Masterpiece Classic – Ripple Effects

Downton Abbey S6 Episode 2

A relatively uneventful episode after the convivial Season opening.

But the few storylines are so apt in exposing the characters we thought we’ve known. First off, Mary is a math whiz, her own sister comments that:

“As usual, you add two and two and make fifty-three.”

No need to decode, just Mary in her most inquisitive and intuitive state. Rose may well be pregnant. The more the merrier.

This episode seems to belong to Mary, for she’s everywhere and uh… yes, Agent of all things great and small, from pigs to pregnancy.

And Lord Grantham, heed your mother’s chiding, “if you can’t say anything helpful Robert, please be silent.”

Why, decorate the Servants’ Hall for Mr. Carson and Mrs. Hughes’ wedding reception? I was shocked to hear him say that, same as his daughters. And I thought Robert has turned egalitarian, at least a little bit, as modernity creeps into Downton.

But a butler’s a butler, loyal, honourable, and ever respectful, so Mr. Carson is all gung ho to take up the offer of Downton’s Great Hall. And with Mary’s stepping in to make sure their wedding reception a Downton event, I jump on Mrs. Hughes’s side with no hesitation. A wedding belongs to the bride, no matter how old she is; it’s her day and she ought to be able to choose her own place and plan it in her own way:

“I just don’t want to be a servant on my wedding day.” Of course not.

After all, Mrs. Hughes continues, “we’ll be doing it your way for the next 30 years,” to which Mr. Carson gives no words in reply. What would be the outcome? I wonder. But I can wait, no spoilers please.

Edith’s role as a woman boss isn’t an easy job to tackle, and dealing with an editor like Mr. Skinner sounds like a nightmare. A hint for you, Edith, just imagine: What would Mary do?

So, Mary would enter the Downton pigs in the Fat Stock Show, and will drop by the Drewes’ farm to see the fat piggies. Little George’s first lines “Can we come?” seal the fate of the Drewe family.

Here lies the best storyline of the episode. Mary brings George and Marigold to the Drewes farm to see the pigs while Edith goes to London, and of course, who will be there but Mrs. Drewes? The dramatic effect is much needed for too placid an episode.

And on the day of the Fat Stock Show, Mrs. Drewes’ impulsive act of child snatching is understandable. The only, and too short, tense moment of the hour is finished in five minutes. Too swift a resolution in vacating a family who had farmed there since before Waterloo. An easy case that the wise King Solomon would envy; his was a much harder case of baby sharing.

Talking about the wisdom of King Solomon, his opinion just might be helpful for the prospect of the village hospital and in resolving the family feud. Maybe Violet would listen to his counsel?

Thomas Barrow (1)

All those country fairs are best to discover new talents and skills. If job hunting plans don’t pan out for Mr. Barrow, he could alway open up a bowling alley. He could well be an adroit operator.

But why did I think of a Magritte painting when I looked at Thomas Barrow in that scene? Hopefully something realistic and not too absurd will cross his path.

As for the Bates, we don’t want to see any more miscarriages, either in the legal or biological realm. And here we have Mary to thank for being so helpful. Bringing Anna to see Dr. Ryder in London’s Harley Street may well be the most effective act of kindness she can offer her maid, more a friend by now.

And what do you know, one year later in 1926 a Lionel Logue opened his speech therapy practice there on that same Harley Street and proved to be a fateful move for the future King of the Empire. (My extra note, not in the Episode)

Of course, Anna glows after the doctor’s appointment. Don’t we all wish Mr. and Mrs. Bates can live happily hereafter?

***

CLICK on the links to read my other Downton Posts for Season 6:

Downton Abbey rings in the New Year one last time

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Emma (2009, TV): Episode 3

The final instalment of Emma has a major challenge, to reveal the hidden agendas, and to tie up all the loose ends in just under an hour. The hurried scenes leave me with a feeling of watching a trailer, a montage of excerpts loosely linking up the story. This is especially so in the first half dealing with Jane Fairfax and Frank Churchill’s secret relationship.

If the story feels a bit fragmented in this last episode, the cinematography makes up for that shortfall. The hour is saturated with stunning shots, magnificent scenic views and exquisite interior renditions. The Box Hill picnic scene is a vivid example:

Ironically, the pivotal Box Hill scene was not shot in Box Hill, a busy tourist attraction in Surrey. Instead, it was shot in Leith Hill, Mole Valley, another much quieter scenic point. For an interesting comparison of the two hills, click here to go to ‘this is surrey today’.

The Box Hill picnic is a crucial turning point in the story. Emma’s callous and sarcastic joke on Miss Bate and the subsequent scolding she receives from Mr. Knightly is nothing short of an epiphany in self-knowledge. The genuine remorse she feels could well reflect her greatest strength. I’m sure such quality of character is what seizes Mr. Knightly with tenderness, moving him to consider her “faultless in spite of all her faults.”

