The anticipation is over for American fans. PBS has aired the first two-hour installment of Downton Abbey Season 3 and we have had 6 days to digest the goings on of the Crawleys, their friends, relatives and spouses. All week people have been asking me: What are your thoughts?
Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE
Let me confess, I saw the entire series before Christmas and have since dithered. How to review a program that contains a minefield of plot spoilers? I decided to share my thoughts one week at a time. So, without further ado, I’ll break down the first 120 minutes.
Shirley Maclaine as Martha Levinson
Credit: Courtesy of © Nick Briggs/Carnival Film & Television Limited 2012 for MASTERPIECE
I salivated, I yearned, I couldn’t wait for Shirley’s appearance KNOWING that she would be Maggie Smith’s equal in retorts and sarcasm. Boy, was I wrong. My dreams of epic verbal sparring between two battle axes were dashed, leaving me feeling as flat as a bottle of Champagne left open for too long. The best line was Martha’s opening salvo when she first sees Violet:
Martha: “Oh dear, I’m afraid the war has made old women of us both.”
Violet: “Oh, I wouldn’t say that – but then, I always keep out of the sun.
I expected more zingers between these two characters, but alas they were few and far between. Martha is a brash American who wears her fortune on her person and looks a bit too newly-minted. She also apes her youngers in dress and fashion, a species whom Violet refuses to acknowledge as her sartorial betters.
Martha lacks proper manners, and here is where the Brit writers got her wrong, for Martha lives in Newport, Rhode Island, one of the snobbiest enclaves for the rich in early 20th century America. As Edith Wharton so brilliantly attested in her novels, there is nothing snobbier than a New York/New England socialite. A nouveau riche American trying to make a dent in that upper strata would have to learn to behave. Martha might be gauche and her money might be fresher than yesterday’s salmon, but she would have known about proper etiquette and manners, make no mistake about that.
My biggest surprise was Shirley’s physical presence. Maggie looms large in every scene, whereas Shirley’s hunched figure seemed diminished in contrast to Maggie’s stiff upper lip and upright posture. Worse, there was no connection between Cora (Elizabeth McGovern) and Martha (Shirley). The viewer was left to wonder about the back story between mother and daughter. A short but marvelously written scene could have given us insight as to what makes Cora tick, but this never happened. An opportunity lost? You betcha.
Sad violin music for Bates and Anna
Credit: Courtesy of © Nick Briggs/Carnival Film & Television Limited 2012 for MASTERPIECE
As a member of Team Bates I’ve had enough! Will someone please break Bates out of prison before I start rooting for Thomas? I’m sick of watching Anna and Bates making moon eyes at each other across a prison table. Anna does show some moxie in that she’s determined to sleuth in order to free her man. And who knew that Bates could be so ruthless with his cell mate? No patsy he! Still … I yearn to see Bates and his Anna in a more uplifting story line and it isn’t happening anytime soon.
The dissolution of the finest villanous couple in PBS history
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I’m at a loss for words. Who’d have thunk that the writers would mess with Thomas and O’Brien? I never thought of them as separate entities but as ThomasanObrien. They were always plotting in back corridors as we watched in glee. The reason for their estrangement is so piddly it’s barely worth a mention. Thomas is worried about keeping his job at Downton Abbey and O’Brien’s wants to promote her too tall nephew to footman. THAT’s the conflict. It’s llike asking circus lions to perform a kitten’s trick, or akin to morphing The Clash of the Titans into a bitch fight at a “Real Housewives” party.
The truncated wedding of Mary and Matthew
If you blinked at the wrong time you might have thought that you time travelled. One moment Matthew is making goo goo eyes at his bride at the altar and in the next they are dashing around the countryside in an automobile. No I do’s. No kisses. No tossing of rice, and no cavorting under the sheets in wedded bliss. When the wedding scene was cut short, a gasp went around the room (7 of us viewed the first episode together) and then we shouted – “We wuz robbed!” Anna and the viewers do get a glimpse of Mary and Matthew in bed — much much later. All I could think was: “What if Anna had walked into the room while they were doing IT?” To paraphrase Cher Horowitz in Clueless – “Ewwww.”
