved to be an improvement. Somewhat.

What did I like about Series Three of “DOWNTON ABBEY”? It possessed three plot lines that I found a good deal to admire:

1) The estate’s financial crisis
2) Valet Thomas Barrow’s infatuation with new footman Jimmy Kent
3) Lady Sybil Branson’s death

Downton Abbey’s financial crisis, kick-started by Robert, the Earl of Grantham’s disastrous investment into Canada’s Grand Trunk Railway, which truly emphasized the peer’s inability to handle money and his estate. In fact, this story line also exposed Lord Grantham’s other flaws – stubborness and inability to move with the times – in full force. Actually, the third story line involving the death of his youngest daughter, Lady Sybil Branson – of childbirth, did not paint a pretty picture of the peer, considering that his decision to ignore Dr. Clarkson’s medical advice led to Lady Sybil’s tragic death, following the birth of his oldest grandchild. The plot regarding Thomas Barrow’s feelings for Jimmy Kent allowed Fellowes to explore the status of homosexuals during early 20th century Britain. The plot surrounding Lady Sybil’s death in Episode Five not only proved to be heartbreaking, but also featured fine performances from the departing Jessica Findlay-Brown as the doomed Lady Sybil; Allen Leech as Sybil’s husband Tom Branson; David Robb as the desperate Dr. Clarkson; Rob James-Collier as a grieving Thomas Barrow; Hugh Bonneville as the Earl of Grantham; a guest appearance by Tim Pigott-Smith as the society doctor recruited by Lord Grantham to treat Lady Sybil; and especially Elizabeth McGovern, who I believe gave the best performance as Lady Sybil’s grieving mother, the American-born Countess of Grantham.

But even these first-rate story lines were marred by some questionable writing. Lord Grantham’s bad investment and financial loss had the family flailing for a bit, until salvation appeared in the form of a possible inheritance for the peer’s heir presumptive, son-in-law Matthew Crawley. The latter learned that Reginald Swire, the recently dead father of his late fiancée had named him as an heir to his vast fortune. Matthew felt reluctant to accept money from Lavinia Swire’s money, considering what happened before her death in Series Two. Most fans expressed frustration at Matthew’s reluctance to accept the money and save Downton Abbey. I felt nothing but contempt toward Fellowes for utilizing this ludicrous plot point to save the estate from financial ruin. I found it absolutely tasteless that Matthew would inherit money from the father of the fiancée who witnessed him kissing his future wife Lady Mary Crawley, before succumbing of the Spanish Flu. This was just tackiness beyond belief.

And I wish Fellowes had found another way for Lord Grantham or Matthew to acquire the cash needed to save the estate. Lady Sybil’s death and Lord Grantham’s participation in it led to a serious marital estrangement between the peer and his wife, who angrily blamed him for ignoring Dr. Clarkson’s medical advice. Lady Grantham’s anger lasted through most of Episode Six, until the Dowager Lady Grantham convinced the good doctor to lie to her son and daughter-in-law that his medical advice may not have saved Lady Sybil in the end, ending Lady Grantham’s anger and the marital strife between the pair. I suspect the majority of the series’ fans were relieved that Lord and Lady Grantham’s marriage had been saved before it could get any worse. I was not. I saw this as Fellowes’ reluctance or inability to fully explore the negative consequences of Sybil’s death. Even worse, I saw this as artistic cowardice on Fellowes’ part. A martial conflict between Robert and Cora could have spelled a dramatic gold mine.

Even the Thomas Barrow-Jimmy Kent storyline was marred by aspects that led me to shake my head in disbelief. The entire matter began with a minor feud between former friends Thomas and lady’s maid Sarah O’Brien over the former’s unwillingness to help the latter’s nephew, Alfred Nugent, with his duties. One, why would Thomas refuse to help the nephew of his only friend on the estate? And two, this little incident led O’Brien to escalate the feud, leading her to set up a scheme that would expose Thomas’ homosexuality? It seemed to come out of no where. This story line ended with more head scratching for me. First, Fellowes had Thomas sneaking into Jimmy’s bedroom for some petting and caresses, making for the former look like a sexual molester. One would think after his experiences with the Duke of Crowborough and Mr. Pamuk would have led him to be more careful. And following his exposure, Thomas faced losing his job and being arrested and convicted for his sexual preference. And while he faced personal censure from Mr. Carson, Alfred and the object of his desire, Jimmy Kent; most of Downton Abbey’s inhabitants seemed unusually tolerate of Thomas’homosexuality. Only Lord Grantham’s tolerance seemed to ring true, in light of his comments.

But there were other aspects of Series Three that failed to impress me. I read somewhere that Dan Stevens had informed Fellowes that he would not return for a fourth season, before they started filming this season. Judging from most of Stevens’ clunky dialogue in many of the episode, I got the feeling that Fellowes took his revenge on the actor. Stevens’ last lines following the birth of Matthew and Lady Mary’s son seemed like pure torture – “Can this hot and dusty traveler enter?” and “Oh my darling, I feel like I’ve swallowed fireworks!”. Fortunately, Stevens was provided with one scene in which he truly shone – when Matthew lost his temper over his father-in-law’s refusal to consider modernizing Downton Abbey’s estate management. And Matthew’s death in that last episode was one of the most clumsily directed sequences I have ever seen during the series’ three seasons, so far. Many critics and viewers blamed Shirley MacLaine for the poor characterization of Lady Grantham’s American mother, Martha Levinson. Even Fellowes went so far as to claim in this 2012 article that Americans cannot do period drama. Frankly, I found his comment full of shit and those critics and viewers unwilling to admit that the producer-writer did a piss-poor job in his creation of Martha’s character. Poor MacLaine was saddled with some ridiculous dialogue that no actor or actress – no matter how good they are – can overcome. Look at what happened to Dan Stevens. And he is British. Like Stevens, MacLaine had her moment in the sun, when her character saved a disastrous dinner party-in-the-making by transforming it into a cocktail party in Episode Two.

