TV – Ripple Effects

Binge-Watching on the Small Screen

If you’ve not ventured out to the Cineplex lately for larger than life spectacles, you’re not alone. And that’s what Steven Spielberg is worried about. The small screen is taking over: streaming services such as Netflix, Amazon, Hulu, Crave… are keeping movie goers at home. What more, these services are making their own productions; memory of last year’s Netflix original movie, multiple Oscar winner Roma may still be fresh.

If binge-watching is the new urban phenom, then binge-racing has to be the newest spectator sport on the couch. Binge-racing, a term not in the OED yet, just means watching a whole Season of episodes all within the first 24 hrs. of their release. That could amount to 12 hrs. of binge-viewing.

In recent months I too have discovered the joy of small-screen bingeing. I declare though, I’m not a racer; as the title of this blog implies, I’m a ripple rider when it comes to small screen viewing. So for a while I’ve been catching up with some interesting titles and I must admit, I’ve thoroughly enjoyed the activity.

No, this is not a debate about which is better, watching big Hollywood productions in the theatre vs. streaming on your TV screen or just on your 6″ handheld device; it’s about accessing interesting human stories to watch in a continuous and user friendly mode, as you can pause to take care of more urgent needs that may arise, like heading to the snack counter, without missing a beat or having to wait for the next commercial break.

The following are some titles I’ve binge-watched in the past year or so. By ‘binge’ I just mean watching all the episodes in a Season in one sitting, or two. Some are mini-series, so it’s just like watching a slightly longer movie than you would in a theatre.

The Marvelous Mrs. Maisel (Amazon Prime Video)

The-Marvellous-Mrs-Maisel

This is probably the best period series I’ve watched in recent years. 1950’s NYC, Midge Maisel (Rachel Brosnahan), wife, mother of two young children, devoted daughter of a Jewish family living in the Upper West Side, decides to choose a different path.

Inciting incident is when her husband Joel (Michal Zegen) one day packs up and leaves. Happy families can be turned into unhappy in the blink of an eye, for various reasons. One time at the Gaslight Café in Greenwich Village, Midge rants about her domestic blues during open mike and is discovered, or rather, she hears her true calling, and that’s being a stand-up comedienne.

This must be kept a secret from her Columbia U. professor father Abe Weissman (Tony Shalhoub) and her mother Rose (Marin Hinkle), a deep-rooted figure in the community. Midge hides her double life successfully at first, and her resolve to strike out on her own is strong. First she finds a day job at B. Altman Department Store, unheard of in her social circle, and at night does stand-up gigs as a comedienne, even more far-fetched. She lies low with her new persona, why, her newly acquired language is too foul for her family and friends, but foul is fair for Mrs. Maisel’s career.

Period events and personalities add to the authentic build up of the story: Lenny Bruce is Mrs. Maisel’s supporter, Jane Jacob hangs around the Village, emergent artists perform at the Gaslight Café, albeit some are the deadpan material of the comedy. For the larger picture, the Cold War, secrets and spies, the Kennedys form the backdrop.

Very well written comedy, beautiful set design and period costumes, superbly performed by the wonderful cast. Rachel Brosnahan won the Golden Globe for Best Actress in a TV series, Musical or Comedy (2019); the show won a GG for Best TV series, Musical or Comedy in 2018, and for 2019, it has snatched SAG Awards, Prime Time Emmy, AFI Award for TV Program of the Year. Enough said.

Mozart in the Jungle (Amazon Prime Video)

Mozart in the Jungle.jpg

No matter which classy name you put in, Bach, Beethoven, Schubert… it’s still a jungle. The series doesn’t just showcase the music of the fictional New York Symphony but probe their private, and not so private, life as well. In the jungle, you’d expect that’s where the wild things are. Their softball team is aptly named Wolf Gang (no doubt a playful pun on Mozart’s name). The Golden Globe and Emmy Award winner for Best TV series, Musical or Comedy, does have some inspiring musical scores and thoughtful lines.

To add some real-life flare, classical music figures Lang Lang, Emanuel Ax and Joshua Bell had made personal appearances. What more, while the regular cast members had to fake their instrument-playing, Dermot Mulroney (My Best Friend’s Wedding, 1997) didn’t need to. In one episode as a guest star, he’d shown himself to be an impressive cello virtuoso.

Coincidentally, I’ve recently finished Jamie Bernstein’s memoir Famous Father Girl: A Memoir of Growing up Bernstein. With her book, she had successfully destroyed the image of my American idol during my youthful days, Leonard Bernstein. Fact is stranger, or wilder, than fiction indeed. The classical music realm isn’t a ‘holier than thou’ kind of high-brow milieu. It’s occupied by humans after all.

Killing Eve (Crave)

Killing Eve

I don’t have Crave (HBO), so this one I watched on DVD, after a long wait for holds at the public library. Sandra Oh won a Best Actress Golden Globe for a TV series with her portrayal of MI5 agent Eve Polastri, obsessed with tracking down the psychotic killer Villanelle (Jodie Comer). Comer is good too, like a female version of Hannibal Lecter. Only difference is, she’s more humane than Lecter in that she’d rather put a fast bullet in her victim’s head than slowly eat the grey matter inside. Exactly, this is not for everyone, but for the thrill seekers and Oh fans. Slick and fast-paced, engaging performance and suspenseful storylines sprinkled with humor every now and then.

Collateral (Netflix)

Carey Mulligan in Collateral

I’ll watch anything that stars Carey Mulligan. The David Hare written, 4-Episode TV mini-series stands out, for it features a 7-month pregnant Mulligan as a London detective solving a street shooting. Exactly, why can’t a woman with a baby bump be a detective and fight crime, and along the way, exposes issues within the government about immigration policies and some dark secrets? Kudos to BBC, director S. J. Clarkson, and Carey Mulligan for taking on the challenge.

The Crown (Netflix)

The Crown.jpg

The series deserves all the accolades it has garnered. Claire Foy is superb as a younger Queen Elizabeth and the whole cast is notable. I’m eagerly waiting for the new Season with Olivia Colman as the Queen, continuing with the relay. QE is the longest reigning monarch in England’s history, so we’ll have many more Seasons to come(?) Helena Bonham Carter as Princess Margaret would make one lively addition in the upcoming Season.

The Kominsky Method (Netflix)

A dynamic acting duo, Michael Douglas and Alan Arkin exude good chemistry. Douglas is Sandy Kominsky, an acting coach transforming young actors with his own Kominsky Method. Arkin plays his long-time friend and agent Norman who recently lost his wife to cancer. Confusion and insecurities abound in this stage of their life. What better companion they have than each other to ride into the sunset. The well-written script and nuanced performance from both make this series an enjoyable and inspiring character study.

