FILM REVIEW: The Guest

As you may have guessed from my extensive coverage of Downton Abbey (soon to resume), I'm a bit of a fan of Dan Stevens. He's been mainly confined to period dramas of the stiff upper lip variety like the lovely adaptation of Sense and Sensibility (he actually managed to make Edward Ferrars remotely interesting). Yet there was always a sense that he was capable of branching out beyond the cravat and doing something really interesting. When he left Downton Abbey amidst a hail of flying car parts, it gave him a chance to do exactly that and boy does his turn in The Guest deliver.

Stevens stars as David Collins who arrives on the doorstep of the Peterson family, claiming to be the friend of their recently deceased son, Caleb. David claims that the two men served in the army together and he was present when Caleb passed. Despite initial reservations, the Petersons take David in and he soon ingratiates himself with each member of the family with a mixture of charm and good manners. It's pretty clear from the start that there's something a little off about the Petersons' house guest and it's not long before that proves to be the case.

To talk about the plot anymore would spoil what is a constant surprise of a film, offering up twists and turns; some you'll see coming, others you may not. Simon Barrett's screenplay is a skilful genre mash-up, combining elements of small town horror and thriller with a vein of humour that could be none more black. Adam Wingard's direction deftly flits between them all, bringing a sense of domestic claustrophobia to seemingly the most innocent of proceedings whilst knowing when to scale back for some of the bigger sequences.

It creates a deep, foreboding atmosphere throughout the film as revelations are sometimes dropped casually into conversation and sometimes occur on screen. Wingard relishes the opportunity to shock and the film can turn on you remarkably quickly, producing a nice, unsettling effect that never quite lets you get comfortable. It's helped at all times by a fantastic soundtrack that adds to the John Carpenter-like aesthetic that influences all aspects of the film. It underpins the action beautifully, ramping up the tension to almost unbearable levels in some of the film's more violent sequences.

It also helps that the cast are all excellent; Leland Orser as the put-upon father and Sheila Kelley as the grieving mother may not get a huge amount of screentime but provide a strong emotional core. Their children, Anna (Maika Monroe) and Luke (Brendan Meyer), shoulder much of the important narrative work and do so well, particularly in their highly differing reactions to the presence of David in their lives.

However, this film belongs to Dan Stevens. From the moment he appears on screen to the closing moments, his brilliantly unpredictable performance dominates, creating a charismatic central character that is both fascinating and scary. It's in the smaller moments that it works to startling effect, a simple shift in his eyes or the sudden absence of a smile. He also plays for the broader comedic moments too; his line delivery of how to deal with people who pick on you is delightfully dark. About as far from Downton Abbey and Matthew Crawley as you could possibly get, it's a delight to see an actor relishing a role as much as Stevens clearly does here. 

A nice surprise in more ways than one, The Guest is a taut, well-made thriller with shades of just about everything else in between and it certainly helps that there is a wildly entertaining performance in the middle of it all.

- Becky

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TV REVIEW: Downton Abbey - Christmas Special

The Granthams head up to Scotland to visit Rose's parents, but everything is far from idyllic up in the Highlands. Branson is left behind to oversee the running of the house and the remaining servants take advantage of the family not being around. Very major spoilers abound!

Lord and Lady Grantham (Hugh Bonneville and Elizabeth McGovern) travel up to Duneagle in the Highlands to visit the rather hilariously named Shrimpy (Peter Egan) and his wife Susan (Phoebe Nicholls), parents of the wayward Rose (Lily James). Also in the travelling party are a heavily pregnant Mary (Michelle Dockery) and Matthew (Dan Stevens), Edith (Laura Carmichael) with her lovelorn editor in tow, Michael Gregson (Charles Edwards), the Dowager Countess (Maggie Smith) and several servants including Anna (Joanne Froggatt) and Mr Baaates (Brendan Coyle). Back at Downton, a new housemaid Edna (MyAnna Buring) is trying to convince Tom Branson (Allen Leech) that he should be ashamed of his new progression into the family while the other servants prepare to go to the fair. Thomas (Robb James-Collier) finds himself stepping in to defend Jimmy (Ed Speleers) despite the latter trying to avoid him.