Poor Brendan Coyle and Joanne Foggett were saddled with the long and tedious story line surrounding Bates’ time in prison and his wife Anna’s efforts to exonerate. Every time that particular plot appeared on the screen, I found myself forced to press the Fast-Forward button of my DVD remote control. When Bates finally left prison, he and Anna proved that their romance had become incredibly dull by three seasons. And could someone explain why the Crawleys suddenly believed that Sir Anthony Strallan was too old for middle daughter, Lady Edith Crawley. They certainly felt differently six years ago in Series One, as they considered him as a potential mate for both Lady Edith and Lady Mary. And I find it hard to believe that an arm damaged by the war would turn him into an unwanted son-in-law. I find that too ridiculous to believe. And when Lady Edith found love again, she discovered that the object of her desire – a magazine editor named Michael Gregson – was a married man. And he could not get a divorce, because his wife was mentally handicapped and living in an asylum. In other words, Fellowes had to borrow from Charlotte Brontë’s 1847 novel, “Jane Eyre” to make this story interesting. Unfortunately, I did not find the circumstances of Gregson’s marriage interesting. Merely unoriginal.

I could go on about the numerous problems I encountered in Series Three. Believe me, I found more. Among them are the number of story lines that Fellowes introduced and dropped during this season. I have already discussed how he ended a potential estrangement between Lord and Lady Grantham before it could get into full swing. Other dropped story lines included:

*Mrs. Hughes’ cancer scare
*Mrs. Patmore’s relationship with a new shopkeeper
*A potential romance between Isobel Crawley and Dr. Clarkson
*Tom and Lady Sybil Branson in Ireland, which was never explored
*Tom Branson’s revolutionary beliefs nipped in the bud

I noticed that “DOWNTON ABBEY” recently received several Emmy nominations – including one for Best Drama. Best Drama? I was disgusted when I heard the news. My disgust did not stem from any dislike of the show. “DOWNTON ABBEY” may be flawed, but it is still entertaining. But I believe it is not good enough to be considered for a Best Drama Emmy nomination. Even worse, a far superior series like FX’s “THE AMERICANS” was overlooked for the same category. Series Three of “DOWNTON ABBEY” had some good moments – especially Episode Five, which featured the death of Lady Sybil Branson. And I found it slightly better than Series Two. But the series remains a ghost of its former self. It still failed to reach the same level of quality of Series One. And even that was not perfect.

“The Wrong Class”

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“THE WRONG CLASS”

After two seasons of viewing Britain’s ITV series, “DOWNTON ABBEY”, it occurred to me that there was something off about Julian Fellowes’ portrayal of one of the major characters. That character is Matthew Crawley. And it is an error that I am surprised Fellowes had made. 

“DOWNTON ABBEY” began with news of the sinking of the White Star liner, the R.M.S. Titanic in April 1912. This famous event also caused the deaths of James and Patrick Crawley, the heirs presumptive to the Robert Crawley, Earl of Grantham. This disruption in the line for the Grantham earldom forced Lord Grantham to seek his next heir, due to the fact that the title and estates only pass to male Crawleys and not to any of his three daughters. Lord Grantham’s new heir turns out to be his third cousin once removed, Matthew Crawley.

Introduced at the end of the series’ first episode, Matthew is a solicitor from Manchester, who lives with his widowed mother, former nurse Mrs. Isobel Crawley. When he receives word that he is to be the Earl of Grantham’s new heir, Matthew does not seem particular pleased. He is very reluctant to accept Lord Grantham’s invitation to move to Downton Abbey and become part of the community. Matthew is only willing to do so, only if he can continue his legal work. Members of the Crawley family such as eldest daughter Lady Mary and her grandmother Violet, Dowager Countess of Grantham; along with servants such as butler Charles Carson seem to confirm Matthew’s worst opinions about life among the aristocracy. This hostility is especially apparent in his early relationship with Lady Mary and his reaction to acquiring a new valet/butler for his and Isobel’s residence, the Crawley House. Through Matthew’s first encounters with his Crawley cousins and Molesley, his new valet/butler; series creator Julian Fellowes emphasized Matthew’s social status as a member of the middle-class. And while the majority of the series’ fans and media seemed to accept this view, I find it hard to believe and accept.

These same viewers and the media seemed to believe that class structure and status in Edwardian Britain – especially for the upper classes – depends upon the size of an individual’s bank account. I am afraid that they would be wrong. Class was viewed differently than it is today. During the era of “DOWNTON ABBEY”, an individual’s social status was determined by “bloodline”, not the amount of money one possessed. This was especially true for members of the upper classes. To be a member of the upper class, one has to be part of a family that has owned land in the form of country estates for several generations. The owner of that estate was only required to in an administrative capacity and required tenant farms to earn an income. In other words, that person would be a member of the landed gentry. When an individual also has a title courtesy of royalty, he or she is considered an aristocrat. And his or her family members are also considered aristocrats . . . including cousins.

Despite being born in a middle-class environment and practicing a profession that society would view as an example of that particular class, Matthew Crawley has been a member of Britain’s upper class since birth. More importantly, as third cousin once removed and heir presumptive to the Earl of Grantham, he is also a member of the aristocracy, despite his upbringing. In fact, one can say the same about his late father, Dr. Reginald Crawley. Becoming a physician, marrying a woman from the middle-class and living in that existence did not change Dr. Crawley’s social status – something that he passed to his son, Matthew.

If the Matthew had been born out of wedlock, he would have genuinely been part of the middle-class. If his mother Isobel had been a member of Britain’s landed gentry or aristocracy instead of Dr. Crawley, Fellowes would have been correct to label Matthew as middle-class. This fate certainly awaits Lady Sybil and Tom Bronson’s new child . . . that is, if Tom manages to become a successful journalist. The Bronsons’ new child will certainly be regarded as someone from a lower class by those from the Crawleys’ social circle.

Why did Julian Fellowes label Matthew as a member of the middle-class in his script? AS a member of the upper class and a peer, he should have known better. Has he, like many others today, developed the habit of judging class solely plutocracy . . . mere wealth? That would have worked if “DOWNTON ABBEY” was set in the present time. But the series is set during a period in Britain in which class was still judged by bloodline, not the size of a bank account.

To label Matthew Crawley as a middle-class man, due to the environment in which he was raised . . . and despite his legitimate blood connections to the aristocratic Crawleys was a mistake. It is not a mistake that will have major consequences on the series’ storylines. In fact, it is not a major mistake period. But I cannot help but feel amused whenever someone erroneously label Matthew as a member of the middle-class.

“DOWNTON ABBEY” – Series Two (2011) Retrospective

 

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“DOWNTON ABBEY” – Series Two (2011) Retrospective

The debut of Julian Fellowes’ series about an aristocratic family during the last few years before the outbreak of World War I garnered a great deal acclaim and awards, earlier this year. The success of the series led the ITV and Fellowes to continue the saga of the Earl of Grantham, his family and servants in a new season.