Z: The Beginning of Everything (Amazon Prime Video)

Based on the book Z: A Novel of Zelda Fitzgerald by Therese Anne Fowler, who produced the TV series and wrote the screenplays of several episodes. Beautiful set design, costume and makeup. Fowler’s book and the adaptation is framed from Zelda’s point-of-view, a writer in her own right and a tragic heroine when it comes to her marriage. Zelda (Christina Ricci) is an unhappy wife overshadowed by an alcoholic, egoistic writer. Only one Season so far has been produced and the biopic stops in midlife. I hope the production will eventually pick up to the end. It’s an image-questioning look at F. Scott Fitzgerald who’d given us some of America’s best loved novels.

The Highwaymen (Netflix)

A Bonnie and Clyde remake but this time from the the point-of-view of two Texas Rangers who come out of retirement to take down the notorious outlaw couple. No, it’s not a comedy but yes, lightweight. Warren Beatty and Faye Dunaway are replaced by Kevin Costner and Woody Harrelson, who join hands to offer a non-glamorous take on the capture. Directed by John Lee Hancock (The Blind Side, 2009). A Netflix original movie.

What are you binge-watching these days?

WWII Comfort Women Speak Out in ‘The Apology’

In Min Jin Lee’s acclaimed novel Pachinko, there’s this episode in an early chapter. Sunja is harassed by three Japanese high school boys while heading home after shopping at the market. Hansu appears just in time to rescue her. After that, he kindly warns her:

“Listen, you have to be careful not to travel alone or ever be out at night. If you go to the market by yourself, you must stay on the main paths. Always in public view. They are looking for girls now.”

She didn’t understand.

“The colonial government. To take to China for the soldiers. Don’t follow anyone. It will likely be some Korean person, a woman or a man, who’ll tell you there’s a good job in China or Japan. It may be someone you know. Be careful, …” (p. 32, Pachinko)

Korean-American author Lee is subtle here and does not dwell further on the issue. But this episode offers a realistic backdrop to her story set during the Japanese occupation of a large part of Asia. Sadly, the two sisters who work in Sunja’s mother’s boarding house are lured to work in China, with no news after that.

What was Lee referring to?

United Nations researchers report that between 1931 and 1945, the Japanese military forced an estimated 200,000 to 400,000 women and girls into institutionalized sexual slavery. They are called comfort women, a term used by the Imperial Japanese Army, euphemism for sexual slaves. Girls and young women were kidnapped, tricked, or taken away from their homes in Korea, China, Philippines, and Indonesia to comfort stations, another euphemism, for military brothels. To say they were victims of sexual assault was a description put mildly, because many of these women were literally raped on a daily basis.

THE APOLOGY 05_Director Tiffany Hsiung_Image courtesy Icarus Films — Writer-director Tiffany Hsiung

Chinese-Canadian filmmaker Tiffany Hsiung’s documentary The Apology follows three surviving comfort women. To honor them with dignity, Hsiung calls them ‘Grandmas’: Grandma Gil in Korea, Grandma Adela in the Philippines, and Grandma Cao in China.

Since 2009, the Toronto-based writer/director began documenting survivors of this silent atrocity, silent due to the long-held shame and fear of rejections of sexual violence victims. The six years of making The Apology had turned Hsiung into an advocate for WWII comfort women, seeking justice and sharing their stories in communities and universities in North America.

What had been a silent issue was first exposed by Korean survivor Kim Hak-sun, who spoke out in 1991, nearly five decades after World War II. Her brave act of putting away the shame and openly testifying to the horrible ordeals she had suffered prompted many other survivors to follow her lead. Such war-time atrocities began to draw international attention. The voices of these comfort women soon became a poignant outcry, a pioneer of social activism way before the present-day #MeToo Movement.

Grandma Gil of Korea was only 13 when she was forcibly taken away by Japanese soldiers from her home in Pyongyang to be a comfort woman in Harbin, China. She was seriously damaged physically, had gone through four operations during which she was made sterile. Today in her late 80’s, she is still separated from her family as Pyongyang now is in North Korea. She dreams of unification one day so she can see her family again.

Grandma Adela in the Philippines was 14 when she was taken away. Hsiung’s documentary shows us an actual comfort station in the Dona Baray Garrison, now desolate. Adela had not told her late husband about her past fearing rejection, but now felt she needed to let her son know. Hsiung’s camera captured the quiet understanding from her son as he learned of his mother’s painful experience during the war, a shameful secret no more. Sadly, Grandma Adela passed away after that before the production was completed.

Grandma Cao in a village in rural China had never told her adopted daughter. Again, Hsiung’s filming opened up the channel of release for her. There were three comfort women in her village. They were actually already documented by a local writer and a book had been published.

Grandma Gil in Korea is the most outspoken among these three survivors. She continues the protests that Kim Hak-sun had started. She bravely goes to Japan personally to speak to young women of a new generation, students who have not heard of such atrocities. She sits in street protests, over a thousand of such gatherings had taken place so far, yet all but fallen on deaf ears. Not only that, these woman protesters were often met with counter accusations and derogatory insults shouted at them.

A recent comment by a Japanese politician could well have represented the official view. Mayor Hashimoto had said that ‘sex slavery was necessary.’ His political party stated there was no need to apologize.

So, the protesters pressed on. Eventually 1.5 million signatures were gathered from across Asia and as far as Canada. Grandma Gil and several supporters personally delivered the boxes of petitions pressuring Japan to own up to their war crime and offer an apology. The documentary follows Grandma Gil all the way to the office of the United Nations Human Rights Council in Geneva, Switzerland, where the group delivered the boxes of signatures and met with the UN Human Rights Commission.

As of today, no apology has been given by the Japanese government.

The Apology is produced by the National Film Board of Canada. It will premiere on PBS’s POV Monday, October 22, 2018. Check your local station showtime, filmmaker info, trailer and other resources including reading list and lesson plan here:

http://www.pbs.org/pov/theapology/

POV streaming: http://www.pbs.org/pov/theapology/

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~ ~ ~ 1/2 Ripples

Books to TV Adaptations

It’s a consolation that no matter how crazy the world spins, one can always retreat into books for respite. And film adaptations, when done well, can double the enjoyment. And now, there are TV mini series.