Last year's Downton Abbey Christmas Special was very festive and with their engagement, brought joy to the viewers who had shipped Mary and Matthew from the start (and drew weary sighs from those who were just happy for it to be over). This special was considerably less festive and was more of an extension of the third series, following on from the plots established in the final episode, including Branson attempting to fit in with the family, Mary and Matthew trying for a baby and Thomas and Jimmy still reeling from the development of their relationship. From this image alone, we looked like we were going to have the usual Downton scandal:

With so many plot strands on the go and so many people invested in these characters, the festive special should have been action-packed, full of reeling plot developments, inexplicable twists and Maggie Smith's one-liners. It was absent of all these. In the whole 90 minute episode, there was only a good ten minutes where something actually happened. The rest was all furtive glances, limp dialogue and predictable directions for the new series. The entire episode felt like a poorly constructed bridge between three and four; one that was more concerned with setting up a starting block than being an episode in its own right.

There were positives though and a couple of storylines had potential; if you've followed my reviews then you know I'm a big Allen Leech fan and it was great to see him get some scenes to himself that didn't involve being the token outsider. Settling into Downton is a big transition for a character and his development and anxieties felt very real, despite being pushed by a very annoying servant. MyAnna Buring is a good actress, I've liked her in other things, but the character Edna was so irritating that I was really relieved when Mrs Hughes sacked her. Let's just hope she doesn't have a change of heart.

Also, Thomas' development from pantomime villain to a man trying desperately to hide his identity has been well-written and performed beautifully by Rob James-Collier. The character always had the potential to be fairly one-dimensional but since he no longer hangs around O'Brien so much and has become more cautious and fragile since the revelations of last series, he was one of the most interesting characters to watch in this episode. The tug of war was also quite fun.

That being said, it wasn't difficult to stand out in this episode because the rest of it really was quite dull, which is something Downton has never been known for. Even at its most ridiculous and plot-twisty, Downton was always entertaining, whether that came from gasping incredulously at the latest convenient plot twist or laughing at one of Maggie's great one liners. In the last series, the Edith/editor relationship had all the hallmarks of developing into a crazy Jane Eyre-like romance but here was reduced to low-voiced conversations in corners. Let's hope Fellowes gets his Bronte on for next series. This plotline in particular was a good example of the simple fact that Downton seems to have lost its spark in this episode. That is, until the last fifteen minutes or so.

Just in case you missed the first warning, what follows is a MAJOR SPOILER.

Still with me? When Mary declared she would be fine and that going up to Scotland whilst heavily pregnant, you knew something was going to happen. After Lady Sybil's disastrous childbirth, all attention was focused on her. They couldn't possibly kill off another Grantham sister could they? Then the baby was born with no complications and Matthew started making all these declarations about how they were all going to be together forever and thus signed his own death certificate. 

We all knew that Dan Stevens didn't want to return for the fourth series but I must admit, I didn't expect his exit to be just yet, or to be quite so spectacular. Stevens has been a great member of the cast throughout the series' run and it's a shame to see him depart for hopefully bigger and better things. Whether this will detrimentally affect the series remains to be seen but I will definitely miss seeing the developing bromance between Matthew and Branson, it was a thing of beauty. Matthew's death twist was pure Downton, predictable up to a point, completely outlandish and left me sat there speechless as the credits rolled.

Now if the entire episode had managed to capture that same feel, it might have been a lot better. Sure Downton is mocked for its tendency to go from the sublime to the ridiculous in a matter of seconds, but that's what keeps us all watching. In his attempt to set us up for the fourth series, Fellowes seemed to have forgotten that and the result was sadly lacking for this Downton devotee. Let's hope the fourth series fares much better, despite the lack of the ever-charming Matthew.

- Becky

You can read Becky's previous Downton Abbey reviews here.

Follow Becky on Twitter @beckygracelea
Or her blog on beckygracelea.wordpress.com

TV REVIEW: Downton Abbey - Episode Eight

Once again, a series of Downton Abbey comes to an end with a slow-burning yet very entertaining and heartwarming episode that takes in sexual politics, baby problems, the Charleston, a madwoman in an attic asylum and a rather jolly cricket match.

Downton Abbey finales have always been overly dramatic affairs, in keeping with the series naturally but always going the extra mile to make you shout 'WHAT?' at the screen whilst throwing that cup of tea you made in the advert break all over yourself. In the first series, it was the breakdown of the Mary and Matthew relationship, Cora's miscarriage and the outbreak of World War One whilst the second saw Bates arrested, the further breakdown of Mary and Matthew's relationship and Sybil running off with the chauffeur. The third finale had a lot to live up to but whilst it wasn't necessarily as dramatic or as shocking as what had come before, it was a fantastic end to the series with every required ingredient that is loved about Downton.