Series Two of “DOWNTON ABBEY” covered the last two years of World War I and the first year of peace during the years 1916 to 1919. Episode One began with Matthew Crawley, the heir presumptive for the Earl of Grantham enduring the last days of the Somme Offensive in November 1916. The story immediately shifted toward the personal dramas that unfolded over eight to nine episodes.

Last season focused upon the entail issue that prevented Robert Crawley, the Earl of Grantham from bequeathing his title or any of his fortune to his three daughters – Lady Mary, Lady Edith and Lady Sybil Crawley and forced him to accept Matthew Crawley, a third cousin raised as a middle-class cousin as his heir. Season Two focused upon the Crawleys’ attempts to adjust to the changes caused by the war, their love lives and the impact of the war upon their servants.

One of the main subplots introduced in this season’s first episode turned out to be Matthew’s engagement to Lavinia Swire, the daughter of a London solicitor. Most of the family and servants like Mr. Carson oppose Matthew’s engagement to Lavinia, due to her status as a member of the middle-class and her position as an impediment to a reconciliation between Matthew and the family’s elder daughter, Lady Mary. The youngest Crawley daughter, Lady Sybil, becomes a wartime nurse and faces a growing attraction to the family’s Irish-born chauffeur, Tom Branson. Meanwhile, middle daughter Lady Edith learns how to drive and later, becomes a nurse’s aide. Violet, Dowager Countess of Grantham embarks on a campaign to ensure Matthew and Lady Mary’s engagement. Meanwhile, the scandal from her Season One encounter with Turkish diplomat, Kamal Pamuk, threatens to rear its ugly head for Lady Mary. She seeks help from Sir Richard Carlisle, a suitor, to nip the scandal in the bud. But he exacts a price from her, for his help – an official engagement to marry. Cora, Countess of Grantham and Matthew’s mother, Isobel Crawley, transform Downton Abbey into a convalescent hospital for Army officers. The two become involved in a power struggle before Lady Grantham assumes full control. Only Lord Grantham spends the rest of the war with nothing to do and sinks into a depression over his inactivity.

Most of the servants continue their household duties at Downton Abbey. Just as valet John Bates announces his intentions to divorce his wife to lady love and head housemaid Anna Smith, his wife Vera make the first of a few visits. Her threat to expose Lady Mary’s Season One tryst with the dead Turkish diplomat, Mr. Kemal Pamuk, forces Bates to give up his position as Lord Grantham’s valet and return to her. After being needled for being out of uniform, footman William Mason caves in and joins the Army. His decision eventually has an impact on Daisy, the scullery maid for whom he harbors unrequited love. Both the cook Mrs. Patmore and housekeeper Mrs. Hughes, pressures Daisy into becoming William’s fiancé before he leaves for the war front in Episode Three. And when William returns to Downton Abbey, mortally wounded, Mrs. Patmore coerces Daisy into marrying him out of pity, leaving a bad taste in the scullery maid’s mouth. After the trick she had pulled that cause Lady Grantham to miscarry in Season One, lady’s maid Sarah O’Brien becomes increasingly devoted to her mistress. Yet, she continues to go out of her way to make life miserable for Mr. Bates, by communicating with his wife. Downton Abbey’s new housemaid, Ethel Parks, becomes involved with one of the patients at the Crawleys’ convalescent hospital, which results in a baby for her. She seeks help from Mrs. Hughes to contact the officer’s parents for financial assistance. Former footman Thomas Barrow started out the season as a medic in France. But the horrors of war drives him to deliberately expose his hand to gunfire in order to permanently leave the front. He eventually becomes a medic at the local hospital near the Crawley estate and later, as an aide at the Crawleys’ convalescent hospital.

I just learned that “DOWNTON ABBEY” recently entered the Guinness Book of World Records as the “most critically acclaimed English-language television show” for 2011, becoming the first co-produced U.S./British show to be recognised as such by the Guinness Book of Records. One, I did not know that “DOWNTON ABBEY” was co-produced in both Great Britain and the U.S. And two, as much as I enjoy the series, I am beginning to feel that a good deal of its acclaim might be undeserved.

One might assume that I dislike “DOWNTON ABBEY”. On the contrary, I like it very much. I became a big fan of the series when its first season aired. But I also noticed certain flaws in Julian Fellowes’ depiction of Downton Abbey’s inhabitants that continued to both flourish and increase in Season Two. There were aspects of Season Two that I admired. The cast, led by Hugh Bonneville and Elizabeth McGovern continued to give first-rate performances. Michelle Dockery and Maggie Smith’s performances seemed to stand out with most fans and critics. I cannot say that I agree with them. I suspect that Fellowes’ detailed attention to Dockery’s character and Smith’s witty one-liners made them more popular than the other characters. The series’ early 20th century costumes remained exquisite as ever, thanks to Susannah Buxton and Rosalind Ebbutt’s designs. And aside from the few combat sequences, the series’ production values and designs continued to be top-notch.

The second season of “DOWNTON ABBEY” provided some truly memorable moments. The Spanish Flu sequence in Episode Eight impressed me, with the exception of how the epidemic claimed its only victim. People might find this surprising, but I have always enjoyed Laura Carmichael’s portrayal of middle daughter, Lady Edith. She was never a villainess to me even back in Season One. I understood her problems. However, I was happy to see that her character developed further when she finally overcame her resentment toward older sister, Lady Mary. I also enjoyed watching the experiences of former footman Thomas Barrow in the season’s first two episodes. The scenes featuring his combat experiences in France and his work with Dr. Clarkson and Lady Sybil Crawley at the village hospital really impressed me. One other character that made Season Two bearable for me, turned out to be Mrs. Hughes, the family’s housekeeper. Her down-to-earth nature, along with her efforts to help housemaid Ethel Parks and her comments about Lady Mary pretty much anchored the season for me.

Unfortunately . . . when it came to Season Two, the bad outweighed the good. One of my complaints about Season One was that the only characters that seemed to display any real complexity were members of the aristocratic Crawley family. Aside from a few scenes, most of the servants continued to be portrayed in a one-dimensional manner. In Julian Fellowes’ world (without Robert Altman and Bob Balaban looking over his shoulders), the only good working-class character was one loyal to his or her employer.