I have a feeling too that this is the very reason Austen finds her heroine likable. Romola Garai has effectively portrayed a contrite and humbled Emma, while Jonny Lee Miller has delivered convincingly a silent lover with passion and principle. My initial reservation about his role has definitely changed for the better in this final episode.

Fortunately as well, the endearing lines of Mr. Knightly to Emma, no, not the ‘badly done!’ admonition, but the heartfelt praise he spurts out in spontaneity, remains intact and without any modernized alteration from screenwriter Sandy Welch. Of course it needs to be declared in its authentic whole… Miller has the best lines of the series:

“I cannot make speeches, Emma… If I loved you less, I might be able to talk about it more. But you know what I am. You hear nothing but truth from me. I have blamed you, and lectured you, and you have borne it as no other woman in England would have borne it.”

As with all Austen’s novels, the ending comes with nuptial ties. But as Masterpiece Classic’s host Laura Linney points out at the opening, considering the social discriminations inflicted upon the woman in Jane Austen’s time, allowing no ownership of properties, no decent employment (even Jane Fairfax compares the governess position with slavery), and no respect or rights given to the single female of low means, it is only a justifiable reward for the author to end her story with loving marriages for her well-deserved protagonists.

Towards this end, the camera takes us to the magnificent view of Beachy Head in the last scene. As Emma and Mr. Knightly stand on the edge of the cliff overlooking the boundless ocean, we see the series come to an idealistic end, maybe a broader stroke than that in Austen’s novel. But as some critics have noted, it is love that the author emphasizes rather than romance. From that perspective, looking outward together to the ocean vast instead of gazing into each other’s eyes may well be an apt interpretation of Austen’s heart.

***

CLICK HERE to go to Episode 1

CLICK HERE to go to Episode 2

Arti’s reviews of Emma (2009), Episodes 1 to 3, have been compiled into one article and published in the Jane Austen Centre Online Magazine. CLICK HERE to read the many other interesting articles on Jane Austen and her time.

**Photo Sources: Box Hill Picnic bbc.com; Beachy Head, not a scene from the movie, taken from Wikimedia Commons.

Emma (2009, TV): Episode 2

‘An authentic human being’ is how the host of Masterpiece Classic Laura Linney describes Emma. Jane Austen’s characters have no supernatural powers, she notes. But herein lies the magic of her writing. She takes the ordinary and draws out the unnoticed features. From these everyday characters like you and me, she skillfully displays the intricacies woven in their interactions, and reveals the undercurrents of hidden intentions and desires. It is in the revealing of the subtext that makes her story so captivating even for us modern day readers.

Episode 2 continues with this interesting story as we see Emma confused by her own feeling towards Frank Churchill, Harriet’s shifting admiration for the same, Frank Churchill’s seemingly open admiration for Emma, Mr. Knightly’s growing sentiments for the same, and, Jane Fairfax’s hidden anguish, ignored by the subject of her desire. It seems that everybody’s feeling is mixed up with everybody else’s. The comedy of errors gathers momentum.

Cinematography continues to be a major contributor to the storytelling. I particularly appreciate the several Vermeer moments, like the one with Emma gazing out the window deep in thought, or the camera silently captures her playing the pianoforte, immersed in diffused light. I’ve also enjoyed how the visual reveals inner thoughts. Mr. Knightly’s longing is projected by the flashback of his dancing with Emma, shifting to the single swan in the pond, warm music enfolding… a beautiful cinematic moment where the visual and music communicate effectively without words.

Mrs. Elton is animatedly played by Christina Cole. In terms of comedic and obnoxious effects, she is of her husband’s equal, a good match indeed. While Rupert Evans is proficient in portraying a sly Frank Churchill, he does not look like the one I have in mind. But that is not important. My main concern is with the role of Jane Fairfax. This second episode confirms my misgiving from the beginning. I feel there is a miscast here. I miss her elegance, poise and subtleties as described by the author. She is supposed to be Emma’s worthy rival after all.

The dance at The Crown Inn is a delight to watch. That is also the occasion showing everybody’s true colour. And Mr. Knightly has proven himself to be one considerate gentleman as he invites Harriet to dance after she is slighted by Mr. Elton. Also, we’re beginning to see Mr. Knightly more and more in love, while the object of his desire remains relatively clueless, albeit a sense of appreciation has arisen in her confused heart. The dances are fun to watch too, much more lively and convivial than the courtly dances we see in other Austen adaptations.

After two episodes, the story and the characters are well developed, the overall effects pleasing and enjoyable. I look forward to the next instalment.

*****

CLICK HERE TO GO TO MY REVIEW OF EPISODE 1

CLICK HERE TO GO TO EPISODE 3, THE CONCLUSION

Emma (2009, TV): Episode 1

Previously on Masterpiece Classic…

Yes, treat this post as a recap to prepare you for Episode 2 in just a couple of days.