After the kiss last week, Thomas (Rob James-Collier) finds himself preparing to leave Downton as Carson (Jim Carter) is blackmailed into forcing him to go without a reference by spurned footman James (Ed Speleers) who is in turn having his strings pulled by Miss O'Brian (Siobhan Finneran). Thomas finds himself with an unlikely ally in the returning Mr Baaates (Brendan Coyle) who works with Mrs Hughes (Phyllis Logan) and Lord Grantham (Hugh Bonneville) to ensure that the former valet gets to remain at Downton. Meanwhile, Matthew (Dan Stevens) and Branson (Allen Leech) push on with their plan to reform the estate, much to the Lord's chagrin and furthering the best bromance on television at the moment. Mary (Michelle Dockery) is taking herself off mysteriously to London at regular intervals with only Cora (Elizabeth McGovern) really knowing what's going on. The Crawleys take on babysitting duties for a relative, the wayward Lady Rose (Lily James) who is singlehandedly responsible for the lead-in to one of the funniest lines of the series. Edith (Laura Carmichael) continues to write her column but discovers a secret that might change her relationship with her editor and the Dowager Countess (Maggie Smith) and Mrs Crawley (Penelope Wilton) manage to find a suitable position for Ethel (Amy Nuttall) to start again. And then there's a cricket match!

That's a lot of plot but with an hour and a half runtime, Downton had a lot of stuff to get through and each narrative strand was just as entertaining as the next and although, as with the previous episode, the resolutions were pretty much a given, the real strength of this instalment was the writing. Maggie Smith is usually the actress gifted the most sublime one-liners but several characters got their moment to shine. Phyllis Logan's Mrs Hughes has always been the dependable sort and her reaction to Thomas' indiscretion were wonderfully non-stereotypical. The reaction of all the characters to Thomas in fact was a great running joke; apparently, his sexuality wasn't as well hidden as he probably thought it was. The best line of the night though had to go to Dan Stevens for his impeccable comic timing when the flappable Matthew came face to face with a 1920s jazz club: 'It's like the outer circle of Dante's Inferno'. Mr Stevens, I salute you.

Some of the specific plot points were also more to do with placing foundations than bringing certain storylines to a close. With Mary and Matthew now all biologically ready and raring to baby-make, I'd imagine that it won't be too long before Sybil Jr. has a cousin. Likewise, I don't think it will be the last we see of the Lady Rose either though she was more than a little irritating. Then again, with Sybil gone, the family needs another rebel in their midst. Perhaps the most intriguing though was Downton Abbey Does Jane Eyre in the form of the Edith/Editor narrative. Although she's initially shocked that her potential beau has a wife, the revelation that she's more Bertha Mason than Mrs Beeton means that Edith may be heading into another potentially controversial relationship. Let's hope this time, she doesn't get left at the altar (though of course if they continue to follow the Jane Eyre path, she'll do the altar-abandoning...).

It may not have been as dramatic as its fellow finales, but it was all the better for its gentler pace and lack of major revelations. After some of the truly sad moments in this series, Sybil's death for example, it could have gone from bad to worse but I think that taking the show in a more positive and light-hearted direction was an excellent choice for the final episode. I'd previously thought that Downton could not be any more English if it tried, but then of course they decided to hold a cricket match. All it needed really was the mention of a ginger beer and we'd have some walking stereotypes on our hands (well, more so than we do already). The cricket match could have gone on for a bit longer in my opinion as it would have been hilarious to see Lord Grantham get all competitive and bluster across the wicket. The last-minute police confrontation felt like a very strange after-thougt; more of a quick tying up of loose ends than an actual, credible development. But the status quo is (sort of) restored and it looked like the House might finally beat the Village. Jolly good show indeed.

The final slow motion shot of Lord Grantham, Matthew and Branson going in for a hug was unbelievably cheesy but I could not help having the biggest grin on my face. Rather than eagerly awaiting the Christmas special for a resolution to a cliffhanger, I'm going to be looking forward to it as a regular televisual comfort blanket because when all is said and done, that it is exactly what Downton Abbey is and should be.

- Becky

You can read Becky's review of Episodes Six and Seven here.