From the moment she was introduced arrogantly proclaiming her desire for a life outside of service, Ethel Parks was doomed. Unlike Gwen Dawson from Season One, she did not seek or acquire the help from a Crawley to rise in the world. She slept with an officer and paid the price with a baby and unemployment. Fellowes seemed to have ceased portraying former footman Thomas as a one-note villain and portray him in a more sympathetic light in the season’s first two episodes. By the time Thomas returned to Downton Abbey as a medic at the estate’s convalescent hospital, the former footman returned to his usual sneers and sharp comments. Only he did so, standing in the doorway or sitting at the servants’ table, sneering. And when he tried to earn enough money through the black market to start his own business at the end of the war, he discovered that he had been swindled. Thomas was forced to seek work at Downton Abbey again. I cannot help but wonder if he would have been more successful if he had sought the “noble” help of Lord Grantham or some other member of the Crawley family.

The subplot involving Daisy, William and Mrs. Patmore disgusted me. Period. I found it bad enough that Mrs. Patmore bullied and cajoled Daisy into a deception by becoming William’s fiancée and later, his wife. In the “Christmas Special”, Fellowes decided to condone Mrs. Patmore’s bullying by allowing Daisy to form some kind of relationship with William’s dad. It was sickening to watch and I cannot believe that Fellowes would actually finish a subplot on this note, because many of the fans wanted Daisy to be in love with William. Mr. Carson remained ridiculously loyal to the Crawleys and more importantly, to Lady Mary. In fact, his loyalty led him to consistently make insulting and snobbish remarks about Matthew’s middle-class fiancée, Lavinia. Anyone could have perceived this as part of Fellowes’ efforts to portray Mr. Carson in an ambiguous light. Unfortunately, Fellowes’ one-dimensional portrayal of Lavinia as a dull “goody-goody” have led many fans to embrace Mr. Carson’s disapproval of her. On the other hand, Fellowes did an excellent job in assassinating the family’s radical chauffeur, Tom Branson. His friendship with Lady Sybil had created a shipper’s following by the end of Season One. But once Fellowes ridiculed Branson’s radicial beliefs in two scenes – his plan to embarrass a visiting British Army general, which backfired; and his casual dismissal of the Romanovs – he became one of the most disliked characters of Season Two. And many fans expressed disapproval when Lady Sybil began to hint some kind of attraction toward him, claiming that their relationship lacked any chemistry. The hypocrisy toward Branson, generated by Fellowes’ conservatism, was astounding to witness. Even Sarah O’Brien did not fare well. Although she became more loyal toward the Countess of Grantham following the latter’s miscarriage in Season One, O’Brien continued her hostility toward John Bates even when Thomas lost interest in the valet. And the reason behind O’Brien’s hostility remained consistently vague, until she dropped it altogether in the wake of Bates’ arrest.

Speaking of Bates, his romance with Anna Smith turned out to be one of the biggest jokes of the season. I never thought it would come to this. Honestly. Aside from the appearance of the one-note villainous Vera Bates, nothing happened. I am trying to remember what was so interesting about their relationship. Instead, I find myself recalling how much I found Bates’ martyr complex so tedious. Why on earth would he give up a job that he liked to prevent the likes of Lady Mary from facing a scandal about her one night tryst with the late Kemal Pamuk? I mean . . . really! If Vera Bates knew about the scandal, half of Britain’s upper-class families and their servants must have heard the rumor. Meanwhile, Anna kept making a chump of herself, while buying Bates’ promises of how he was going to get rid of Vera. I wish Fellowes never brought her on the scene in the first place. I enjoyed Maria Doyle Kennedy’s performance in “THE TUDORS”, but ended up with one of the dullest and badly written villains in television history.

For once, the Crawley family did not fare any better. Lady Mary remained the only upper-class character with any real complexity and a strong subplot. I suspect that the character became a personal favorite of Fellowes, and actress Michelle Dockery benefited a great deal from his writing. However, not even she or Dan Stevens could overcome the maudlin romance that their characters had been saddled with in Season Two. The Matthew/Mary romance had started as an interesting one in Season One, and transformed into a cliché-riddled love story fit for a bad romance novel. The two worse moments in their relationship turned out to be that Godawful moment when Matthew (who had been reported missing) suddenly appeared at Downton Abbey during a concert, joining Mary in “If You Were the Only Girl” and when Mary experienced a “feeling” the moment Matthew suffered a major wound in Episode Five. I had to struggle to keep from throwing up during both scenes. And although Lady Edith managed to overcome her resentment of Lady Mary, the two subplots that Fellowes saddled on her character went no where. The “Patrick Crawley” subplot, in which a Canadian officer claimed to be one of her father’s former heirs . . . simply went no where. Her “affair” with a local farmer, which consisted of a kiss, ended just as soon as the farmer’s wife had her dismissed. I have already revealed what happened with Lady Sybil’s relationship with Tom Branson.

Cora, Countess of Grantham was involved in two major subplots. One involved her power struggle with Isobel Crawley (Matthew’s mother) over who would manage the convalescent hospital and Downton Abbey. Poor Isobel was portrayed as a tyrannical do-gooder from the middle-class. And many fans cheered when Cora managed oust her from Downton Abbey. I did not. All Cora had to do was remind Isobel that she was mistress of Downton Abbey, while the latter continue to run the hospital. Instead, she resorted to a passive-aggressive means to get rid of Isobel and I ended up feeling disgusted. I was also disgusted by the machinations that Cora and the Dowager Countess used to detract Isobel from keeping the convalescent hospital opened after the war ended. I found it ridiculous. They seemed incapable of simply telling Isobel that Downton Abbey would return to being a private home. Yet, once again, fans cheered over the aristocratic women’s triumph. Sickening. Robert, the Earl of Grantham came close to being written as a complex character. He spent most of the season feeling useless, because he was unable to obtain a command and go to the front. Eventually, Robert’s feelings of uselessness and abandonment led him to become romantically involved with a housemaid named Jane Moorsum. This subplot would have worked, if it had been introduced . . . before Episode Five. Aside from plotting Lady Mary and Matthew’s reconciliation, Violet, the Dowager Countess spent most of the season spouting one-liners. I hate to say this, but I eventually found this tiresome. Poor Maggie Smith had been reduced to being the show’s comic relief.

Thanks to Vera Bates, Lady Mary had to seek the help of her suitor, press baron Sir Richard Carlisle, to help her get rid of the blackmailing woman. In return, Lady Mary promised to become officially engaged to Sir Richard. Poor Iain Glen. Vera Bates was not the only badly written villain to appear in Season Two. Sir Richard was another. Despite his title, Sir Richard was a self-made man, who certainly did not originate from the upper-classes. Both Lady Mary and Lord Grantham did not hesitate to let him know. More importantly, Fellowes did not hesitate to portray him as some mustache-twirling villain without any complexities, whatsoever. Which is not surprising, considering he was not an aristocrat. Poor Iain Glen. His previous roles were a hell of a lot more ambiguous and interesting than Sir Richard “Snidely Whiplash” Carlisle.

