Bitter pill week

15 April 2011

Here at Feminéma I seem to have reserved everything I hate for the same week: a dentist’s visit (and a filling replaced), a haircut with a new guy at the salon (always unpredictable, liable to result in tears), an eye exam (I got an A, but I always approach these with dread), and piles of essays from all my students. No wonder I’ve been a bit AWOL from blogging. But here’s how I survive such a bad sense of scheduling:

Reruns of Arrested Development (2003-2006). They’re streaming on Netflix and are the funniest, most condensed nuggets of dysfunctional family goodness available. I can hardly wait to see again the episode in which the siblings try to conduct an intervention with their mother. This show offers such an important public service that it really ought to air every night at 11:30pm.

New to me: Lark Rise to Candleford (2008-present), a BBC One show that Nan F. turned me on to that might as well have been prescribed by an herbalist. It’s all streaming on YouTube and tells the story of Laura, a teenager from a poor hamlet at the turn of the century who goes to town to work for her independent, delightful cousin Dorcas (Julia Sawalha, right). Brendan Coyle of North and South and Downton Abbey plays Laura’s hotheaded father; that man’s wicked little smiles and crinkly eyes win me over every time. In recommending Lark Rise I must admit it will appeal solely to those with a taste for costume/period pieces, but somehow its resolutions of the petty dramas of small villages leave me prepared to sleep well at night.

And reserved for tonight: Hanna (2011), with Saoirse Ronan kicking ass against, well, whoever, but Cate Blanchett included. Because when I feel oppressed by what I have done to myself, I turn to revenge flicks. Ronan has quickly become one of those rare young actors I watch carefully; she surprises every time (like in Atonement!). Tonight I attend a retirement party for a dear colleague, one of those rare, exceptional men; I’m going to insist that my Dear Friend recover with me afterward in a dark theater, regenerating through (watching) violence. Then perhaps I’ll come home, watch an episode of Arrested Development, and get some rest.

After all, JustMeMike and I have to work up our online conversation about Claire Denis’ White Material this weekend!

“Downton Abbey” (2010)

15 January 2011

It is a truth universally acknowledged, that a professor staring down the gun barrel of a new semester must be in want of an English costume drama. Clearly, the ITV series Downton Abbey has been offered for medicinal purposes — if for no other reason than the 1910s costumes themselves, which are the most luscious I’ve seen since The Forsyte Saga. (Need to get caught up? You can see the first episode here at the PBS website; the following episodes will air Sundays on most local affiliates.) Many thanks to my Dear Friend whose post got me started.

If period dramas and great outfits aren’t enough on their own to titillate your interest, there’s Maggie Smith, Hugh Bonneville, and a large cast of faces familiar even to those of you who only make occasional forays into British film and TV. It seems that all period dramas are necessarily oriented around a courtship story; and all courtship stories set in the past seem to revolve around money and inheritance — in those respects at least Downton Abbey treads familiar ground. But it also adds the Upstairs/Downstairs (aka Gosford Park) element by throwing much of its attention to the estate’s many servants, individuals who can be loyal to a fault but who also harbor resentments and agendas of their own. The show’s producers have planned a second season and will reportedly start filming in March — so the medicine keeps coming, baby.

The family is in mourning for two cousins who died on the Titanic — and not just any cousins. One was the male heir due to inherit the Downton estate upon the death of the current Lord Grantham (Bonneville), and his son was due to marry Grantham’s daughter Mary (Michelle Dockery, above) to keep the estate within the family. The need to mourn their deaths means that within the first 30 minutes we find ourselves gazing at the best mourning jewelry ever — those deep black chiseled beads that signaled one’s sorrow, yet were elaborate, sexy items on their own, thus undermining the whole “mourning” thing. And indeed, Mary was a reluctant fiancée, so she’s not sorry to be released from an arranged marriage (and she can hardly wait to get out of her black clothes at the end of the mandated 3-month mourning period). We can look forward to more rebellion from her, it’s clear — as well as from her younger sister, Edith, whose disapproval of Mary has the potential to grow into something well-nigh treasonous. Even more important is the arrival of the new heir, a young lawyer raised in a solidly middle-class setting who holds no truck with having butlers, valets, and maids do all the work for him.

Plot developments like those prompt more exploration of the unique hierarchies, politics, and intrigues of the downstairs staff. American films virtually never explore the psychological micro-effects of class on the people who work for the wealthy — we rely on film imports for those stories — so watching these tales is fascinating. And even better that the wonderful Brendan Coyle (above, also known for his work as Higgins in North & South) plays John Bates, the new valet whose presence causes such a stir downstairs. Coyle is so good at showing us his quick intellect even when he’s expressing perfect deference to social superiors — he clearly brought his brain to work with him on this series, as usual.

This Sunday night appointment makes a great excuse to get those damn syllabi under control by then; hope you enjoy it, too.