Follow Becky on Twitter @beckygracelea
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TV REVIEW: Downton Abbey - Episodes 6 & 7

In the aftermath of Sybil's sudden demise, Branson and Lord Grantham are at loggerheads, Matthew and Lord Grantham are at loggerheads and in fact, Lord Grantham falls out with just about everyone. Cora seeks to blame him, the Dowager Countess goes into damage repair, Bates is officially in the clear and Edith takes steps to escape her solitary lifestyle. 

After the monumental upheaval that was the fifth episode ,which saw one of the most beloved characters leave the show, Downton Abbey seems to have scaled back quite a bit. Episode Six continued in the excellent vein established by its predecessor and was thankfully not as weepy or traumatic. Maggie Smith has never given a bad performance in the show and here, she was excellent again, attempting to solve the marital difficulties between Cora and Robert. 

Whilst it handled it excellently, the episode was very much a foundation for the conflicts that are to arise for the remainder of the third series. They say you should never talk about religion at a dinner party though Lord Grantham was sort of asking for it by inviting the local Reverend round in an attempt to convince Branson that the christening should not be a Catholic ceremony. However, he failed to understand the power of the Crawley women en masse and the poor Reverend found himself made a complete fool of by the girls and Branson. It was a great scene, written well for the characters and allowing the Dowager Countess to once again steal the show.

Elsewhere, Matthew is still campaigning for his estate reformation though much of it is falling on the deaf ears of Lord Grantham who appears to be doing the 1920s equivalent of sticking his fingers in his ears and repeating 'la la la' at a loud volume until Matthew goes away. Though of course Matthew is right, because he's Matthew and he's awesome and I'm getting carried away again. Nevertheless, there's still an issue here and the treatment of the estate is fast becoming the most symbolic presence of the twentieth century in Downton. Whilst Lord Grantham represents the stoic attitudes of his predecessors, Matthew's middle-class pragmatism demonstrates the need for change. It's always been an interesting dynamic and one that is being continually brought to the fore after the first episode's insistence of the oncoming modernisation of the post-war era.

In Episode Seven, Branson's brother comes to stay and causes a bit of a stir as Branson decides that he will go reside with him in Liverpool with Sybil Jr while Lord Grantham huffs and puffs a bit. Again. Matthew locks horns with Lord Grantham over the management of the estate and manages to offend the existing estate agent while eventually winning the argument. Edith goes on a date with her new editor as she prepares to write her column and finally looks as if she's going to enjoy herself for at least a little while.

For a series that has been pretty great so far, the penultimate episode was actually pretty lacklustre in its predictability. The central conflicts that had been developing in the previous episode just sort of fizzled out, without any real explosion or argument. The issue of the state in particular had practically signposted episodes earlier that it was going to be the way in which Branson stayed at Downton Abbey. The christening was always going to go Branson's way, as predicted by Mary, and additionally, the return of Mr Bates had all the dramatic tension of a damp newspaper seeing as it was inevitable anyway.

One plotline that still has great potential though is the developing relationship between footman Jimmy and everyone's favourite panto villain, Thomas. Although we predicted in an earlier review that their relationship might be of a romantic nature, Julian Fellowes is still toying with us. The scene between Thomas and Mr Carson in the aftermath of the kiss was excellent from the knowing way that Carson handled the issue to James-Collier's performance. He's long been one of the standout actors and it is always good to see him given something else to do other than plot and scheme with O'Brian. It also offers Downton an opportunity to explore the issue of homosexuality in that time period and how vilified it was. But then again, that kiss was not necessarily one-sided... Could it be a case of Jimmy protesting too much or is he genuinely so disgusted by Thomas that he'll get him fired?

Another plus point of this episode was Hugh Bonnville's performance; despite all of his incredulity, Lord Grantham is forced into giving way on just about everything he disagreed with in previous episodes this time and Bonneville is managing to make his performance thankfully more than one note. The christening in particular was a fine exhibition of both his dramatic and comedic skills and was a nice, gentle scene with which to end the episode.

Other than the final scenes between Jimmy and Thomas, which could lead to some interesting issues being presented, there just seemed to be a lack of spark in the episode this time.

- Becky

You can read Becky's review of Episode Five here.