I might as well face it. Season Two of “DOWNTON ABBEY” disappointed me. Sure, there were a few aspects about it that I found admirable. But Fellowes’ writing simply undermined the show’s quality. I had hoped that his portrayal of the Crawleys’ servants would improve from Season One. It did not. Worse, the season was marred by incomplete subplots that went no where and badly written romances that left me shaking my head in disgust. I hope . . . I pray that Season Three will prove to be a lot better.

“THE WAY WE LIVE NOW” (2001) Review

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“THE WAY WE LIVE NOW” (2001) Review

Over ten years ago, the BBC aired “”, a four-part television adaptation of Anthony Trollope’s 1875 novel. Adapted by Andrew Davies and directed by David Yates, the miniseries starred David Suchet, Shirley Henderson and Matthew Macfadyen. 

“THE WAY WE LIVE NOW” told the story of a Central European financier’s impact upon upper-crust British society during the Victorian era. Augustus Melmotte arrives in London with his second wife and his daughter, Marie in the 1870s. Not long after his arrival, Melmotte announces a new scheme to finance a railroad project from Salt Lake City in Utah to the Gulf of Mexico. And he promises instant fortune to those who would invest in his scheme. The Melmotte family is also surrounded by a circle of decadent aristocrats and nouveau riche businessmen, all trying to get a piece of the financial pie. One of the investors is Sir Felix Carbury, a young and dissolute baronet who is quickly running through his widowed mother’s savings. In an attempt to restore their fortunes, his mother, Lady Matilda Carbury writes historical potboilers – a 19th century predecessor to 20th century romance novels. She also plans to have Felix marry Marie, who is an heiress in her own right; and marry daughter Henrietta (Hetta) to their wealthy cousin, Roger Carbury. Although Marie falls in love with Felix, Melmotte has no intention of allowing his daughter to marry a penniless aristocrat. And Hetta shows no interest in Roger, since she has fallen in love with his young ward, an engineer named Paul Montague.  However, Montague also proves to be a thorn in Melmotte’s side, due to his suspicions about the legitimacy over the railroad scheme.

As one can see, the story lines that stream from Trollope’s novel seemed to be plenty. In a way, the plot reminds me of the numerous story arcs that permeated 2004’s “HE KNEW HE WAS RIGHT”. Although some of the story arcs have nothing to do with Augustus Melmotte, nearly everyone seemed to have some connection to the financier. The exceptions to this rule proved to be the characters of American-born Mrs. Winifred Hurtle, Roger Carbury and Ruby Ruggles, a young farm girl who lives on Roger’s estate. Mrs. Hurtle’s story was strictly limited to her efforts to regain the affections of former lover and help Ruby deal with the licentious Sir Felix. Roger’s story arc was limited to his unsuccessful efforts to win Henrietta’s heart and deal with his knowledge of Paul and Mrs. Hurtle’s relationship. Fortunately, “THE WAY WE LIVE NOW” seemed to possess a tighter story than “HE KNEW HE WAS RIGHT”. To a certain degree.

But I cannot deny that “THE WAY WE LIVE NOW” was one of the most entertaining adaptations of a Trollope novel I have ever seen. If I must be honest, I enjoyed it more than I did “HE KNEW HE WAS RIGHT” or 1982’s “THE BARCHESTER CHRONICLES”. One of the reasons I enjoyed it so much was due to its portrayal of society’s greed and opportunism. I have heard that Trollope had written the novel in protest against the greed and corruption of the 1870s, which resulted in the Long Depression that lasted between 1873 and 1879. The ironic thing is that the economic situation that Trollope believed had permeated British society during the 1870s had been around for a long time and would continue to permeate the world’s economic markets time again – including the recent downturn that has cast a shadow on today’s economies. Trollope’s Augustus Melmotte is today’s Bernie Madoff or Robert Maxwell.

Another aspect of “THE WAY WE LIVE NOW” is that it revealed the darker aspects of Victorian society on a more personal level. I did not know whether to be amused or disgusted by the manner in which young British scions such as Sir Felix Carbury scrambled to win the affections of Marie Melmotte and get their hands on her money; or desperate debutantes like Georgiana Longestaffe willing to marry Jewish banker Mr. Brehgert, despite her contempt for his religious beliefs and social position. I doubt that the likes of Georgiana would never contemplate becoming an author of cheesy novels, like Lady Carbury or marrying a man with no funds – like .

Thanks to Davies’ screenplay and David Yates’ direction, “THE WAY WE LIVE NOW” permeated with a richly dark and comic style that beautifully suited Trollope’s tale. Hardly anyone – aside from a few such as Paul Montague, Hetta Carbury and Mr. Brehgert – was spared from the pair’s biting portrayal of Trollope’s characters. Two of my favorite scenes featured a ball held by the Melmottes in Episode One and a banquet in honor of the Chinese Emperor in Episode Three. The banquet scene especially had me on the floor laughing at the sight of British high society members gorging themselves on the dishes prepared by Melmotte’s cook.

Although “THE WAY WE LIVE NOW” is my favorite Trollope adaptation – so far – I must admit that I had a few problems with it. One, Andrew Davies’ portrayal of the Paul Montague character struck me as slightly boring. Like his literary counterpart, Paul found himself torn between his love for Hetta and his sexual past with Mrs. Hurtle. But Davies’ Paul seemed so . . . noble and stalwart that I found it hard to believe this is the same gutless wonder from Trollope’s novel. And if I must be brutally honest, I found his relationship with Hetta Carbury to be another example of a boring romance between two boring young lovers that seemed to permeate Victorian literature. A part of me longed for Paul to end up with Winifred Hurtle. At least he would have found himself in a more interesting romance. I have one more quibble. In a scene featuring a major quarrel between Melmotte and his daughter Marie, there was a point where both were in each other’s faces . . . growling like animals. Growling? Really? Was that necessary? Because I do not think it was.