As if you need more suggestions to read this fall, here are some titles that are in various stages of development, but this time, not on the big screen but for TV. TV looks to be the next great realm to conquer, for even A-list movie stars and directors have started to cross over. It’s not surprising then that more books are being turned into TV miniseries.*

Here are a few upcoming titles:

The Luminaries by Eleanor Catton

the-luminaries

The 2013 Man Booker Prize winning novel is to be made into a six-part BBC drama series. Author Catton will be writing the adaptation herself. Six parts to put the 832 page book into perspective. Set in the New Zealand gold rush era, the Victorian mystery tale is a first for Catton in TV writing. Other than the longest book to win the Booker Prize, Catton is also the youngest winner at 28.
A thriller, suspense, with lots of characters and stories during the 19th C. New Zealand gold rush; sounds like a wealth of materials to turn into a TV miniseries.

The Miniaturist by Jessie Burton

The Miniaturist.jpg
BBC loves suspense thrillers. Here’s another one. The Miniaturist is British actress Jessie Burton’s debut novel that had sold over 1 m copies in 37 countries. Set in 17th C. Amsterdam, the story looks like a version of the movie Crimson Peak. A young bride married to a merchant trader is left in his huge mansion alone with his sister most of the time. Her wedding gift is a cabinet-sized replica of their home. A miniaturist comes in to create the items of the mansion in smaller, parallel version. Secrets begin to unveil as the miniature house takes shape. Sounds eerie.

We Are All Completely Beside Ourselves by Karen Joy Fowler

On this side of the Atlantic, we too have the Book into TV kind of phenom. HBO is turning Karen Joy Fowler’s Booker shortlisted, PEN/Faulkner Award winning novel into a miniseries. Now this one I’ve read, and I admit it’s quite incredulous a story. Natalie Portman is to produce and star and is ready to create a sisterly bond with a chimpanzee as they grow up together in the same home. That’s the storyline, but do they now have to train a chimp to star with her?

American Gods by Neil Gaiman

american-gods

Gaiman fans rejoice. A new TV series to come in 2017 based on his multiple award-winning fantasy American Gods, with the author writing the episodes. Gaiman is prolific in various realms and no stranger to TV productions. Many will likely remember his Coraline, turned into the Oscar nominee for Best Animated Feature Film in 2010. For TV, there are Dr. Who, Lucifer, Eternals and his short stories into miniseries. Now American Gods, old mythological super beings challenged by modern day gods in America; they exist as people believe in them. Their names: Media, Technology, Internet, …

Alias Grace by Margaret Atwood

Canada will not be left behind. Our own wonder woman Sarah Polley, actress and director, is adapting the work of another prominent Canadian, Margaret Atwood. Alias Grace will be a six-hour miniseries to air on CBC-TV and Netflix. Polley’s previous adaptation of a short story by Alice Munro, retitled Away From Her, brought her an Oscar nom for Best Adapted Screenplay (2008). Alias Grace is in good hands then. Historic fiction inspired by a 19th c. double murder, the story is about a maid named Grace Marks who was convicted, had spent 30 years in prison, and finally exonerated.

Are you aware of other book to TV adaptations? Do fill me in and expand this list.

* See ‘Comments’ for clarification.

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Reviews of Adaptations on Ripple Effects (for a complete list, click here):

Stillman’s Love & Friendship: More than Book Illustration

Brooklyn: From Book to Film

Life of Pi

Never Let Me Go

Away From Her

Can a movie adaptation ever be as good as the book?

Downton Abbey S6 Episode 6

An episode of romantic linking and midlife career changes. First the pairing of some main characters: Mary and Henry Talbot, Edith and Bertie Pelham, Isobel and Lord Merton, (again), Mrs. Patmore and Mr. Mason (now, what’s with Daisy spoiling the fun?) And Baxter and Coyle? Not a reunion I hope.

Midlife career changes are thrusted upon other characters. The most important one is Cora, a job that she has never dreamed of, or dared to think about. Crossing Violet? Definitely not her own choosing. On second thought, after a career of bringing up three daughters, now she’s ready for another challenge. Being the President of the merger of the village hospital with York’s, she’s ushered into a brave new world. Now, that sounds like a much easier task than her previous job.

As for Molesley, his midlife career change is something he hasn’t dared to entertain before, beyond his wildest dream. Need to pass an exam first, but still very exciting. It’s interesting to see that his open tuition to help Daisy is so well received and respected by everyone, while Barrow’s secret tutorial offered to Andy is met with suspicion. But kudos to him for keeping Andy’s problem confidential. O Mr. Barrow, can you ever redeem yourself?

So Barrow is now the in-house piggy backer. The position of under butler is soon to be obsolete. Looks like Mr. Carson has a clearer view of occupational trends than Barrow: “In twenty years time I doubt there’s one footman working at Downton.” Or a lady’s maid, for that matter. Nothing personal, just the end of the aristocratic era. So when Season 6 ends, we’re saying goodbye to all that.

Mr. Carson, you won’t be long either, I’m afraid. The butler too will soon become “a post that is fragrant with memories of a lost world…” Eloquent with words strung up like that can sure open doors for you if it’s your time to leave. Prepare for the day when you’ll have no one to polish your cutlery or fold that bedsheet into sharp corners. Poor Mrs. Hughes, I knew her decision to have the wedding reception at the local school would be her last autonomous say. Would the real Mrs. Hughes please stand up? I sure miss you.

Downton Open House

The main attraction of the episode is the Downton Open House for the local hospital, a charity event. Wait a minute, charging people to come look at your living quarters? Who would want to pay? Yes, as Isobel Crawley says, “even Elizabeth Bennet wanted to see what Pemberley was like inside.” But that’s different though. For one thing, she didn’t have to pay; further, she got a bonus seeing Darcy in a wet shirt. Now, Barrow, since you’ve already warmed up with odd jobs like offering piggyback rides to the kids, get ready to jump into the pond.

No worries, people line up to pay to get in. Good idea! Tom’s business mind quickly turns and comes out with a wonderful idea. Wouldn’t that be a fine source of revenue to help maintain the huge mansion? Sounds like a version of reality. Isn’t Scribe Julian describing Highclere Castle where Downton is filmed?

But still, the question remains in some of their visitors’ mind I’m sure. Why, the pint-size philosopher who pops into Lord Grantham’s bedroom has posed a legit question: why not buy somewhere comfy instead of living in such a big house? Well son, it’s a long story. Never mind that. But one thing we can agree upon, it’s our mothers. They get terribly wrought up about things.

In this episode, we get to see another side of Lord Grantham. He looks like a totally bored little boy trying to entertain himself with all sorts of funnies while sick in bed. Mary in the bath? O my, wait till Mommy hears that.