Follow Becky on Twitter @beckygracelea
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TV REVIEW: Downton Abbey - Episode Four

With Downton Abbey now safely in the possession of Matthew Crawley and Lord Grantham, attention is turned to getting the house in order with the arrival of a new footman. Meanwhile, Branson lands himself in hot water both sides of the Irish Sea with a loyal Sybil following in his wake.

Continuing with its weekly well-dressed melodrama, Downton Abbey has slipped back into everyone's lives like a warm, sequinned comfort blanket of tears, romance with a patchwork of Maggie Smith's one-liners. It's never been challenging viewing but last night felt like the show had relaxed into itself and was simply treading the well-worn path of previous episodes of light comedy followed by Lord Grantham shouting at someone in a belligerent manner. 

This someone was of course Tom Branson (Allen Leech) this time around, facing the Lord's fury after his political activities get him into trouble with the authorities, forcing him to abandon Sybil (Jessica Brown Findlay) in Ireland and run away to safety. It's the most interesting plotline of the episode and I'm a big advocate of any development that involves more Allen Leech. It also gave us one of the funniest scenes in the series so far as the Dowager Countess proceeded to side with Branson for the most hilarious reasons; namely that she didn't like the castle he was alleged to have helped burn down. But poor Branson, he just can't keep his mouth shut can he? But then again, he would be a much less interesting character if he did. And with that, we get to one of my gripes with this episode.

Downton has always been a fairly conservative show and maintaining or recovering the status quo has always been one of the key tropes across the series; Mary and Matthew should be together-Lavinia gets in the way-Lavinina dies of Spanish flu-Mary and Matthew get married is a classic example (and one I do keep coming back to because it's hilarious). Now we have Sybil and Branson's socially unacceptable marriage, they leave for Ireland and look set to make a life together outside of Downton. But that simply cannot be! It's just far too leftfield for the residents of Downton to cope with. So Mr Fellowes, master of convenience, gets Branson into trouble with the Anglo-Irish and Lord Grantham comes to the rescue by imprisoning his wayward daughter and the former chauffeur in the house. We're back to where we were in the last series, with everyone back at Downton. 


But wouldn't it have been far more interesting to have Branson and Sybil remain in Dublin and have the Crawleys go and visit them? Just think about it - the Dowager Countess bulldozing her way into Anglo-Irish negotiations with all the subtlety of an elephant but all the wit of Oscar Wilde. This is the roaring 20s after all, everything is going a little topsy turvy but short of the fashion, you can't tell that Downton even made it through the First World War. Martha Levinson kept going on about how the Crawleys can't cope with change, but we don't see them getting a chance to; everything just goes back to normal. I want a big shake-up, the kind of upheaval that the loss of Downton hinted at (though was of course conveniently averted).

Thank God then for Edith (Laura Carmichael), new footman Jimmy (Ed Speelers - from the film Eragon. Remember that? No me neither) and the ever-schemeing Thomas (Rob James-Collier). The first meeting between Jimmy and Thomas prompted both me and my friend to predict a future dalliance between the pair or at least provide O'Brien (Siobhan Finneran) with an opportunity for revenge so it'll be interesting to see where that goes. Meanwhile, Edith has soldiered on after the heartbreak of being left at the altar and gone all feminist on us. Hurrah! Maybe Edith will get a happy ending after all? 

Elsewhere in the episode, Daisy (Sophie McShera) has her hopes of love with the new footman whose name I still haven't learnt because of a pretty new kitchenmaid (the same kitchenmaid she's begged for from Mrs Patmore (Lesley Nicol). Oh Daisy), The Anna (Joanne Froggat) and Mr Baaates (Brendan Coyle) storyline continues to be a bit of a snorefest as something goes awry with the pair's letters and they pine over each other for a little while before getting their letters back and pining over them instead. And Mrs Crawley (Penelope Wilton) helps Ethel (Amy Nuttall) give up her son to his grandparents which was actually quite sad.

Tune in next week for more corseted shenanigans!

- Becky

You can read Becky's previous Downton Abbey reviews here.

Follow Becky on Twitter @beckygracelea
Or follow her blog beckygracelea.wordpress.com

TV REVIEW: Downton Abbey - Episodes Two and Three

Did you really think that we'd left behind all the ridiculous and convenient plot developments in the last series of Downton? Well think again, as these two weeks take us through a cancer scare, an attempted shanking, a wedding and (gasp!) the potential loss of Downton Abbey. But never fear, gentle viewers, Julian Fellowes and his amazingly convenient plot twists are on hand to save the day!