One would think I have a problem with Cillian Murphy and Paloma Baeza’s performances as Paul Montague and Hetta Carbury. Trust me, I did not. I thought both gave solid and competent performances. I feel they were sabotaged by Trollope’s portrayal of their characters as “the young lovers” and Davies’ unwillingness to put some zing into their romance. Miranda Otto made a very interesting Mrs. Hurtle, despite her bad attempt at a Southern accent. And Allan Corduner and Fenella Woolgar both gave solid performances that I did not find particularly memorable. On the other hand, I felt more than impressed by Cheryl Campbell as the charming and somewhat manipulative Lady Carbury; Douglas Hodge as the love-sick Roger Carbury; Oliver Ford-Davies as the grasping, yet bigoted Mr. Longestaffe; Helen Schlesinger’s funny performance as the clueless Madame Melmotte; a poignant performance from Jim Carter, who portrayed Mr. Brehgert; and Anne-Marie Duff, who managed to create a balance between Georgiana Longstaffe’s strong-willed willingness to marry a man of another faith and her self-absorption and bigotry.

However, the three performances that stood head above the others came from David Suchet, Shirley Henderson and Matthew Macfadyen. Suchet could have easily portrayed the scheming and gregarious Augustus Melmotte as a cartoonish character. And there were times when it seemed he was in danger of doing so. But Suchet balanced Melmotte’s over-the-top personality with a shrewdness and cynicism that I found appealing – especially when those traits mocked the pretentiousness and hypocrisy of British high society. Shirley Henderson proved to be the perfect person to portray Melmotte’s only daughter, Marie. Superficially, she seemed like a chip off the old block. But Henderson injected a great deal of compassion and poignancy into Marie’s character, making it very easy for me to sympathize toward her unrequited love for Sir Felix Carbury and the heartache she felt upon discovering his lack of love for her. Matthew Macfadyen must have finally made a name for himself in his memorable portrayal of the dissolute Sir Felix Carbury. I cannot deny that Macfadyen revealed a good deal of Sir Felix’s charm. But the actor made it pretty obvious that his character’s charm was at best, superficial. Considering some of the roles he has portrayed over the decade that followed “THE WAY WE LIVE NOW”, I believe Macfadyen’s Sir Felix must have been one of the most self-absorbed characters in his repertoire. And he did a superb job with the role. It is a pity that he never received an acting nomination or award for his performance.

One cannot talk about “THE WAY WE LIVE NOW” without pointing out the sumptuous production designs created by Gerry Scott. They were superb. With contributions from Diane Dancklefsen and Mark Kebby’s art direction, Caroline Smith’s set decorations, Chris Seager’s photography and Andrea Galer’s costume designs; Scott and his team did a wonderful job in re-creating Victorian society in the 1870s. I was especially impressed at how Galer’s costumes captured the early years of that decade. I would never call Nicholas Hooper’s score particularly memorable. But I cannot deny that it suited both the story’s theme and setting.

Although I found a few aspects of “THE WAY WE LIVE NOW” to complain about – notably the Paul Montague and Hetta Carbury characters. I cannot deny that it is a first-rate production, thanks to Andrew Davies’ adaptation, David Yates’ direction and a fine cast led by David Suchet. More importantly, the story’s theme of greed and corruption leading to economic chaos was not only relevant to the mid-to-late Victorian era, but also for today’s society. “THE WAY WE LIVE NOW” strike me as a story for all times.

“DOWNTON ABBEY” – Series One (2010) Retrospective

“DOWNTON ABBEY” – Series One (2010) Retrospective

The announcement of ITV’s new series, “DOWNTON ABBEY”, had attracted my interest the moment I had learned it would air on American television, during the winter of 2011. I happened to be a fan of Robert Altman’s 2001 movie,“GOSFORD PARK”. And when I learned that the movie’s Oscar winning writer, Julian Fellowes, was one of the series’ creators, my interest soon transformed into anticipation. 

Focused upon a vast estate during the last years of the Edwardian England, “DOWNTON ABBEY” was able to allow viewers to glimpse into the lives of the estate’s owner (or caretaker), Robert Crawley, Earl of Grantham; his immediate family; and the family’s servants through seven episodes. This first series began with news of the R.M.S. Titanic disaster in April 1912, which sparked a crisis for the Crawley family. The series ended with the commencement of World War I, over two years later. During those two years, the family endured the loss of two heirs presumptive, a new heir from the wrong social class, a personal scandal for Lord Grantham’s oldest daughter, a series of minor problems and a mystery surrounding his new valet, a pregnancy, a hostile valet, and the youngest daughter’s embroilment in the women’s suffragette movement.

“DOWNTON ABBEY” did not strike me as an original series. After all, I have seen both another television series and a movie with a similar premise – namely the 1971-1975 BBC series, “UPSTAIRS, DOWNSTAIRS” and “GOSFORD PARK”(which had a murder mystery attached to it). “DOWNTON ABBEY” had a good number of plotlines. Two of them are continuing plotlines – Lady Sybil Crawley’s politics and friendship with the family’s Irish-born chauffeur, Bronson; and the fallout from Lady Grantham’s accident, caused by her personal maid, Sarah O’Brien. But the meat of the series centered around two major storylines – the Earl of Grantham’s new heir and his impact upon the family’s fortunes; and the mystery surrounding the new valet, John Bates.

Lord Grantham and John Bates first met, while serving together during the Second Anglo-Boer War, in which the latter was crippled for life. Years later, Lord Grantham helped Bates by hiring him as a new valet. The latter’s arrival (which occurred on the same day that the household learned about the Titanic sinking) sparked a feud between him and the venal first footman, Thomas, who had coveted Bates’ new position. Due to her friendship with Thomas, O’Brien became drawn into the feud. And the two spent the next two years attempting to get Bates fired. Bates acquired his own champion in the form of head housemaid, Anna Smith. By the seventh episode, Bates and Anna were in love. But Bates refused to pursue a romance, due to some mystery regarding his marriage to a questionable woman.

The other major story proved to be a lot more complicated. Lord Grantham’s marriage to an American heiress brought him money for the family estate, unexpected marital bliss, three daughters and no male heirs. Because he had no sons, Lord Grantham’s first cousin became his heir presumptive. And his oldest daughter, Lady Mary, became engaged to his cousin’s son. However, the Titanic disaster took the lives of the two heirs and a new heir was found – a Manchester attorney named Matthew Crawley, who happened to be Lord Grantham’s third cousin. Unfortunately, not only had Matthew been raised in a middle-class environment, he would end up inheriting the Grantham title, Downton Abbey and the money that came with Cora, Lady Grantham’s dowry – money that his three female cousins will never be able to touch following their father’s death. Although most of the Crawley women initially found the idea of Matthew as the next Earl of Grantham abhorrent, both Lady Grantham and the Dowager Lady Grantham decided to consider the idea of Lady Mary marrying him. They saw this as the only means for a member of the immediate family to have access to Lady Grantham’s dowry. This storyline played into Lady Mary’s efforts to find a husband as a way to avoid marriage to Matthew. Unfortunately, her reputation was compromised by a Turkish diplomat, who decided to visit her room during a weekend hunting party. The storyline also played a major role in the on-going rivalry between the much-favored Lady Mary and the ignored and less beautiful middle sister, Lady Edith. This rivalry ended in disaster for both by the seventh season.