To London again, Mary brings Anna to see Dr. Ryder, and thank God it’s just normal pregnancy discomfort. But what a great opportunity to do some side shows like… surprise! Henry Talbot must feel like he’s lured by a racing trophy. What a catch, Mary Crawley. Here’s the funny thing, looks like Mary is encouraging Henry Talbot, but when he does get close, she rejects him somehow.

Certainly, she has her bad memory. Matthew died in a car crash. But is that all that’s holding her back with Henry Talbot? Or is it the idea of marrying down? Or too fast too soon? Don’t forget, Mary, Henry’s a race car driver. Time is of the essence. Speed is the thrill. Occupational hazards, no, skill sets.

And romantic characters have the rain to thank, for usually what happens when sudden rain befalls, somehow that would lead to a private escape resulting in the first kiss. It happens in Woody Allen movies and it can happen right here in Downton Abbey.

In contrast, Edith and Bertie are enjoying some smooth sailing, despite Mary’s skepticism. Mary, you need to know, any man willing to take Edith plus a child must be genuinely in love with her. So, Marigold could well be the tester of true intention.

Your take on this episode?

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With this recap, Arti is taking a hiatus from the pond. There are 600+ posts on Ripple, you’re welcome to spend your time lingering still and throw in your two pebbles. Hope they can hold your interest until Arti’s return.

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Previously on Downton Abbey Season 6:

Downton Abbey S6 Episode 5

First off, congrats to the whole Downton cast for winning the 2016 Screen Actors Guild’s Award for Outstanding Performance by an Ensemble in a Drama Series last Saturday night (Jan. 30). What a wonderful farewell gift. They’ve won this category four times in the past five years. A nice wrap indeed.

Now, to Sunday’s Downton episode. Scribe Julian of this mild and pleasant final Season has dropped a shock bomb so sudden that the surprise element is no less than Matthew’s car accident at the end of Season 3. This time it’s even more graphic. You haven’t seen so much blood gushing out of a person, not even in the WWI battle scenes in Season 2.

That’s what happens if your ulcer bursts. Among the horror and chaos, kudos to Robert that he can utter the endearing last words to Cora, “if this is it, just know that I’ve loved you very, very much,” which Cora firmly repudiated, “This isn’t it, darling.”

So we take her words for it and not worry too much. Just a ploy our scribe Julian uses to make sure we haven’t fallen asleep in this mild and uneventful episode. I mean, what we’ve been looking at, so far, is Mr. Mason moving into Yew Tree Farm, Mrs. Patmore preparing food baskets, Mary watching her first car racing, Edith going on a date, and yes, Neville Chamberlain, yes, that Neville Chamberlain, brought into the battle of the local hospital and then the shocking scene happens.

Neville Chamberlain

Let me just recap these mundane events of the evening, albeit I must say, I love the change of scenery for them all. First to Yew Tree Farm. So the Landlord Duo Mary and Tom come to inspect and declare Mr. Mason too old for pig farming. Good Andy comes to the rescue. He’s not only willing to help out but wants to change his career path to become a pig farmer. Daisy is looking at what her future will be like with this ambitious young man and the aging Mr. Mason. Looks like Yew Tree Farm will be handed over to the young soon. But of course, Andy has to start learning to read and write in order to raise pigs. So Mr. Barrow steps in. Is it a good thing I wonder.

Mary Crawley and Henry Talbot, those two are quite incompatible, aren’t they? One craves cars and racing; one loves pigs and property management. One ignores social gaps, why of course, the race track is on pretty level ground; the other esteems her higher position and ‘won’t marry down.’

In contrast, Edith and Bertie, ‘evenly matched’ and ‘balanced’, relating as equals. Those are all Tom’s words reminiscing on his own courtship with Lady Sybil. “Real love means giving someone the power to hurt you.” Tom tells Mary.

And now Edith. Two exemplars for Mary to emulate, or, is she too high up on the horse to see clearly. I’m sure Henry Talbot has his ways. Why, the motor car is the perfect vehicle invented for modern romance, seating two side by side. Look, he’s much more relaxed now than in previous episodes.

So glad to see Edith finally enjoying herself and being genuinely happy. A cozy and elegant London apartment she has, mostly Michael Greyson’s taste. No matter, it’s a place she can call her own now that Downton is Queen Mary’s dominion. A new editor found to manage the magazine, everything under control… except her secret about Marigold. Would Mary her dear sister sabotage that hard-to-come-by peace in her life?

Miss Baxter’s brave move of coming out to be the witness for the prosecution reaps great results as the accused changes his plea upon hearing her name on the witness list. No trial is needed, what a relief. Don’t we hate to go through another Downton trial to see justice done, or undone? Wait a minute, maybe yes, there should be a trial, this time for Miss Denker for defamation and uttering threats.

What I like about this episode is the variation of sceneries and setting. The park where Edith and Bertie take a stroll, the race track, the Yew Tree Farm, and the new home of the Carsons. Yes, even the messing up of the elegant dining table and everyone’s formal attire with splattered blood. Some alternatives for the eyes.

Your take on this episode?

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Previously on Downton Abbey Season 6:

Downton Abbey S6 Episode 3

The language of leave-taking is always gentle, pleasant, accommodating. Looks like this whole season is an extended farewell. While it is what we all want to see, characters we’ve befriended over five years are now coming together for one last time to happy resolutions, it is also sad to see this is their last efforts to entertain us.

And entertained we are, however placidly here in S6 E3. A long awaited middle-aged wedding finally takes place and I’m glad the reception is held in a school house as the bride desires and not in the grandeur of the great hall at Downton. No, I don’t think Cora is being a snob. Mary is unreasonable to accuse her mother as such only to further her own plan to have Mr. Carson and Mrs. Hughes hold their reception right there in the grand mansion. If Cora is being snobbish, then Mary is downright patronizing.

What’s the greatest farewell gift for us all? Here’s the foreshadowing: “Last night I dreamt I went to Downton again…” Julian Fellowes’s version of Rebecca, equally moving in Tom Branson’s letter.

A pleasant surprise indeed. Tom realizes where home really is, even though he has to go all the way to Boston to find out. The best scenario is always to have someone leave for a short while so that he can come back for good willingly. What more can a viewer ask? Sadly, even the great scribe Julian can’t bring back Sybil and Matthew; he can at least do us this favour with Tom and little Sybbie. Look at how George welcomes his little cousin back, embracing her and softly uttering this endearing word, “Sybbie.” Awww… Even Marigold gives a rare, spontaneous smile.