If that opening paragraph makes it seem as if I'm laying into everyone's Downton Abbey this week, I can assure you it is only gentle mocking born out of my deep affection for this show. Even the most diehard Downton fans have to admit, the shocking revelation that Matthew (Dan Stevens) was actually in the clear to bestow his money on Lord Grantham (Hugh Bonneville) was never in any doubt. I must admit though, I didn't see the whole letter plot twist, I just expected Matthew to get worn out from all of the not-so-subtle insults from Mary (Michelle Dockery). But we can all rest easy; even though Mary's and the Dowager Countess' (Maggie Smith) hilarious plans failed last week with Martha (Shirley Maclaine), Matthew was once again on hand to save the day!

The second episode, despite some wonderful one liners from Dame Maggie, was the more lacklustre of the two and served more as a lead-in to the big moments in episode three, particularly concerning Mrs Hughes (Phyllis Logan). Ever the stalwart right-hand woman of Mr Carson (Jim Carter), the housekeeper's strength was tested across these two episodes after discovering that she might have cancer. It isn't one of the strongest plot-lines the show has come up with but it was a chance for Logan and Lesley Nicol's Mrs Patmore to shine. Aside from the lack of originality, it also wasn't the best source of tension because we know that death in Downton is a rare occurence, utilised only when it is incredibly convenient for the existing cast members for people to die (see Patrick Crawley, the long-lost heir or Lavinia, the woman-shaped blockade to the Mary-Matthew marriage). Therefore, Mrs Hughes was NEVER in any danger and now it looks like a possible romance blossoming between her and Mr Carson. D'awww.

Speaking of romance, poor old Edith (Laura Carmichael) was put through the emotional wringer yet again in these episodes as her off-on-off-again romance with Sir Anthony Strallen (Robert Bathurst) heads towards the altar. Or does it? Edith has long been the curmudgeonly spinster of the Crawley clan, spitefully alerting people to Mary's involvement in Mr Pamuk's untimely demise which promptly led to Mary's first destruction of the Edith-Strallen relationship. After the second episode saw the pair engaged, despite the age difference and sum total of only three arms, the third sees the wedding approach. As Edith gleefully observes, for once, an event at Downton Abbey is all about her. Though not for long, as Strallen decides to leave her, rather ungallantly at the alter (in a truly gorgeous wedding dress). I'm developing a theory that Julian Fellowes doesn't like Edith because the poor girl never has a happy ending. Maybe we should all start a campaign? Happy Ending for Edith please!

Because I've covered two episodes here (sharing many of the same themes), I'm going to deviate slightly from the format now and give you a rundown of my other noteworthy moments:

• - Anna (Joanne Froggatt) continues to search for the evidence to prove Bates' (Brendan Coyle) innocence though it's looking a little unlikely. It also continues to be a bit of a yawnfest. 

• Matthew and Branson (Allen Leech) develop their bromance over a game of billiards. Just lovely. Next time, please show the billiards match. 

• - The new, freakishly tall footman (whose name I still don't know) seems to be attempting to cop off with any female member of staff after the American lady's maid in last week's episode and then turning his attention to Daisy (Sophie McShera) and Anna.

• - The war between O'Brien (Siobhan Finneran) and Thomas (Rob James-Collier) starts to heat up as she steals the dress shirts he's supposed to be looking after, whilst he tells Molesley that O'Brien is about to leave Downton. After seeing the two of them attempt to bring down everyone else in their path, it's great to see the pair turn against each other.

Next week looks like a focus on the runaway romance of Sybil (Jessica Brown Findlay) and Branson as the preview featured the former chauffeur in tears and a lot of rain (which we all know means sadness and tragedy). Whilst it may be predictable, over-the-top and ever so slightly daft, it's still cracking entertainment and I'm enjoying the emotional upheaval.

- Becky

You can read Becky's review of the first episode here.

You can follow Becky on Twitter @beckygracelea

Or follow her blog here beckygracelea.wordpress.com

TV REVIEW: Downton Abbey - Episode One

After what seems like an agonising wait after the awesome Christmas special that saw Matthew and Mary FINALLY get together, Downton Abbey returns to our screens with just the right amount of melodrama for some classic Sunday television.

