DOWNTON ABBEY: A NEW ERA

 Michelle Dockery     Maggie Smith     Elizabeth McGovern     Hugh Bonneville

Penelope Wilton     Allen Leech     Joanna Frogatt     Jim Carter     Phillis Logan

            A new era, with mostly the right amount of sentimentality, joy, pain—and surprises.  The Crawley family is in a quandary about permitting a film crew to shoot a movie in their home (it’s still in the silent era), and of course—since they need money to fix the roof, they will agree.  But not without the vociferous protest from Mr. Carson (Carter), the ambivalence of Lord Grantham (Bonneviille), and the sheer delight of the starry-eyed staff, especially Daisy (Sophie McShera) and Mrs. Patmore (Lesley Nicol).  

            This proposal comes at about the same time as the news that Violet Crawley (Smith) has been bequeathed a villa in France from someone she never took seriously, and she is in turn bequeathing it to Sybbie, the child of Tom Branson (Leech) and his late wife Sybil Grantham.  It’s a delicate situation, in that the son of the mysterious man has invited the Grantham/Crawley family to come for a visit to see it for themselves.  There’s a bit of tension in that the son’s mother is not happy with the bequest.

            You can see how all this is neatly set up to provide two new scenarios for the current feature—the second movie, the first of which had followed a popular series on PBS.  Not only that, the two strains of the story will separate the skeptics who will travel to France from the Hollywood fans in the cast who will remain to see the action (pun intended).

As a devoted fan of all things “Downton Abbey”, I admire the writer Julian Fellowes’ ability to sustain our interest by managing to keep us attached to the cast and characters of the episodes and all that happens to them.  To quote a colleague of mine, who said after we saw the film, “It’s like seeing old friends again.”  Considering that Fellowes has been able to maintain enthusiasm—not only that of fans but cast as well—through six seasons on PBS Masterpiece and two follow-up movies, is surely a rare accomplishment.  

Fellowes also manages to highlight human propensities that pique our interest, such as showing that some people can never let go of jealousy, even after their beloved’s death.  Or on a more positive note, showing the beauty and elegance of a death that becomes even more meaningful after the fact.

For all my admiration, I did find some aspects of this production less than stellar.  For instance, there seemed to be a conscious effort to pair up characters, even minor ones, in a kind of matchmaking.  Although some are truly moving, some are just a little too treacly.  In addition, it seems like the filmmakers are trying too hard to bring the work into “relevance” for today’s audience, such as blurring the lines between the “upstairs” and “downstairs.”  Seeing the wait staff socializing with royalty is, I think, still a dream; not a reality (e.g., Prince Harry and Meghan of today).  

But these are minor “beefs”; I thoroughly enjoyed watching this movie.

 

An update on the Downton Abbey series that for true fans will delight.

 

Grade:  B+                            By Donna R. Copeland

DOWNTON ABBEY

Maggie Smith     Hugh Bonneville    Elizabeth McGovern     Michelle Dockery     Laura Carmichael     Penelope Wilton     Allen Leech

Geraldine James     Simon Jones     Kate Phillips     Imelda Staunton    Tuppence Middleton     Harry Hadden-Paton    

 Matthew Goode     Jim Carter     Phyllis Logan     Joanne Froggatt     Lesley Nicol     Sophie McShera     Robert James-Collier    Brendan Coyle

     For those who followed the television series, how the movie of Downton Abbey would be the same as or different from the series is a burning question.  Having been a devotee of the series, I can say that Julian Fellowes (writer of both) and director Michael Engler were highly successful in bringing in new mysteries and intrigues while maintaining the family drama as we have come to know it and have become attached to the characters. Fellowes is a genius in creating figures we can all recognize, whether they are among the aristocrats or the common people, and make them live and breathe as if they’re a part of our own family, and make us love them.  He is also witty and skillful in giving life to age-old arguments, such as between systems of monarchy and social hierarchies versus more progressive/liberal/democratic forms of government—topics still on the contemporary mind.

     Having the King and Queen of England (played by Jones and James) come to pay a visit at Downton Abbey provides the perfect opportunity to explore these issues. As would be expected, the royal entourage consists of people much more condescending toward the locals than the royals themselves.  That means that the staff members at the Abbey will be shunted aside by the snooty royal butler (although he has a fancier title), chef, valets, dressers, and other attendants.  But never underestimate the power and finesse of the more democratic system in Downton Abbey, where the Crawleys seem to be moving decidedly in the direction of more progressive societies.  How the Downton staff manages this insurgency is part of the intrigue and mystery in the production.  