Next, Rose? I doubt it, since she’s almost everywhere lately, busy living her multiple personas as Cinderella, Natasha in War and Peace, and soon Elizabeth Bennet confronting zombies.

Another gratifying storyline is Edith’s. She’s the Anna upstairs. Something good is finally coming her way that warrants our congrats: Living on her own in London when she’s in town, firing the obnoxious editor Skinner, taking his place and beating the deadline to get a new issue out with some incredible teamwork from Bertie Pelham. Of course, Mary can smell that team miles away, but so what. Edith, go for it, both magazine and team, and the new you.

Edith in S6.jpg

In the slightly darker side, Miss Denker has a major role to play as the necessary nuisance to stir up some ripples in the calm waters of Downton’s final Season. Denke is a more animated stand-in for Mrs. O’Brien, still remember her? But she’s not the leave-in-the middle-of-the-night kind; looks like she’s going to hang on as long as Violet wants her. Violet seems to be fine with her own in-house Punch and Judy sideshow with Spratt and Denker.

After all, Violet Crawley is just too preoccupied with her own Punch and Judy show with Isobel. Now the line-ups are Isobel, Cora, Lord Merton, with Dr. Clarkson shifting ground. How can Violet step down gracefully without losing face, I wonder. Hope this is not as violent a show as Punch and Judy.

And Cora, never thought she can be so angry, scolding a bride on the night before her wedding? Definitely out of character. But the resolution is quick, again, now that’s more like Cora; since we don’t have much time left, so… apology accepted. Mrs. Hughes deserves not just a fancy piece of clothing but her total respect.

Finally, Anna has some good news. But hush, we won’t say more. Having been dealt bad cards all her married life, can this be a real, winning hand? It’s the farewell Season. I trust the handling will continue to be gentle and pleasant.

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Previously on Downton Abbey Season 6:

Episode 1

Episode 2

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?

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

Downton Abbey rings in the New Year one last time

Type in the Search words to read my other Downton Posts

Downton Abbey Season 4 Episode 8: The London Season

This final two-hour ending reminds me of the beginning two-hour opener of Season 4, fast paced, short scenes, too busy to dwell deep. But here we have a plethora of characters and grander moments, the Prince of Wales with his parents King George V and Queen Mary joining the cast? A bit surreal I feel.

Interesting too that despite the spectacular scenes, these final two hours are relatively uneventful, not many threads leading to new story ideas. Mary will keep on being pursued. Now that she has found out Charles Blake is a much more eligible bachelor than she first thought, will that make a difference to her? That heart-to-heart talk between Mary and Tony, with her hand gently placed on his arm, welcoming whatever future life might bring is one of my favourite moments.

And Rose, after her débutante ball, will pursue even more.

Bates’s status quo will remain the same too. He won’t be investigated further as far as Mary is concerned. Mrs. Hughes has already released him. Bates’ loyalty to The Crawley family has exchanged a pardon from Mary, whereby she burns the train ticket, evidence proving his presence in London on the day Green was accidentally killed. So far of course. All things are in the hands of the powerful Julian Fellowes, who BTW, has thrown us a case of debatable ethics.

Bates has proven himself to be more resourceful than we first thought. Why am I not surprised? Now… that makes me think of Michael Gregson winning back all the poker money from Sampson in one night. Sampson should have learned his lesson by now. The Crawley household is his nemesis, even their guests and servants .

Eight months after Edith has gone to Switzerland and come home more tired than ever, she begins to have second thoughts. Having given birth to a baby girl and weaning her, she has put her up for adoption in Geneva with the Schroeders upon the persuasion of Aunt Rosamund. Back home, Edith misses her daughter and revives her initial idea of asking the tenant farmer Mr. Drewe to raise the baby incognito, to which Drewe agrees. But why would he agree though, and to keep it a secret just between the two of them? Now this could be the beginning of a dramatic storyline in Season 5.

Michael Gregson is still nowhere to be found, although we know what has taken place before his disappearance. And that just makes me tip my hat and raise a little respect for him. Although in Rosamund’s eyes, he’s just plain stupid. Why, to ‘take exception’ to what some men are saying, men wearing ‘brown shirts’? If he had known they were, exactly, ‘The Brownshirts’ (Sturmabteilung), Nazi goons, would he have shown his opposition so readily? But I say, kudos to him. Another case of debatable ethics thrown to us by Julian Fellowes.

Sarah Bunting turns out to be much more annoying. Her insistence to visit the Crawley home in their absence and going upstairs is more than a little imprudent. She sure has made a huge leap from Elizabeth Bennet in terms of social courtesy. Remember how uncomfortable Lizzy is in visiting Pemberley in the absence of its host. I sure hope Tom can stand his ground with this gal. Her seemingly innocent and assertive demeanour just may hide a more malicious intent. After all, Downton represents the aristocracy that she loathes.

The main attraction of this finale is of course Martha Levinson and his son Harold sailing the ocean blue to Downton Abbey. I first had high expectations for Paul Giamatti. MacLaine we had seen her in Season 3, so she keeps the critical face towards the British aristocracy, that’s consistent. Hers and Violet’s harsh and honest exchanges against each other add colours to the gentility that has prevailed the night of the ball.

But I must say, Giamatti’s constipated (can’t think of another word) performance is a surprise and disappointment. I had expected a much more animated screen presence. Even Daisy saying: ‘I’m never excited’ is funnier. BTW, that’s got to be one of my favourite lines in this episode. Back to Harold, he and his initial qualm with Madeleine Asslop is fine, having many fathers ‘shoving their daughters’ at him. But falling for her right after? Julian Fellowes is a master matchmaker, but we all hope to see compatibility, at least just in appearance.

Like, ah… Isobel and Lord Merton. Isobel is not interested, at this stage. When he asks her to dance and she says “I’m really not much of a dancer,” I like his prompt reply: “O all right. So we’re a perfect match.”

The most cinematic scene has to be the seaside relaxation for the staff. There are very few scenes in all Downton Seasons that are just composed of the downstairs characters alone in the great outdoor. Here by the seaside, mood changes. We love to see them enjoy themselves for a change, like Mrs. Patmore buying an ice cream cone, Molesley playing football, Anna and Bates finally taking a relaxing stroll (love their hats), and Baxter becoming brave. Daisy is sweet even when she turns down Levinson (ok, Ethan Slade); Ivy is excited to have the chance to go to America. But the final scene belongs to Mrs. Hughes and Mr. Carson:

“We can afford to live a little.”

Season 5: Something to look forward to. Just another year, that’s all.