So finally, North American viewers have the chance to see the long awaited 2009 BBC production of Emma, three months after its release in the UK. A click on imdb will find no less than 15 different versions of this popular Austen work. Yet another one? It just naturally leads one to question, why? After seeing this first episode, let me give it a shot: just because it’s so much fun to do.

That’s how I felt as I watched the PBS broadcast last Sunday. This newest adaptation of Emma is probably the best I’ve seen, and Romola Garai easily the best-cast Emma so far. Yes, I’m comparing her with Gwyneth Paltrow (1996) and Kate Beckinsale (1996, TV). She may well be one of the best-cast Austen heroines for their roles in my opinion, let’s just say, neck and neck with Jennifer Ehle’s Elizabeth Bennet.

What a difference from her guilt-ridden Briony in the movie Atonement. Well, Garai’s Emma is guilt-ridden too as the errant, over-confident matchmaker, but her genuine heart and willingness to own up to her misjudgment have made her personality shine through.

In creating Emma, Austen had said that “I’m going to take a heroine whom no-one but myself will much like.” Seems like this adaptation does a great service pulling us over to Austen’s side. Garai’s Emma reflects the probable reasons why the author found her character likable: vivacious, charmingly clueless, and above all, her readiness to admit faults, her genuine heart towards herself and others. Garai’s animated performance is most apt in a comedic genre such as this. So far in the first episode, the irony and humor have come through.

The impressive cinematography matches perfectly the personality and atmosphere of the novel, brisk, agile, fun, and yes, as Mr. Knightly narrates in the beginning, golden. Just the kind of colour scheme for a clever comedy, the exact reflection of its main character. As a comedy, a little exaggeration in the colours is acceptable and quite effective I think. Overall, the visuals are captivating, beautiful shots of the English country landscape, the well situated mansions and their interior renderings. I’ve particularly appreciated the few overhead shots, and some of the contrasting darker scenes in the beginning.

And yes, the beginning is where a film can captivate right away. I’ve enjoyed screenwriter Sandy Welch’s treatment of the plot, drawing out three characters, Emma, Frank Churchill, and Jane Fairfax, who had all lost their mother as a young child, and focusing on how markedly different their lives have turned out.

For the casting of Jonny Lee Miller as Mr. Knightly, however, I have a little reservation, in this first episode anyway. The sparks between Emma and him look more like sibling bickering than the undercurrents of subliminal lovers’ quarrels, which Austen so brilliantly depicts. The 16 years of age difference is almost unobservable here, although in real life they are ten years apart. But I’ve enjoyed Jonny Lee Miller’s portrayal of the conflicting Mr. Knightly, at times detached, at times involved, and at times, exasperated.

Michael Gambon is excellent as the fastidious Mr. Woodhouse. The legendary actor has delivered a convincing performance as an endearing but taxing hypochondriac. As for Harriet Smith and Jane Fairfax, I’m afraid my preference is the 1996 TV production‘s casting of Samantha Morton and Olivia Williams in these roles. But then again, my view can change as I continue watching.

This first episode strikes me as a lively, contemporary rendition. While screenwriter Sandy Welch had chosen to use more modern language in her dialogues, I don’t think she needed to stray too far from the original to achieve this. As I’m re-reading Emma for these screenings, I find the book very accessible for modern readers, the characters are those whom we can relate to, their motives and emotions very similar to what we are familiar with. Austen’s skills in observation and her intelligence in depicting human nature and her characters’ inner world are simply impressive, considering she was writing almost a hundred years before Freud and the birth of modern psychology.

****

CLICK HERE TO GO TO MY REVIEW OF EPISODE 2

CLICK HERE TO GO TO EPISODE 3, THE CONCLUSION

Arti’s reviews of Emma (2009), Episodes 1 to 3, have been compiled into one article and published in the Jane Austen Centre Online Magazine. CLICK HERE to read the many other interesting articles on Jane Austen and her time.

Jane Austen: Sense Or Sensibility?

With PBS Masterpiece Classic broadcsting Sense and Sensibility (2008 ) again on Feb 1 and 8, it’s good time to muse on the question: Which Austen heroine was Jane herself most like? You can see the poll on my side bar, and the results so far.

As you watch Sense and Sensibility once again, look closer at Elinor and Marianne. Mind you, if you have a chance, watch the 1995 movie too, then you’d appreciate Emma Thompson and Kate Winslet in bringing out the differences between sense and sensibility even more clearly I think.

No doubt, we all like to perceive Jane herself as the very source that had inspired the creation of our all time heroine, Elizabeth Bennet of Pride and Prejudice, intelligent, witty, self-assured, sharp in her critique of social norms, and brave enough to challenge, and diverge. She dominates our popular votes here with a 44% lead… so far.