The last series veered from the sublime to the ridiculous so fast it made your head spin, which is no bad thing but let's face it, that was the most convenient outbreak of Spanish flu there has ever been. With it's Roaring 20s setting, the third series might be a little more grounded in some vague reality. Then again, why let real life get in the way of some bally good melodrama? A whole hour and a half of Downton Abbey packs in a hell of a lot of plot and thankfully Julian Fellowes' script keeps it zipping along at a fair pace. It's not for the first-time viewer though as there isn't really any major exposition to explain how everyone got to where they are apart from a few oblique references.  The first episode kicks off some time after the Christmas special with all of Downton gearing up to possibly the most anticipated marital event since Kate Middleton rocked up to Westminster Cathedral in her lacy finery.

Naturally, the course to the oncoming nuptials does not run smooth. Lord Grantham (Hugh Bonneville) is called away to London to discover that he's practically lost all of Cora's fortune (Elizabeth McGovern) and Downton is under threat (thus providing the overall narrative anxiety for the series). Meanwhile, a pregnant Sybil (Jessica Brown-Findlay) and her husband, former chauffeur Tom Branson, (Allen Leech) return to Downton Abbey to face some awkward dinner conversation about coat-tails and Irish nationalism. Bates (Brendan Coyle) has a new, possibly (read definitely) dangerous cell-mate while Anna (Joanne Froggatt) continues to search for the evidence needed to free him. A new footman has started work leading to more plotting from Thomas (Rob James-Collier) and O'Brien (Siobhan Finneran), though for once they are not on the same side. Daisy (Sophie McShera) revolts against Mrs Patmore (Lesley Nicol) whilst Carson (Jim Carter) continues to struggle to maintain order. And I've not even covered half of it.

I should probably warn you in advance of this review that I adore both Matthew and Branson and there may be some slight swooning when discussing their roles in the first episode. I can't help it. One of them has the most amazing blue eyes in the world and the other one has a positively gorgeous Irish accent. Leech in particular excelled here, giving Branson an awkward charm and defiance in the face of the Crawleys. His scene with the Dowager Countess and Mrs Crawley forcing him into a mourning suit was a comic delight whilst his angry drunk Irishman acting was an excellent example of a horrendously awkward situation. The relationship between Matthew and Branson was also a great aspect of this episode with the Crawley heir taking it upon himself to make the former chauffeur feel as welcome as possible in the midst of all the class divides. Stevens and Leech sell the oncoming bromance well and the brother-in-law partnership versus the Crawleys should be an interesting development. It all fits into the wider theme of change that comes with the 20s setting and the various clashes between old and new.

Speaking of clashes, the publicity all centered on the meeting of Maggie Smith's Dowager Countess and Shirley Maclaine's Martha Levinson and it did not disappoint. From the first awkward hallway meeting to the constant attempts to thwart each other over desserts, the two battleaxes are already engaged in a one-liner competition that looks set to go on all series. Smith has long been the fan-favourite for her comedy moments but it is in the more dramatic ones where she really soars; her revelation that it was her money that enabled Branson and Sybil to attend the wedding was understated yet perfectly pitched. If reports are true and Maggie Smith is to leave the series, her presence and acerbic wit will be sorely missed.

Meanwhile, Bates and Anna continue their relationship in the inconvenient location of the slammer. The Bates-Anna romance had me gripped throughout the previous two series, but I can't help thinking that it is starting to run out of steam. Perhaps the circumstances don't help; after all, you can't really have soaring romantic ups-and-downs if one party happens to be stuck in prison, but it all feels a little stale. Now that we know Bates' mysterious past was to do with his psychotic wife who tried to do everything to derail his new relationship and we know that he didn't commit the murder, there's no enigma left to uncover. Also, it's Downton Abbey; everything turns out neatly so therefore we know that, at some point, Bates is going to make it out of prison and return to Downton. There's no tension here anymore, which is a shame because it was previously one of the most gripping narratives.

It's a small gripe though in the scope of the wider episode which finally saw Matthew and Mary get married, despite a couple of hiccups along the way (solved by Branson - did I mention that he's awesome?). It's the moment most people have waited for since halfway through the first series and even those naysayers who disliked the pair must have cheered ever-so-slightly when they got to the church. It was a great end to a fantastic start to the new series and I cannot wait to see what Fellowes and the gang have in store for us. Sunday nights are officially all booked up.


- Becky

You can follow Becky on Twitter @beckygracelea
Or follow her blog here beckygracelea.wordpress.com