     Subtly, Fellowes presents alternative ways of rebelling against a social order, one violent, others more clever and foregoing any violence.  This is one aspect of the film that will keep veteran watchers of the series glued to the action.

     Fellowes and Engler astutely placed the dowager Countess Grantham (in the inimitable form of Maggie Smith) at the center of the conflict, pitting her against a member of the royal staff, Lady Bagshaw (Staunton), cousin of Lord Grantham (Bonneville), with whom she has had an ongoing struggle for decades. Maggie Smith has remained the most visible character in the series for her sharp, acerbic, and always humorous witticisms, so it is both fitting and smart to put her center stage and frame her specific conflicts within the larger issues about social order.

     Other key roles in this drama include Lady Mary (Dockery) and her quandary about whether and how long to maintain the traditional house; her lady in waiting, Anna (Froggatt), who uncovers a crime and uses it to advantage, along with helping mastermind the resistance against the royal staff; and Tom Branson (Leech), an Irish commoner and relatively new member of the family clearly establishing his loyalty to them, along with the reasons why.  Each of the other beloved characters gets a slice of the story, which works to keep it moving (and, I suppose, satisfy veteran watchers as well as newcomers).

     To me, this production is unbelievable in its mastery in incorporating so many important elements of the series into the movie and still presenting a serious argument about social class and government from many different points of view. All this is accomplished while preserving a real sense of humanness and delightfulness in the characters. I still thrill to the sound of musician John Lunn’s theme song as soon as I hear it.  He has been with the production throughout its existence, beginning in 2010, and has made a substantive contribution to its success.

If you’re a Downton fan, run—don’t walk—to the movie.

Grade:  A+                                   By Donna R. Copeland

SHERLOCK GNOMES

Voices of:  James McAvoy     Emily Blunt     Johnny Depp     Chiwetel Ejiofor     Jamie Demetriou

Mary J. Blige     Ashley Jensen     Maggie Smith     Michael Caine     Julie Walters

     With all the adult themes (such as the complexities in relationships, literary references, and details in the plot), it’s hard to see how Sherlock Gnomes is a film for children, despite its being animated.  Following Sherlock’s (Depp) reasoning through problems and clues is way over the kids’ heads; observing the intricacies of relationships between Sherlock and Watson (Ejiofor), Gnomeo (McAvoy) and Juliet (Blunt), and others would not interest them, if they “got it” at all; and Watson’s counseling Gnomeo about his conflicts with Juliet seems ludicrous in this context.  After the screening, I asked a family in the elevator if they understood it, and all three of them shook their heads and looked disappointed.

     It may be another case (now common in children’s films) of the Director John Stevenson and his writers and producers making the common mistake of trying so hard to appeal to adults, they overlook the children seeing their films—or maybe they just simply don’t know very much about children.  The literary references, such as “Gnomeo, Gnomeo, wherefore art thou?” and the “Hound of the Baskervilles” are purely for adults, as are the songs by Mary J. Blige complaining about an ex-lover and “Love Machine.”

     The filmmakers also make the mistake of modeling bad behavior and then having the characters getting insight and apologizing afterwards.  Here, Juliet is rude and overbearing toward Gnomeo, and Sherlock is the same with Watson.  If you want children to learn something, you model good, respectful relationships, not bad ones where apologies are called for later.  And I detest the artificial romantic sequences shown between couples, particularly Nanette (Jensen), a frog, trying to seduce one of the gnomes.

     An odd thing about the film is that it seems to be over-compensating for the past slighting of women, because here, Juliet, Irene, and Lady Bluebury (Smith) seem to have the upper hand with their men.  For instance, Juliet is shown to be much stronger and smarter than Gnomeo; Irene gives Sherlock h--- for his behavior in their past relationship, and Lady Bluebury’s husband hardly says a word.  Juliet is absolutely irritating with her constant questions and know-it-all attitude.  I can say it was encouraging, though, to see the interactions between Juliet and Irene, which showed solidarity between two women.

     About the only other positive thing I can say about this film is that the slate of actors do a very fine job.  Although the script is woeful, the actors came through with the best they could do.

This appears to be an animated film for adults; however, I don’t think many adults would want to see it.  Children are likely to be mystified.

Grade:  D                                         By Donna R. Copeland

THE LADY IN THE VAN

Maggie Smith     Alex Jennings     Jim Broadbent

          Old age—something universally feared with dread; and when The Lady in the Van starts, the lady (Smith) is kinda funny and kinda repulsive at the same time.  There are two significant scenes in the beginning that are a bit mystifying, but all is made crystal clear in the end.  One is a piano concert; the other an ear-piercing car crash.