I believe that “DOWNTON ABBEY” certainly lived up to its hype. The series turned out to be a sharp and well-written television drama that also proved to be a breath of fresh air. And that is an interesting conclusion for me to arrive, considering that “DOWNTON ABBEY” is not what I would call an original premise. I suspect that Julian Fellowes might have a talent for drama with a multi-class premise within a single setting, as his work with both the series and“GOSFORD PARK” seemed to prove.

Fellowes’ handling of the servants’ storylines and characterization proved to be adept and well-written, but not as complex of his handling of the immediate Crawley family. Mind you, I rather enjoyed the storyline surrounding the John Bates character and the mysteries of his past. Because of his handicap, Bates drew the ire of the other servants, who resented that they had to cover his mistakes caused by his disability. But this resentment transformed into a feud between Bates and the villainous Thomas that lasted throughout the entire first series. The problem I do have with Fellowes’ characterizations of the Crawley servants was that they seemed to lack a good deal of the same complexity that made the Crawley family very interesting. Most of the servants struck me as a bit too likeable – almost to the point of being noble. This was especially true with four of the characters – John Bates, the butler Charles Carson, the housekeeper Mrs. Elsie Hughes and head housemaid Anna Smith. The worse most of these characters seemed to suffer from – especially Bates and Mr. Carson – was pride. The servants did show signs of some moral complexity, when they expressed both surprise and resentment at housemaid Gwen Dawson’s aspirations to leave service and become a secretary.

On the other side of the spectrum, there was Thomas and O’Brien, who turned out to be villains of the story. Well . . . at least Thomas did. I must admit that O’Brien’s hostility seemed to be stemmed from her resentment toward her position as a servant. And she proved to be horrified and remorseful that she had caused Lady Grantham to miscarry an unborn child. Thomas, on the other hand, proved to be a thorough villain. Not only did he make several attempts to remove Bates as Lord Grantham’s valet, he also expressed callous disregard toward the death of second footman William Mason’s mother and Lady Crawley’s miscarriage. By the seventh season, he was fast becoming a one-note villain. And I found it disturbing that the series’ one true villain was not only a servant, but also a homosexual. Thomas’ sexual persuasion allowed Fellowes to provide him with one moment of sympathy, when he was rejected by a visiting aristocrat (Charlie Cox) that proved to be his former lover. It is possible that I am putting too much into this, but having the series’ one unrepentant villain also be a homosexual strikes me as slightly homophobic.

Fellowes handled the characterizations of the Crawley family with a complexity that I found a lot more satisfying. The series’ two most complex characters turned out to be the older Crawley sisters – Lady Mary and Lady Edith. Both proved to be decent women that had to deal with their own personal angst. Lady Mary had to deal with her damaged reputation and resentment toward her father’s interest in her cousin Matthew Crawley. And Lady Edith had to endure her parents and grandmother’s lack of attention. However, Lady Mary and Lady Edith’s sibling rivalry also proved how ugly they could become. Lady Mary seemed very unsympathetic toward her younger sister’s emotional plight. And Lady Edith’s resentment led her to expose her sister’s late night encounter with the Turkish attaché, Mr. Kemal Pamuk. After discovering Lady Edith’s treachery, Lady Mary sabotaged the younger sister’s developing romance with the widowed Sir Anthony Strallen.

The rest of the Crawley family seemed less complex than the two older sisters. But they had their share of flaws. Superficially, the Earl and Countess of Grantham seemed unusually tolerant toward their servants, for members of the aristocracy. Yet, Lord Grantham did reveal his willingness to make his chauffeur, Tom Branson, a scapegoat for his youngest daughter’s political interests. And both he and Lady Grantham’s cool dismissal of the plainer Lady Edith’s chances of matrimony struck me as rather callous. The Dowager Lady Grantham initially came off as a snobbish, blunt and a bit too reactionary. And yet, she also had a sharp wit that many found entertaining. She even managed to warm up to her son’s middle-class heir and the latter’s mother. Speaking of Matthew Crawley, he seemed like a sympathetic and strong-willed character. And yet, I got the distinct impression that he also had a chip on his shoulder and a tendency to make assumptions about others – especially Lady Mary, with whom he had fallen in love. And his mother, Mrs. Violet Crawley was a decent, forthright woman and former nurse, who also came off as what the British would describe as aswot. In other words, she sometimes came off as a know-it-all prig. The only member of the family, whose complexity seemed to be at the same level as most of the servants, was the youngest daughter, Lady Sybil. Fellowes nearly portrayed her as a lively, upbeat, compassionate and forward-thinking young woman, with a deep interest in politics. In other words, she came off as a bit too ideal in my taste.

For me, the best aspect of Series One was the storyline featuring the effects of no male heirs and the estate’s entails had upon the Crawley family. Fellowes must have put a great deal of effort into creating it. Looking back, I am surprised that so many plots had such a strong connection to this storyline regarding the new family heir and the entail. Who would have thought that the sinking of the Titanic would prove to have such a strong impact upon the Crawley family? Especially upon the lives of the two elder sisters – Lady Mary and Lady Edith – and their cousin Matthew? To avoid a future in matrimony with Matthew, Lady Mary set out to find a rich and socially acceptable husband. Unfortunately, a late night encounter with a Turkish diplomat during a family-hosted hunting party left a whiff of scandal in Lady Mary’s wake. And due to Lady Edith’s resentment toward her older sister, she quietly revealed the true details behind the death of Mr. Kemal Pamuk to the Turkish Ambassador, the whiff developed into a full grown scandal that tainted Lady Mary’s reputation.

