We were, my partner, my dogs and I, among the millions glued to the TV from
9 to 11 Sunday night as the long-awaited and (forgivably) overly touted third season began of
Downton
Abbey. Such excitement, such anticipation comes rarely.
Because I’ve been a fan from the start, I know all the
characters and all the plot twists and turns. I love how the characters grow and mature and then go off in
another direction and surprise you.
They are a particularly rich ensemble of actors, matched by the house
they live in, a character in its own right.
Downton Abbey is almost grand opera in the way it portrays
life’s dramas on multiple levels simultaneously. It’s also soap opera in the way it rivals As the World
Turns in the number of relationship crises it
squeezes into any given block of time.
And it’s also epic Hollywood in the grandeur of the settings and the
spare-no-expense costumes, cars, feathers, furniture and Marcel waves.
The juxtapositions work marvelously, the upstairs vs. the
downstairs, the chauffeur who becomes family, and the Irish republican (same
character) sitting down to dinner with English imperialists, the saintly innocents and
the decadent manipulators.
The privileged upper class twit one moment and the hearty Brit that
muddles through the next. The
internal shifts can make your head spin.
The main plot line in last night’s two-hour premiere was
whether Lord Grantham, his mother and his daughter Mary are going to get Shirley MacLain to
hand over the big bucks they need to keep Downton afloat when a financial
crisis hits the family. It’s two
years since the war killed off most of the young men and now this new
existential crisis looms. In
the process, Matthew, who has already morphed from country cousin to
paterfamilias-in-training in previous episodes, and from near-dead soldier with
a spinal injury to “I can walk!” miracle child, now steps in and out of
sainthood as he wrestles with the choice between love and honor. When he averts that crisis,
he then threatens to reduce the Crawleys to what they (but few others) might
consider poverty. This time, your
head actually does spin.
And all the while you can’t wait for Maggie Smith’s next
entrance because you know you’re in for another of her world-class
put-downs. Sometimes, it’s as if
the entire series was written just for those lines. Until now my favorite lines by Lady Violet Crawley, Dowager
Countess of Grantham, have been her exchanges with Isobel Crawley, who, as
Matthew’s mother, is rightfully her peer, and thus a possible threat to her
status.
Lady Grantham: "You are quite wonderful the way you see
room for improvement wherever you look. I never knew such reforming zeal."
Mrs. Crawley: "I take that as a compliment."
Lady Grantham: "I must've said it wrong."
In the Season Three premiere the new foil is the Shirley
MacLain character, Martha Levinson, about whom Lady Grantham says (I cannot
find the exact quote, so I paraphrase):
Lady Grantham: Every time I see that woman, I
appreciate the value of being English.
Granddaughter: But grandmama, Martha is American.
Lady Grantham: Precisely.
One of the the winning features of
Downton Abbey is the
ability creator Julian Fellowes has to write complexity into his characters. At least one
critic
finds this a weakness, sees it as subordinating honest and consistent character portrayal for the sake of plot development, but I
prefer to see it as human richness of character. O’Brien goes from Lady Macbeth of the servants’ quarters to
honest lady’s maid and loving auntie.
Lady Grantham can tell her son she mistook him for a waiter when he
comes in black-tie tuxedo to a white-tie dinner. But she can also persuade Daisy, the lowly kitchen maid
wracked with guilt over marrying a man she didn’t love, that her guilt is
misplaced, and that her act marks her as a woman of character. In that one instant, she rises to the
same level as Isobel Crawley who makes her way in the world saving fallen
women. It fits my preconception that we all carry within us the capacity to reduce others to quivering jelly as well as the capacity to help others to the finish line first.
And at the other extreme, we get a shot of the hitherto
saintly Mr. Bates in a prison setting clearly suggesting the possibility that
he murdered his wife after all.
Leaving open, of course, the truth of the matter for plot twists in
future episodes.
If you’re looking to find fault, you don’t have to go
far. I think Martha, the Shirley
MacLain character, didn’t quite work, and I’m still trying to decide whether it
was the hamfisted way she played the part, or the way she was portrayed as a
kind of American boor – which many will want to claim is a redundancy. I think, in the end, this is probably
what rich Americans actually looked like to English gentry of the early 20th
Century, so I don’t fault the writers for that. And in the end, Martha’s talents include the ability to save
the day when the dinner can’t take place because the oven fails and she gets
the ladies in ermine to see the charm of an indoor picnic. And she becomes the voice of reason in
drawing the line at bailing out the dying institution of upper-class privilege,
whose time has come.
If you want to, you can ask all sorts of questions about
where the money came from in the first place. How much misery still extant in the world today is directly
attributable to the colonial era and the twin engines of capitalism and
militarism that made it all possible remains a taboo subject, communism still
being pretty much defined as pure evil according by the current ideology,
despite its origins in original Christianity, and before it was corrupted by
money.
But we don’t want to go there. We don't want our critical faculties exercised. We want for an hour once a week to put them on hold. We want the fantasy of the house with the chandeliers and
the servants below at one’s beck and call. What, we ask ourselves, would life be without such
fantasies. We know it’s fiction,
but they’ve gone and given Mrs. Hughes cancer and I’ve heard that a major
character dies this season and I’m afraid it’s Mrs. Hughes and I already hate them
for it because she feels like a close friend. I know her personal history and of all the people at
Downton, she’s the one I want to be related to.
And I’m wondering if this cancer of hers is not a red
herring, and she’s going to live and somebody else is going to die and how am I
going to resist paying to get the entire season in advance and find out? And how am I, at the same time, going
to make it last?
Isn’t that the definition of good theater? When it makes the audience lose the
awareness of the lines between real and make-believe?
I have provided nothing, I suppose, to those who saw the
premiere, that they haven’t come up with themselves, and I’ve said far too much
for those who might yet want to see it.
But I wanted to join the discussion. Much of it is enlightening and informative. And that strikes me as a good
indication of the audience taken in by this marvelous entertainment. Pay no attention to that man behind the
curtain who wants to remind you why you should not shed a tear at the passing
of a world of inherited wealth.
Enjoy the spectacle. Tear
up at the weddings. Let your
spirits lift with every popping cork.
The Season has just begun.