But Anne Elliot of Persuasion is also a popular choice, mature, patient and wise. The silent lover is a strong second with 23%.

magrittes-le-blanc-seing

After reading the biographies of Jane, knowing how she had loved the burlesque and to play a part in the family’s performances, how openly she had engaged in activities with her brothers and the student boarders in her home, how she had written satires while still a youngster, how critical she could be, and above all, upon my reading Claire Tomalin’s incisive analysis of Jane’s relationship with her older sister Cassandra, I tend to lean toward a very unpopular choice.

I think Jane by nature was more like Marianne Dashwood, passionate, spontaneous, expressive and bold. It’s Cassandra, like Elinor, who reminded her to rein in her emotions, to keep her skepticism in check, and to help her fit into a world that was not ready for a female like her. Have you wondered why Cassandra needed to burn so many of Jane’s letters to her after Jane’s death?

Is it sense and sensibility we’re talking about here, or rather nature and nurture?

No matter. It’s best that our favorite writer remains an enigma. But, if you have to choose, thinking back to all the Austen heroines in her six novels, who do you think Jane resembled the most?

Cast your vote and let Janeites decide.

To read my review of Sense and Sensibility (2008, TV), Part 1, Click here.

Click here for Part 2.

*****

Tess of the D’Urbervilles (2008, TV): Part 2

tess The “lite version” of Part 1 has turned into a heavy and somber continuation on PBS Masterpiece. In this second and final part, screenwriter David Nicholls and director David Blair unleash the gloomy Hardy worldview unreservedly, releasing the bleak and dismal elements that are almost too much for new year viewing. The music has played a major and dramatic role in setting the tone and mood of the movie. The cinematography too, in contrast to the lush green opening in the first part, has drawn us into a slough of mud, grey and black. Hardy’s view of nature lamenting the tragic condition of his heroine is effectively conveyed, engrossing albeit a tad too melodramatic.

Kudos to David Nicholls for a meticulous job in adaptation. He has kept the plot intact, for the most part faithful to Hardy’s book. While a couple of incidents are left out, quite meaningful and symbolic too, but not to diminishing effects. These include the sleepwalking episode, the Freudian slip of Angel’s innermost longing to love Tess despite all restraints. The second being Tess’ mercy-killing of pheasants wounded by hunters, a sensitive portrayal of her own predicament. However, Hardy would not have her killed off so easily. Like the sadistic “President of the Immortals” in his view, Hardy the author wreaks havoc on his heroine, leading her into scenes after scenes of tragic events beyond her control.

tess-part-23

Tess can forgive Angel for his sexual sin, but he refuses to forgive her. Actually, what sin has she committed if she was innocently violated by Alec D’Urberville when she was a young girl. She loves Angel unconditionally, but his love for her is marred by constraints. Later, she cannot avoid stalking by Alec, who keeps preying on her, and in her most needy and vulnerable, takes advantage of her again by manipulating her love for her family. Whatever dignity she may have Tess ultimately sacrifices it for her beloved family. But I admire Tess’ integrity, yes I like to see it as integrity, and not pride, that has sustained her until that very end when she finally has no choice but to yield to Alec’s sinister scheme.

It is for this reason that I find Gemma Arterton’s portrayal of Tess as just a proud and feisty gal to suit modern viewers incongruent with the book. She may look innocent enough, but her performance at times is contrived and lacks the striving complexity required. But her tears are effective and moving, I must say. While Hans Metheson has delivered his diabolic role adequately, Eddie Redmayne as the losing lover at the end is a bit lacking.

And Angel, oh, what a tragic character. The seemingly altruistic lover cannot stand the test against social mores. In the book, the chapter describing the mutual confession of sins between the newlyweds is aptly entitled: “The Woman Pays”. What an irony of double standard! This might well be the name of the novel. While Hardy may have held an entangled and agnostic view of the transcendent, his social critique is incisive and spot-on.

the-stonehenge-1

At long last, Tess and Angel can enjoy marital bliss, but only for a painful, fleeting moment. Tess says in her anguish: “It is too late”, the four words that define the tragedy of her life. As a young girl, she did not understand the meaning of Alec’s sinister advances until too late. And now as a married woman, her husband has come to her rescue too late. I learn from the end notes of my Penguin edition that the original title of the book was Too Late, Beloved! What a heart-wrenching story.

PBS has a link to an online interactive Q & A with screenwriter David Nicholls. In there he answers the many questions viewers have regarding the process of turning book into film. I have enjoyed Nicholls’ previous adaptation of Blake Morrison’s memoir into the movie “And When Did You Last See Your Father”, starring Colin Firth and Jim Broadbent, an excellent and sensitive film. I look forward to seeing more of Nicholls’ work in the future.

~ ~ ½ Ripples

Click here to go back to Tess of the D’Urbervilles, Part 1.

*****