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Downton Abbey Season 4 Recaps:

Opening 2-hour Special

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Downton Abbey Season 4 Episode 2 (PBS)

CLICK HERE to Season 4 Episode 3 (Jan. 19, PBS)

After an uneventful two-hour opener last week, Downton has gone Gosford Park on us here in Episode 2 (E2 on PBS. In UK aired Sept, 2013 this is E3). Don’t forget, Julian Fellowes wrote the Oscar winning screenplay of that Altman directed movie Gosford Park. And so we’re warned from the start. ‘Viewers Discretion Advised’, as scenes may not be bearable for everyone.

Before we move on to discuss that tragic scene, I think there are several good things in this episode. First is, good for plot development, Mary finally has stepped out of mourning. She reconnects with her childhood acquaintance Anthony Gillingham at a weekend house party in Downton. That’s seven months after Mathew’s death, too early? Isobel Crawley may think so. While this is the first time Tom hears Mary laugh, Isobel sadly replies, ‘I find it hard to join in the merry-making.’ Lord Gillingham seems like a decent prospect, but here’s the rub: he’s engaged. Of course, under the pen of Julian Fellowes, that isn’t too big an obstacle.

During that party, Tom feels absolutely out of place. Edna is quick to console. Troubles brewing.

A moving scene is Dame Kiri Te Kanawa, the real-life diva herself, appearing as a guest star in this Episode as the real-life Australian opera singer Dame Nellie Melba upon the invitation from Cora. She sings several arias to entertain the guests. One of them is her favourite, O mio babbino caro, which she dedicates to love and lovers. Kiri Te Kanawa’s mesmerizing voice singing this Puccini aria has made an indelible mark in my movie memory from the Merchant Ivory adaptation of E. M. Forster’s A Room With A View (1985). Maggie Smith (Violet Crawley) must have felt an affiliation with this piece since she herself had starred in that legendary film. (Click here to listen and view a short clip.)

Edith has brought Gregson to the party but Robert avoids talking to him, until money is involved. Gregson has done some heroic poker playing to gain back lost ground for Robert who thanks him for ‘saving his bacon.’ Gregson winning back ‘fair and square’ from the dubious poker player Terence Sampson just might have revealed a bit of his past, schemes he learned in his ‘misspent youth’. This person remains a mystery still. Should Edith be more cautious?

As Dame Nellie Melba sings the love aria upstairs, good-natured Anna encounters evil embodied in Gillingham’s butler Green downstairs. I’m afraid from this point on, she will be a changed person. Green strikes Anna hard on the face and drags her into a room. The subsequent rape is hidden from our sight, thankfully, but we can see the aftermath. The charming voice of a diva singing a love aria upstairs is juxtaposed with the unheeded screams from Anna downstairs makes a powerful and ironic dramatic device. Anna has been the bulwark, a pillar of quiet strength and principle in the Series up to now, I can understand the outcries from fans.

Is this too harsh a dealing from Julian Fellowes? I don’t feel this scene is gratuitous or sensationalized. Why, Mr. Bates has been imprisoned for a crime he did not commit, William dies from a war wound, Lavinia a casualty of scarlet fever, Ethel has to resort to prostitution and give up her son, Sybil meets her end after childbirth, Matthew crashes out, it’s not the first time tragedy happens to Downton characters. No, I wouldn’t want to see Anna suffer either. But if that is the twist in the plot, I’m eager to see what will happen next. This drastic turn will bring some tension between Anna and Bates as she tries to hide the fact of her wounds, worrying that if Bates knows about it, he will likely do something to Green that will send him back to prison or even hanged. Further, the social stigma of being a rape victim would lead to even more detrimental consequences.

Julian Fellowes has just reminded us that Downton Abbey is more than fashion and parties, etiquettes and zeitgeist of the roaring twenties. It is foremost a world inhabited by humans, with all their tragedies and ugliness.

I’m adding this note in. Some of you have provided stats on sexual assaults and a link to an interview with Joanne Froggatt, all point to the unfortunate social reality that crimes against women are still happening today, and, tragically, the stigma of being a rape victim is just as acute as in the past, while reporting only threatens them even more. Like Anna, they are twice victimized; first being raped, and after, silenced.

Yes, Mr. Carson, this is a topsy turvy world you’ve come to.

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Fresh off the press: Season 4 Episode 3 (Jan. 19 PBS)

Downton Abbey Season 4 Opening 2 hour Special

Downton Abbey Season 4 Opening Special

That we use a TV series to mark the beginning of a new year speaks volumes about our contemporary life. However, we are products of our time and culture, and our annual waiting has run its course of patience training. So, let the games begin.

There are so many characters to reintroduce to us that I can understand Julian Fellowes has to write a fast-paced opening. In the first hour, almost all the scenes are like vignettes, spanning 30, 60, or 90 seconds. That means, if you don’t much care for one plot line, like Mrs. Patmore’s ambivalent encounter with an electric mixer, you can just count a few more seconds, you’ll see another character with another dilemma.

Is it an apt opening? I must say, as with that of Season 3, I am a bit underwhelmed. But I’m sure, as the episodes roll out, I’ll get warmed up real soon. After all, there are so many characters and plot lines, there must be one that I like.

Season 4 opens six months after Matthew Crawley’s very untimely death, 50 years too early according to his widow. Mary’s sorrow has shrouded the first hour of this two-hour special, subtitled ‘House of the Walking Dead.’ So we just hope that Mary will soon take her grandmother’s advice, choose life over death. Violet Crawley remains one of my favourite characters, she beseeches effectively at the right moment, and despite her old age, is more lucid than her son.

We see Robert Crawley’s less than amiable self once again, trying to take charge of grandson George’s share of Downton by sidestepping Mary, all in the cover of protecting her fragile emotions. No malicious intent there but merely convenience over principle. Violet Crawley has once again shown that mother knows best. This has got to be my favourite line of the whole episode, an eighty-something Violet Crawley talking to her sixty-something son Lord Grantham:

When you talk like that I’m tempted to ring for Nanny and have you put to bed with no supper.

So it is a rewarding scene as we see Mary finally decides to come out of the land of the dead, crying over the shoulder of not her parents’ but Mr. Carson’s, who has seen her grow up and always has a soft spot for her. That’s one of the few moving scenes in this special.

Mary could have gotten closer to her mother-in-law Isobel Crawley who on her own has to deal with the loss of an only son. Mrs. Hughes has done a kind act, drawing her out of mourning by appealing to her benevolent spirit, while at the same time helping Charles Grigg, Mr. Carson’s former showbiz partner, to get back on his feet. To kill two birds with one stone, or invasion of privacy? Depends on who you ask. Nevertheless, I’m sure at the end of the day, Mr. Carson would thank Mrs. Hughes for intruding into his past so he can find some reconciliation with Grigg.

