The fears of a ‘Downton’ super fan, and the dangers of exhuming pop culture memories – The Boston Globe

Christopher Muther loves all things “Downton.” Could the movie version of a favorite show mess it all up?

We have a hard time letting go of things we love.

Be it a treasured trinket, an old love letter, or maybe a dead pet’s ashes in a shoebox under the bed — although hopefully not that. But when it comes to television characters, we really can’t let go.

When they’re not getting rebooted on the small screen, à la “Will & Grace,” “Roseanne,” or “Gilmore Girls,” they’re turning up at the cinema. This is when we hold our breath. Legacy and love are at stake.

Was it a good idea to make a second “Sex and the City” movie, even with the added bonus of Liza Minnelli singing “Single Ladies”? Absolutely not. Did the actors from “Star Trek,” plus William Shatner’s toupee, need to come back to save the whales 20 years after the original series debuted? Nope. Did we need an “Entourage” movie? That’s a hard no. We didn’t need “Entourage” in any form.

I invested myself deeply in 52 episodes of the upstairs-downstairs drama of an English family trying to hang on to a monolithic castle and its evaporating aristocratic lifestyle. The series was a gift that we delicately and eagerly opened layer after layer, year after year, until we were emotionally satisfied and grateful with what series creator Julian Fellowes and international treasure Maggie Smith had bequeathed us.

I was terrified to find out whether the “Downton” movie would be the gift that kept on giving, or whether I would need to hang on to the emotional receipt and ask for my cherished memories back. I love all things “Downton,” and I didn’t want those memories sullied.

Guess who cried with joy when Matthew Crawley (Dan Stevens) proposed to Lady Mary Crawley (Michelle Dockery)? This guy, that’s who. Who dropped his Doritos with quaking hands and a quivering lip when Lady Edith Crawley (Laura Carmichael) was left at the altar? Yes, that was me as well. I’ve traveled to the locations in England where the show was filmed, and I have come up with excuses to interview the actors and the show’s costume designer. The technical term for this type of behavior is shameless.

The news of a “Downton Abbey” movie stirred equal parts terror and elation in my chitterlings. Everyone appeared destined to live happily ever after when the series wrapped. I did not want to see Mr. Bates (Brendan Coyle) tossed back in prison or listen to patriarch Robert Crawley (Hugh Bonneville) sputter more outdated guff when Mary and Tom Branson (Allen Leech) attempt to save the estate.

“Please!” I thought. “Leave them be.” If we’ve learned anything from years of television and movies, it’s that exhuming the dead can only lead to zombies, or, even worse, an “Entourage” movie.

Even with my deep trepidation, there was no question that I would see the movie. I managed to squeeze myself into an early screening (again, shameless), and bit my lip as John Lunn’s now-iconic “Downton” theme began.

Here’s the good news about the movie. The legacy remains intact. Even better, Paul Giamatti does not make a guest appearance. With few exceptions, there is nothing too damning or outrageous that happens to our beloved characters. I’m not going to reveal those exceptions because I operate under a strict no-spoilers policy. The film is primarily a self-contained caper surrounding a visit from King George V and Queen Mary. But that visit is a thin excuse to launch the action, both among the Crawleys and the servants.

Truth be told, I could have sat for two hours and watched Smith’s Violet Crawley volley pointed witticisms while wagging her chin at Isobel Crawley (Penelope Wilton), who is now known as Lady Merton. The chemistry between the two actresses is as dynamic as it was during the series.

The movie feels like one of the cherished Christmas episodes, but longer. It’s a tidy package with a few character development tendrils unfurling with the promise of new stories, new romance, and new changes.

But wait. Does this mean a second “Downton” movie is on the horizon?

Fellowes, “Downton” producer Gareth Neame, and three actors from the show/movie were at the screening I attended. After the movie there was a Q & A session where the question of a sequel was asked. Fellowes shrugged and grinned, Neame said it would depend on how this movie did at the box office, and Phyllis Logan (Mrs. Hughes) and Lesley Nicol (Mrs. Patmore) both strongly indicated that they were onboard for a second film.

Immediately, I began to fret again about my “Downton” family and said a silent prayer. “Please, no matter how many of these movies you make, just let Edith be happy and keep the Dowager Countess alive as long as possible.”

Source: The fears of a ‘Downton’ super fan, and the dangers of exhuming pop culture memories – The Boston Globe

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Downton Abbey review – business as usual

The film version of the popular TV series is perfectly pleasant. Film review by Demetrios Matheou

Despite the fact that the Downton Abbey 2015 Christmas special wrapped the series up with a seemingly watertight bow, a cinema offering of Julian Fellowes’ much-loved creation was perhaps inevitable. And so virtually all of the series cast and a few new ones descend upon the fictitious Yorkshire pile for more misadventures upstairs and down.

With no loose ends, Fellowes needed to devise a new dilemma to unite the Crawleys and the many staff who keep their privileged lives on track in 1927. Cue a letter from Buckingham Palace that heralds the imminent visit to Downton of King George V and Queen Mary.

