Downton Abbey

Downton Abbey

I finally got around to watching the first Downton Abbey movie - I was skeptical because I really enjoyed the series and sometimes transitions to the big screen or vice-versa miss the mark. Anyway, I did enjoy the movie and look forward to the next one.

As usual, the most intriguing storylines are downstairs but then there are a lot of directions those arcs can take. Barrow is always interesting and I was glad to see his storyline move in a positive direction. He needed the affirmation he received from Ellis, especially after having been thrown under the bus by Lady Mary and Carson (IMO two the the most insufferable characters on the show). It’s also a credit to RJC that he took a character that was only supposed to be in the first series and carried him through five additional series and two movies.

And I enjoyed Daisy’s story as well. Flirtatious and bold. 

It’s not surprising that the most interesting personality upstairs is still Lady Violet - but then it’s the brilliant Maggie Smith whom I have enjoyed since she was Miss Jean Brodie. She may be what “a hundred” but she’s still an interesting character and full of surprises.

What disappointed me? Well, I would have loved to have seen Mrs. Hughes take out the royal housekeeper. The storyline with Branson. He’s lost the dynamic he had when he was downstairs because he’s settled in to aristocratic complacency but at least they did more with him than with Cora, who’s starting to mesh with the prints on the walls.

I admit the only reason I began to watch “Monsters: The Lyle and Erik Menendez Story” is the preview that included Nicholas Chavez getting out of the pool, dripping wet in a speedo, and walking that incredible physique toward the viewer. I watched the series because of the performances of the two young men, Chavez and Cooper Koch. Despite the presence of Oscar Winner Bardem (whose Jose Menendez had a haircut as bad as the one in “No Country for Old Men”) and Oscar nominee Sevigny, the two young men delivered stellar performances.

Many on this forum have spoken of Koch’s performance in episode 5; for me, though, his performance in the last two episodes represented a master class in acting as he conveyed the raw emotions - anger, frustration, resignation - of someone who comes to realize the grave situation in which he finds himself. As I watched it, I kept thinking about Barbara Stanwyck’s final scene in the “Thorn Birds.” His confrontation with his brother in the last episode is the scene that stays with me. Kudos to both young men, as Koch could not have performed the way he did without Chavez performing the way he did.

Monsters

I watched Monsters: The Lyle and Erik Menendez Story. I believe that in all of this, Erik was the victim. He was allegedly sexually abused by by his father; allegedly sexually abused by his brother; ignored (another form of abuse) by his mother. Since then he has been tethered to his brother and the two have been treated as equal, when Lyle had the upper hand. He was older, probably stronger with a more dominant personality. Lyle seems to have been the one spearheading the spending sprees, planning the book and the movie, even telling the story; planning the escape and, if Abramson is to be believed, the one who fired the kill shots.

If, as they say abusers have a certain degree of control over their victims, why was not more consideration given to the control Lyle had over Erik?

Recovering from an illness, I was scrolling through Acorn TV looking for something to watch when I came across The Syndicate. I liked the premise so I gave Season 3 (the only one available in US) a watch. That’s how I first learned about this incredibly talented and handsome actor.

What stands out about him? Well, from a visceral perspective, he’s eye candy. He’s handsome, possesses piercing blue eyes, is crowned with a luxurious mane of hair, and he fills out his clothes  very well. In every show  he’s been in that I’ve watched since then, he comes into the frame and you notice him. - which is a combination of his sex appeal and charisma. It doesn’t matter the perspective, you notice him.

As an actor, though, he captivated me with his mannerisms, movements (especially subtle ones in his jaw line - even when wearing a beard), and, especially, his emotions. I felt Sean’s fear in Syndicate at having to come clean about his offense to the one person he loved; the anguish Luke felt about his mother in “Silent Witness” when confronted with his own complicity; the profound remorse Elliott conveyed in “Thirteen” over what happened; and the passion, as Dr. Gillan, he brought to his work in “The Crimson Field,” along with his roller coaster emotions concerning Kitty.

Now, an unpopular opinion, I am glad his role as Roger Wakefield is coming to a close. Yes, he brings all of the aforementioned traits to this performance, but he should be carrying a show or even a movie. IMO, he’s too talented to be in a supporting role - and I am happy he’s been given that opportunity again and I hope it’s available in the United States.

I can’t see him as James Bond but I could certainly see him as Gabriel Allon-type character who relies more on intellect, cunning, and stealth to bring down the villain and less on gadgets and technology (though I would not be disappointed if he is the next James Bond).

Even on the small screen, he took my breath away in the same way Kevin Costner (The Untouchables), Mel Gibson (The Year of Living Dangerously), Ralph Fiennes (The English Patient), Montgomery Clift (A Place In The Son), and Paul Newman (Cat On a Hot Tin Roof) did on the big screen.

One of the few benefits of the COVID lockdown was watching British film and TV - so much better than American. Catching up with an old favorite, like Downton Abbey, or discovering a hidden gem like Retribution, or finding out that Jamie Dornan can sing. And so enjoyed these gents who spent some time on my TV screen during the past year or so!