           We get mostly the down side of aging in the first part of The Lady in the Van, but stay with it because it becomes more and more interesting about the lady, as well as her “landlord”, Mr. Bennett (Alex Jennings).  For instance, the lady’s name is Mary—or it could be Margaret—one of the many quirky details sprinkled throughout the movie.  Similarly, since Bennett is known to talk/argue with himself constantly, he’s pictured as dual figures. 

          Mary/Margaret is a proud, eccentric woman who lives in her van and tries out different parking places on a street in Camden before she decides on the one out Bennett’s front door.  She seems to despise music, so the house a few doors away with children paying musical instruments is definitely out.  All the neighbors are watching and struggling with conflicting emotions toward the woman, antsy about which spot she will eventually choose.  But consistent with her keen sensibilities about people, she chooses Bennett’s, which then becomes a continuous argument between his two selves about what to do about it.  The agreement is that she will only park there temporarily.

         Another clever device in the plot has to do with the parallels between Bennett’s own mother and Mary.  Bennett’s mother is aging and gradually weakening, and he only grudgingly gives her as little as he can get by with.  Ah, but Mary has a sneaky way of stealing into his good graces, as, for instance, getting him to allow her to park her van in his driveway—give or take a few years, say, 15.

          Maggie Smith is so perfect for this role, this is her third rendition; she was previously in the 1999 original theatrical production and in the 2009 BBC adaptation of the play.  As Bennett describes her character, she has “a bit of vagabond nobility about her.”   So Smith’s range extends from the highly privileged dowager in television’s “Downton Abbey” to the role of a homeless old lady in this film—although the haughtiness, clever wit, and self-entitlement remain intact throughout.  She is the consummate actress.

      Direction (Nicholas Hytner), music (George Fenton), and cinematography (Andrew Dunn) round out the fine talent involved in this British production.  It touches so many aspects of aging, caretaking, human foibles, and interests, its relevance is underscored. 

The Lady in the Van is possibly someone you might like to know.

Grade:  A                                    By Donna R. Copeland

THE SECOND BEST EXOTIC MARIGOLD HOTEL

--> Judi Dench     Maggie Smith     Bill Nighy     Dev Patel

-->

The name of The Second Best Exotic Marigold Hotel is apt in that it is second best to the first production.  It’s not clear to me why this one was made; it is so similar to the other one in terms of the humor, the colorful setting, and the kinds of fixes the characters have to solve.  It’s a bit like hearing a good joke the second time. 

In the first Marigold Hotel, Sonny (Patel) is the young and naïve but totally committed Indian who is trying to get the hotel in operation and recruit senior citizens from England to take residence there.  A group of them do arrive, and connections (and one disconnection) among the characters develop, and their exploration of the Indian sights and culture entertain us nicely. 

Now, the hotel is running and reasonably well managed by Sonny and his co-owner, the crusty but sharp Muriel (Smith).  The two make a trip to America to get financing to acquire an additional hotel and apply to be a part of a franchise.  When they return, they must deal with a few glitches—such as a romantic and business rivalry that Sonny has to deal with.  But most of the story involves the coupling of the characters.  Sonny and his fiancé have set a date for their wedding.  Evelyn (Dench) and Douglas (Nighy) seem to be hitting it off, and when Douglas’ ex, Jean (Penelope Wilton), suddenly appears for a visit, we’re treated to her caustic attempts at humor.  One of the single women is in a dilemma trying to make up her mind between two suitors, and another is holding a lovelorn at bay as she plays the field for a while longer. 

Two somewhat mysterious guests appear and assumptions are made as to who one of them (Richard Gere) actually is, but he immediately begins pursuing Sonny’s mother.  It’s almost like everyone has to be paired up by the end of the show, even though Gere’s character seems entirely extraneous.

The British actors, particularly Dench, Smith, Nighy, and Wilton shine as usual, and are able to elevate the dialog and make their scenes sparkle.  Patel is skilled at playing a range of emotions and deliver his hard sells with rapid fire, and the interactions between him and his fiancé reflect common pre-marital tensions.  The wedding party thrown later is really beautiful and radiates the colorful Indian culture.

John Madden’s direction, the music by Thomas Newman, and cinematography by Ben Smithard are all well executed and contribute to the beauty and entertaining nature of the picture.  I enjoyed the first one much more because it was fresh and new.  While this is still good, it is like a second visit to the same story.

Literally, a second-best production.

Grade:  C            By Donna R. Copeland