“This won’t help us to economise,” worries Lady Mary Crawley (Michelle Dockery) the only one in her family who seems to seriously wonder whether the aristocracy needs to hang up its finery and downsize to, well, a manor house.

But the main question for her parents Robert and Cora, the Earl and Countess of Grantham (Hugh Bonneville and Elizabeth McGovern, pictured below) and their pampered clan is what on earth to wear. For Mr Carson (Jim Carter), the curmudgeonly butler rushed out of retirement for the big event, lady’s maid Anna Bates (Joanne Froggatt) and their fellow servants, it’s how to continue to work their fingers to the bone – and do Downton proud – when the Royal’s own entourage is rudely intent on taking over.

There were a number of factors behind the series’ popularity: nostalgia for an England long gone, a fetishist’s fascination for the accoutrements of privilege, the gilded soap opera of gossip, scandal and romance, Dame Maggie Smith’s scheming dowager countess stealing every scene, a template in which a multitude of crises were invariably solved with as much effort as it takes to say “golly”. All these ingredients are now in play, lent a fittingly sumptuous, big screen sheen by director Michael Engler and his production team.

The final season of the series happened to be one of its most uneventful, which is to say lame, only one death of a marginal character marring a steady winding down to happy ever after. And the film clearly has no intention of spoiling the party. Even an IRA threat to the king and an unfortunate introduction into the local gay scene for the butler Barrow (Robert James Collier) are resolved with such ease that few of the major characters are ever aware.

It’s a long way from the film that put Fellowes on the map as a writer and allowed him to make Downton in the first place, Robert Altman’s magnificent Gosford Park, which offered a far more complex and barbed view of the class divide.

“I do love our adventures,” sighs Cora as this one jollies along. “But isn’t it fun when they’re over,” replies Robert. If only they were.

Source: THEARTSDESK

Steve Coogan is driving on thin ice

This Time with Alan PartridgeI’ve always wondered just how much of Alan Partridge’s pompous behaviour is a reflection of his creator, Steve Coogan. Sometimes the comedian seems to encourage it. 

Coogan has persuaded a magistrate not to hand out an automatic six-month driving ban (despite already notching up nine points on his licence) after being found guilty of speeding in Sussex.

Coogan claimed that filming for his forthcoming BBC series involved driving around Britain and that “it’s an artistic thing that he [Partridge] drives and that defines his character”.

He also argued that 15 or 20 professionals had been lined up to work, presumably suggesting an inability to drive would leave them jobless, if only for a while.

But what really startled me was that the judge appeared to agree and reduced the ban to just two months.

I think it’s worth recalling Coogan’s driving record. In 2012 he was found not guilty of speeding after it had initially “slipped his mind” that a friend had been driving; in 2016 he was fined and banned for 28 days for speeding in Brighton.

The chairwoman of the magistrates this time around said she had taken into account the “exceptional hardship” a lengthy ban would cause. What kind of “hardship”?

How wonderful for celebrities who can put forward defences of this type. Would the same argument work for ordinary drivers who don’t appear on television? Like delivery people, ambulance drivers, care workers and busy mums trying to combine a zero hours job with dropping their kids off at school.

I think we know the answer.

Source: Janet Street-Porter: Steve Coogan is driving on thin ice

Shakespeare gets a sitcom in ‘Upstart Crow’

Upstart Crow

The popular film “Shakespeare in Love” seemed to unleash a wave of fictional imaginings of the English writer: the plays “Equivocation” and “The Beard of Avon,” the films “Anonymous” and “All Is True,” the short-lived TV series “Will.” But 1999’s frothy Best Picture winner was hardly the first rendering of Shakespeare as a fictional character.

The Bard of Avon made periodic appearances in novels throughout the 19th and 20th centuries, from a trilogy by Robert Folkestone Williams in the 1840s to Anthony Burgess’s 1964 book Nothing Like the Sun. And his first recorded stage appearance as a character is from 1679, some 60 years after the playwright’s death, when “the Ghost of Shakespeare” emerged to give a prologue to Thomas Dryden’s version of “Troilus and Cressida.”

There is nothing ghostly about the Shakespeare we meet in “Upstart Crow,” a delightfully cheeky BBC sitcom comprising three short seasons, available in the United States through the on-demand service Britbox as well as via Amazon. As played by the acerbic David Mitchell, one half of the comedy duo Mitchell and Webb, this Will Shakespeare is a mildly schlubby and insecure if well-intentioned striver, dividing his time between a bustling family hearth in Stratford and a rooming house in London from which he is building his playwriting career. The show’s title comes from an epithet hurled at Shakespeare in 1592 by a jealous poet, Robert Greene, in a pamphlet.

A fictional Greene is on hand as the show’s mustache-twirling villain to pound home the familiar theme of Shakespeare’s low birth and insufficiently fancy education. In a typical pithy putdown, he dismisses Shakespeare as “a country bum-snot, an oik of Avon, a town-school spotty-grotty.” The show’s Greene also functions as a literal nemesis, positioned (ahistorically) as the Master of the Revels, the impresario and censor through whom all staged entertainment must pass muster [ . . . ]

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