As much as I admired the series’ writing, there were some aspects of it that left me scratching my head. I have already complained about Fellowes’ occasionally one-dimensional characterization of most of the servants and Lady Sybil. I also have a complaint about another character. Although his characterization of the Dowager Countess was basically ambiguous, the character strongly reminded me of another that Maggie Smith had portrayed in “GOSFORD PARK” – namely Constance, Countess of Trentham. Only her character in the 2001 movie seemed a lot more subtle. And there is also one aspect of the Lady Mary-Mr. Pamuk storyline that troubled me. All those who knew about Mr. Pamuk’s presence in Lady Mary’s bedroom never bothered to question how he discovered her bedroom in the first place. Well, both Anna and Lady Grantham had jumped to the conclusion that Lady Marry had invited the attaché into her bedroom. But not even Lady Mary bothered to question his presence in her room. She never expressed one question. If she had, she and her mother would have eventually discovered that the only person who had the best chance of revealing her bedroom’s location to Mr. Pamuk was Thomas. The footman had served as the attaché’s temporary valet during the hunting party.

“DOWNTON ABBEY” proved to be a big hit on both sides of the Atlantic Ocean . . . and deservedly. Despite some of its flaws, it was a well made and well written television series. This first series allowed viewers a glimpse into the world of the British aristocracy and its servants during the last two years before the outbreak of World War I. Now that war was declared in the seventh episode, I look forward to seeing how the series will handle the Crawleys and their servants’ experiences during the war. But if Series Two will cover World War I, does this mean that “DOWNTON ABBEY” will continue on into the period between the world wars – the same period now being covered by the recently updated“UPSTAIRS, DOWNSTAIRS”? I guess we will have to wait and see.

“RETURN TO CRANFORD” (2009) Review

return to cranford for christmas

 

“RETURN TO CRANFORD” (2009) Review

Due to the success of the 2007 miniseries, “CRANFORD”, the BBC aired a two-part sequel called “RETURN TO CRANFORD” (also known as the “CRANFORD CHRISTMAS SPECIAL”), some two years later. Like the original miniseries, it was adapted by Heidi Thomas and directed by Simon Curtis. 

“RETURN TO CRANFORD” was based on material from Elizabeth Gaskell’s two novellas and a short story – “Cranford”,“The Mooreland Cottage”, and “The Cage at Cranford”, were all published between 1849 and 1863. Also, themes from “My Lady Ludlow”“Mr. Harrison’s Confessions”, and “The Last Generation in England” were included to provide continuity with the first miniseries. The new miniseries took place between August and December 1844. The citizens of Cranford find themselves facing major changes in their society, as the railroad continues to be constructed near the edge of town. In fact, I was surprised to learn that a great deal of the story surrounding the new railroad was not in any of Gaskell’s novellas and short story. Only the storylines featuring about Mrs. Jameson’s (Barbara Flynn) cousin, Lady Glenmire (Celia Imrie) and Captain Brown (Jim Carter), Miss Pole’s (Imelda Staunton) Parisian “cage” for her pet cockatoo, and a magician named Signor Brunoni (Tim Curry) putting on a show came from Gaskell’s works.

I have to be frank. It did not bother me that most of the material featured in the miniseries did not come from any of Gaskell’s novellas and short stories. Thanks to some decent writing by Heidi Thomas, I believe that it all worked out fine. Unlike the 2007 miniseries, ”CRANFORD”, the screenplay for ”RETURN TO CRANFORD” seemed tighter and more focused. In fact, I noticed that the majority of major storylines featured in the miniseries have ties to the main story about the railroad’s construction. Because of this, ”RETURN TO CRANFORD” avoided the episodic style of storytelling that I believe marred ”CRANFORD”. My favorite storyline featured the budding romance between two newcomers to the town of Cranford – William Buxton (Tom Hiddleston), the Eton-educated son of a salt baron (Jonathan Pryce) and Peggy Bell (Jodie Whittaker), the daughter of a less-affluent widow (Lesley Sharp). Mr. Buxton wants William to marry his ward, the Brussels-educated Erminia (Michelle Dockery). But neither are interested in each other. And Peggy has to deal with her ambitious and greedy brother, Edward (Matthew McNulty), who dislikes William. What I liked best about ”RETURN TO CRANFORD” was that most of the storylines were tied to the new rail line being constructed near Cranford – even the William/Peggy romance.

As much as I hate to admit it, ”RETURN TO CRANFORD” had its problems. Another storyline featured the problematic pregnancy suffered by Miss Matty’s maid, Martha Hearne (Claudie Blakley). The problem arose, due to the lack of doctors in Cranford. And I found this confusing. The 2007 miniseries ended with two doctors residing in the town – the recently married Dr. Frank Harrison and longtime resident Dr. Morgan. A year later, both no longer resided in Cranford and Heidi Thomas’ script never revealed their whereabouts or fate. Thomas’ real misstep featured the death of Lady Ludlow (Francesca Annis) and the arrival of her ne’er-do-well son, Septimus (Rory Kinnear). The latter’s attempt to cheat young Harry Gregson (Alex Etel) out of the money he had inherited from the late Mr. Carter was a poorly conceived and written storyline. And despite the built-up, it failed to have any real impact upon the Harry Gregson character, due to its vague ending. As much as I found Signor Brunoni’s Christmas show rather charming, I thought it also reeked of a sentimentality that made my teeth hurt. Especially when Miss Matty’s reunion with Jem Hearne (Andrew Buchan) and his daughter entered the picture.

The production design for ”RETURN TO CRANFORD” was top notch as ever. And Alison Beard’s supervision of the costumes proved to be just as first-rate as Jenny Beavan’s work in the 2007 miniseries. The cast continued its first-rate work from the previous miniseries – especially Judi Dench as Miss Matty Jenkyns, Imelda Staunton as town gossip Octavia Poole, Francesca Annis as the aristocratic Lady Ludlow, Emma Fielding as her assistant Laurentia Galindo, Alex Etel as Harry Gregson, Julia McKenzie as Mrs. Forrester, Jim Carter as Mr. Brown, and Barbara Flynn as the pretentious Mrs. Jamieson. But the newcomers that impressed were Tom Huddleston as William Buxton, Jonathan Pryce as the tyrannical Mr. Buxton, Jodie Whittaker as Peggy Bell, Celia Imrie as the earthy Lady Glemire and Tim Curry as the warm-hearted magician Signor Brunoni.

For a while, I had been reluctant to watch ”RETURN TO CRANFORD”. Because it was a sequel to the 2007 miniseries, I figured that it could never be as good as ”CRANFORD”. I was wrong. I do not know if I would consider it better than the first miniseries. But the latter is certainly not better than the sequel. And ”RETURN TO CRANFORD” does have one major advantage . . . namely Heidi Thomas’ screenplay turned out to be more tightly written, due to her decision not to use much of Elizabeth Gaskell’s material. Personally, I find that rather ironic.