A character that seems to have turned into a lively spark of the household, hoisting the flag of modernism, other than the obvious, ever bubbly Rose, is Lady Edith. She has taken hold of her life, venturing out to seek her own fortune, or misfortune, in career and in love, disregarding her father’s safe standards. In the London social scenes we see some fresh, Gatsby-eques fashion and set designs. Her love interest, Michael Gregson, is willing to take up German citizenship in order that he can divorce his lunatic wife and marry Edith. There in the 1920’s turning to Germany? I can expect the plot to thicken quite a bit later.

O’Brien’s midnight move is an efficient way to handle actors not renewing their contracts. Now this one is easier to swallow than killing them off. With no obvious villain left to be his partner or rival, Tom Barrow has to shoulder the whole realm of evil plotting against the innocents. But with Nanny West, he just hits it by luck. So now he’s in favour with Cora Crawley. Who’s going to be his next victim?

Mr. Bates has been quiet, while Anna has some adventure as chaperone of Lady Rose to a working-class dance hall. I have not watched any of the upcoming episodes, but I feel Bates and Anna can be given more story and screen time. Let’s say, their strong relationship can withstand some slings and arrows Julian Fellowes wishes to hurl their way.

So what do you think of Downton Abbey S4 E1? Favourite scene and characters? Quotable quotes?

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Related Posts:

Downton Abbey Season 4: Episode 2

Downton Abbey Season 3

Quotable Quotes from Downton Abbey Seasons 1 & 2

Quotable Quotes from Downton Abbey Season 3

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Downton Abbey, The Complete Scripts: Season One

I had once talked with someone who avoided watching the ‘making of’ special feature that comes with a DVD. His reason? He did not want to see his favorite movies demythicized. Well, if you’re that sort of a viewer, then this book is not for you.

But, if you’ve enjoyed the phenomenon called Downton Abbey, and are curious to learn about the creative writing process that kicked it off, then I’d say, this is an absolute must-read. And for those who keep going online to find quotable quotes from the series, here you have them all, and some more.

As someone interested in screenwriting, I would look for the scripts of movies I like, usually online. So it’s a wonderful discovery for me to see this book at the bookstore. Julian Fellowes has dispelled the magic and shared with us the scripts of all episodes for Seasons One and Two, most importantly, with his own annotations. Consider this the literary version of the ‘making of’ in your special features, more accurately, the screenwriter’s commentary.

In his Foreword, Fellowes introduces the book as ‘the complete scripts of the first series as they were when they went forward into production.’ So here we have the whole idea before cutting and editing, including deleted scenes and dialogues, plus Fellowes’ own explanations for the deletions. He walks us through the whole series, literally, and offers helpful background on the social history of the time, and many more tidbits.

You can also see why the collection is such a useful tool as an exemplar of a successful writing process, in particular, the editing phase. The main reasons for deletion is redundancy, and with a TV production, time. Another is for keeping the integrity and consistency of the characterization and the story. It’s intriguing to see the final version is the outcome of well-pruned and collaborated efforts.

An example of a deleted scene where Matthew answers Robert’s bewildered query about how he would manage to commute and continue to work as a lawyer while being heir of Downton.

Robert: How will you manage it?
Matthew: Like many others, I shall bicycle to the station, take a train there and back, and bicycle home.

Here’s the screenwriter’s commentary:

Here we have Matthew talking about bicycling to the station which is quite unnecessary as we see him do it. When you’re writing something you often forget that it’s going to be told visually, and so there are things that don’t need to be said.

With eighteen characters in the story, the writer has done a superb job in keeping them well developed, and eliciting our interest in each one of them. First I notice how short each scene is, something that just flashed by when watching, but reading it can even be more obvious. I’ve counted most of the scenes to be less than 60 sec. on screen. Each therefore needs to be succinct to make the most of the time. Makes me think of another way to apply that famous Hemingway quest, always aim for that one true scene.

To manage the long list of characters, here’s the brilliant way, something that’s so obvious when Fellowes explains, but then so subliminal while we’re watching them on screen, foils and parallels:

I love Mrs. Patmore. I think Lesley Nicol’s performance is fantastic. She is the kitchen Violet. Maggie Smith delivers the cryptic comments upstairs, Lesley has the barbed tongue downstairs. In a sense they balance each other, as Robert and Bates, or Anna and Mary, balance each other.

And here I add, other pairs we can see upstairs Violet and Isobel, or down, Mr. Carson and Mrs. Hughes. Great performance comes when an actor is given the chance to play against an equal, in character and caliber.

Further, Fellowes reminds us that it’s the actors that give life to mere words on the page. As the actors interpret, take off with and develop the characters on their own, the screenwriter continues with that development and write accordingly in the upcoming episodes. Isn’t this a most fascinating creative process? Writer and actors inspiring each other.

It’s always interesting to see what the screenwriter thinks of the final production. And Fellowes is candid in sharing his views, which reminds me of the fact that it’s all a collaboration, team work, and not just one person’s monopolized brainchild. The writer writes, the actors interpret and live out the words, the director sets the tone, the direction, the cuts, plus numerous others who work on the sets to play their roles.

I most appreciate and am somewhat surprised to find Fellowes uses many of his own experiences, stories he has heard, or memories of his own family, to create the scenes. Some interesting tidbits he shares include the scene in the kitchen rescuing the chicken from the cat before taking it upstairs, that comes from an embarrassing real life episode. Or Violet Crawley’s subtle dominance in the annual flower show, which he adapts from memories of his mother. Or his commentary on Sybil’s covering up of her political expeditions to Ripon, a parenting point:

Once children conceal their purposes or their social engagements or their plans for the weekend, that is the beginning of their move away from the parental set of values. Before that, God knows they may be rude or challenging, but they don’t usually have a private life, a secret agenda. And this is where it begins for Sybil.

It’s commentaries like this that you’d feel Fellowes is candid and open, just talking to you in a down-to-earth manner. Like everyone of us, he’d go online to do his research when he writes, such as the history of cataract surgery when writing about Mrs. Patmore’s. Or admitting faults in certain scenes, and sharing about his own childhood experience and family dynamics, enlightening us with the norms and etiquettes of the time and the social history behind the scenes.

Demythicize? Definitely, with the effect that you’ll appreciate the production and the writing even more.