Lady Edith, shameless hussy
World War One and influenza did more to reduce Europe’s male population than untold centuries of starvation, hunting accidents, duels, or bar brawls ever did. After 1918, there were a gazillion fertile young women for every man. No wonder Lady Edith set her sight, hooks, and clamps upon Sir Anthony Strallan. While considerably older than the nubile Edith, he’s not all that decrepit a specimen of British aristocratic manhood. He still has his teeth and hair, and can offer her a fine house. While one of his hands can no longer do the job for which it was intended, the other can still unhook Lady Edith’s underthings if Sir Anthony so desired. What else would a young lady of breeding age want? With her biological clock ticking and her eggs shriveling by the minute (and with nothing much else to do), Edith hones in on Sir Anthony like a heat seeking missile, which makes Papa Crawley’s innards crawl The viewer is asked to wonder why, since historically young aristocratic British maidens were SACRIFICED on the altar of land and wealth with nary a blink of an eye by their doting papas.
Tom Branson and his Sybil
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Our former chauffeur turned newspaperman wears ill-fitting suits and cannot let go of his political fervor even at the dinner table. The servants sniff and snort within his vicinity, unable to withhold their disdain for a man who married his BETTER. The servants resort to the tools they know best to put him in his place. When serving him at table, the footmen hold platters of food too high or low for comfort, or for too short a time. Others sling sideway looks and lift their noses as if smelling a putrid excrescence. Violet shows much more tolerance towards Branson, for in her book he has become FAMILY.
As for Saint Sybil, she’s turned into the invisible woman. Branson leaves her in danger in Ireland to save his own hide, and when she finally shows up at the Abbey, she’s pregnant, dowdy, and all but mute. What’s happened to our feisty miss? I’m not feeling her this season and apparently she’s not feeling it either..
Violet, the Inviolate
Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE
In this instance the writers have not messed with perfection. Either that or Maggie Smith is able to rise above hasty script writing. She’s given fewer zingers this go-round, but every utterance is platinum in my book. Do not criticize my Maggie or you will be banished from my blog forever.
In Conclusion
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Let’s face it, the first episode is off to a slow start. The writers are juggling too many story lines, but the main problem with season three is the lack of real conflict. Season One featured the sinking of the Titanic, which killed off Downton’s heir, and Season Two played against the backdrop of World War One. The only thing Season Three has going for it thus far is that the earl has lost Cora’s money out of sheer stupidity by investing all of it in one railway, and that Matthew refuses to save the day with Lavinia’s dead daddy’s money because of his tiresome high-mindedness about having let Lavinia down. Mary’s still willing to marry him and not pull a Clytemnestra, which boggles the mind. Meanwhile, as Daddy Crawley is forced to contemplate selling his books and his beloved dog Isis, and firing all the servants in order to make ends meet, his daughter Mary is spending money on her trousseau like no tomorrow.
Credit: Courtesy of © Carnival Film & Television Limited 2012 for MASTERPIECE
With tepid fare like this, the 120 minutes seemed to drag on. At the end of the first episode, I sang in my best Peggy Lee voice, “Is that all there is?” Well, no. There is more to come and the season does gain momentum. There will be plot twists and turns that will leave viewers stupefied, howling with grief and laughter, or wanting more. Too bad that the first episode barely hinted at the drama to come.
I did a quick survey among friends and colleagues this week and tallied up the scores. Half the people I talked to loved the first episode, the others felt like me. All were let down by Shirley MacLain’s performance, except for one. The best line regarding saving Downton Abbey from bankruptcy came from Market Watch, which asked: “Desperate times call for desperate measures. If you were Earl and Countess of Grantham, what would you do?” One person answered, “I say buy life insurance on Mary and knock her off. Ghastly woman.”
Hah!
Please, in your comments, NO plot spoilers.
The New York Times has an interesting take on the phenomenon that is Downton Abbey
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