~ ~ ~ ~ Ripples

Downton Abbey The Complete Scripts Season One by Julian Fellowes, Harper Collins Publishers, 2012, 396 pages.

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Related Posts You May Like:

Lady Almina and the Real Downton Abbey: Facts that give rise to Fiction

Quotable Quotes from Downton Abbey

Downton Abbey Season 3: Episodes 1

Season 3: Episodes 2 & 3

Season 3: Episodes 4 & 5

Season 3: Episodes 6 & 7 Finale

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The Downton Ripples

Or, How I Overcome Downton Abbey Withdrawal Syndrome.

First, I bought the Blu-rays and rewatched both Season 1 and 2 several times. And then, I let my curiosity lead and follow mere intuition. Downton has prompted me to seek out books and films with setting in the early part of the 20th C.

I was most intrigued by the irreversible changes modernity has brought about, but on a more sombre note, I was moved to learn of the grave number of lives lost in a war I knew so little, WWI.

As heir to Downton Matthew Crawley has aptly noted while fighting in the trenches:

War has a way of distinguishing between the things that matter and the things that don’t.

The Great War did not end all wars as claimed, but had ended countless lives of a young generation, and altered numerous others. On the positive side, it had toppled society’s status quo and broken down previously impenetrable barriers, when men of different social classes fought side by side in the trenches, and where women played a substantial role in the war effort.

And then there are the stories of individuals and families… I’ve thoroughly enjoyed this reading and watching spree. But I have to stop somewhere and share with you what marvellous works you can follow while waiting for Downton Abbey Season 3 to arrive.

So, here’s Arti’s Annotated List of Downton Ripples:

Lady Almina and the Real Downton Abbey by Fiona Carnarvon — A springboard to all my WWI period exploration. What impressed me was that Highclere Castle itself was actually turned into a hospital during the War and many of its staff enlisted and some killed. I was moved by the number of casualties and the horrific conditions in the battlefields. My full review of the book is posted here.

The World of Downton Abbey — by Jessica Fellowes, niece of write/creator of the series Julian Fellowes. A compendium to the production, the hardcover larger-sized book is filled with photos, background info and quotes from the actors. After skimming through the whole book, one item stands out: Mr. Bates’ fall. That’s when Mrs. O’Brien trips him and he falls flat on his face on the gravel. How did they shoot this? Any special effects? Well, unfortunately for Mr. Bates, none whatsoever.

This is what Bates, Brendan Coyle said:

I must have done it 18 times and by the end I was wounded! I wore knee pads and a torso shield, but when you fall you have to really commit to falling.

Ouch! Some method acting.

Lost Empires (1986)— 7 Episode mini-series based on J. B. Priestly’s novel set in 1913, a year before WWI broke out. Colin Firth is young Richard Herncastle. Lost both parents at 19, he follows his Uncle Nick on his travelling magic stage show, learning the ropes of the itinerant performer in the music hall circuit. A coming-of-age saga chronicling the loss of innocence in love and life. Some noted actors in the series include Sir Laurence Olivier and John Castle.

A Farewell to Arms (1929) — Hemingway’s WWI semi-autobiographical sketch of love and loss. I listened to the audiobook read by Mad Men’s John Slattery. In authentic Hemingway style, his narrative is matter-of-fact and stoic. After that I watched the 1932 movie adaptation with Gary Cooper and Helen Hayes. An adaptation that makes me wish Hemingway was the screenwriter and director.

Brideshead Revisited (1945)– Evelyn Waugh has used a huge and magnificent mansion owned by an aristocratic family to tell his story. Something like Downtown but in a much serious tone. Its subtitle “The Sacred and Profane Memories of Captain Charles Ryder” sets the stage for a tug of war between God and man. I listened to the audio book read by Jeremy Irons, who has turned Waugh’s narratives into pure poetry. Probably the best audiobook I’ve ever listened to.

I’m still watching the 11 Episode TV series (1981) with Jeremy Irons playing the main character of Charles Ryder. So far, I’ve enjoyed the detailed and slower-paced depiction of the work. The book really needs a whole series to tell its story.

I’ve also rewatched the 2008 movie adaptation. As much as I respect the actors in it, Emma Thompson, Matthew Goode, Michael Gambon… I think it has trivialized Waugh’s masterpiece. The adaptation has taken the crux of the matter out and replaces with photogenic visuals and a story converted for more popular appeal. But it could well send one back to the book for curiosity’s sake.

Easy Virtue (2008) — For something totally light and swift, I rewatched this movie based on a Noel Coward play. Filled with Coward’s own music and some Cole Porter, the film depicts how the changes of the times have brought to yet another aristocratic family.

Larita (Jessica Beale) is the first woman race car driver to cross the finish line in Monte Carlo. The year is 1930. An American, she marries on a whim John Whittaker (Ben Barnes), the son of an English aristocratic family… and quickly becomes enemy on the home front to matriarch Veronica Whittaker (Kristin Scott Thomas), and subversive ally to her husband, disillusioned WWI officer played by Colin Firth. If you’re interested, here’s my full review of the movie.

A Handful of Dust (1988) — After Brideshead Revisited I went on to watch another of Evelyn Waugh’s adaptation. Again, a large mansion… how many of these architectural heirlooms do they have in England? Anyway, the master of this house Tony Last (James Wilby) is too busy looking after his property that he loses his wife Brenda (Kristin Scott Thomas). Title comes from T.S. Eliot’s The Waste Land (1922)… that sent me into reading the poem again.

Goodbye To All That (1929) — Autobiography of Robert Graves, English poet and writer. I’m most impressed by the men of letters in that period, they enlisted readily. Robert Graves and Siegfried Sassoon were both involved in the most devastating battles in France. Both were seriously injured. Deep in the trenches they wrote poetry. Their views towards the war changed as time went by, but their experiences in the battlefields brought about poignant legacies as eye witnesses of a horrific war and its aftermath. Ironically, Graves handles his subject matter with some light-hearted reminiscence.

The Remains of the Day (1993) — Not quite the same period but a bit later in the brewing year before England’s engagement in WWII. I rewatched this film adaptation of Kazuo Ishiguro’s Booker Prize winning novel in full, sumptuous Merchant Ivory style. The film leads me to think of a few parallels… Darlington ~ Downton, Stevens ~ Carson, but I’m glad Carson has more heart. And in both Downton and Remains of the Day, a character named Richard Carlisle.

The list goes on with Passchendaele and Birdsong yet to read and watch. But I know when Season 3 of Downton commences, I’ll gladly return and transfix myself once again in the Crawley family.

What have you been doing since Downton Abbey?

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