Mrs. Miniver Visits Downton Abbey

The stunning conclusion of Season 3 of Downton Abbey two Sundays ago left many viewers angry, disappointed and even vowing to boycott the further adventures of the Crawley family as it struggles to cope with an evolving British way of life in the 1920s. 

Count me among those who didn’t care for the (spoiler alert) sudden demise of Matthew Crawley so swiftly after the birth of his son, the future heir of the estate and title, the Earl of Grantham. Knowing, however, that the actor who played Matthew wanted out, never to return, it was a forgone conclusion he would be knocked off before the curtain came down on the third season. Series creator and writer Julian Fellowes had no other choice, though he might have chosen a less dastardly demise.

This being soap opera of the highest caliber one must expect plot twists and cliffhangers to keep the audience guessing and wanting to return for more upstairs and downstairs shenanigans (you can check various Web sites on your own for titillating news about Season 4 plot and casting news). 

That reference to Upstairs Downstairs was intentional. Fellowes has seemingly borrowed liberally from that classic series of British aristocracy and their servants. But what completely flabbergasted me was my discovery this afternoon of his most blatant reincarnation of a scene in the third episode of Season 1 from the venerable Oscar-winning movie, Mrs. Miniver.

In that 1942 movie, just as in Downton Abbey, the small town where the action takes place holds an annual flower show competition. Every year the winner for the best rose is the mistress of the manor, Lady Beldon. The judges choose her again, but this time she is persuaded by her grandson-in-law’s mother to announce another winner, an elderly villager named Mr. Ballard. 

In Downton Abbey, the Dowager Countess of Grantham overrules the judges’ decision to award her once again the first place cup prize for the best rose. She announces the winner is an elderly villager, Mr. Molesley. She, too, was persuaded to do so by her grandson-in-law’s mother. 

(An interesting footnote—Lady Beldon was played by Dame May Whitty; the Dowager Countess is played by Dame Maggie Smith.) 

When the movie ended, I immediately googled to see if others had noted the similarities in the stories. Sure enough they had. When confronted, Fellowes basically shrugged it off. I must admit I was less than happy with this turn of events. It reminded me of when I thought Water for Elephants too closely resembled 1940’s Chad Hanna despite the former’s author asserting she had been inspired by old newspaper pictures of circuses (http://nosocksneededanymore.blogspot.com/2011/01/before-water-for-elephants.html). I guess I’m not too thrilled with the borrowed creative process. Perhaps it’s the journalist in me that disdains any form of plagiarism. 

Yet, as I wrote two years ago, “My friend and former art director Milton says there are no new story lines, just different treatments of the same themes.” He’s right, of course. West Side Story, for example, is Romeo & Juliet, to music. It’s just I wish Julian Fellowes had shown a little more creativity in lifting his flower scene from Mrs. Miniver. 

The Future of Downton Abbey

Spoiler Alert: Having predicted much of what transpired during the recent Super Bowl (http://nosocksneededanymore.blogspot.com/2012/02/bragging-rights.html), I thought I’d take a shot at forecasting the plot lines to next season’s Downton Abbey, the last segment of the current run having been shown Sunday night on PBS. For those unfamiliar with the British soap opera of upper class and servant class mores and lives from before and after the first world war, you might want to skip this item. But for the rest of you who are smitten by the lusciousness and the lasciviousness of affairs upstairs and downstairs, here’s my ouija board outlook for season three:

The action will begin five years later, in 1925. Mary and Matthew will have had a child, a daughter.

Sybil and Branson’s child is a son, making him the sole male heir to the estate. Unless Mary and Matthew have a son, he will inherit the claim to Downton Abbey, a turn of events that visibly disturbs both the Earl of Grantham and Branson. The Earl cannot countenance the thought that a revolutionary, a working class chauffeur by trade, an interloper into his household, would sire the son who would succeed to his title. He is constantly urging Mary and Matthew to get on with it and have another child. They comply, but it’s a girl once more.

For his part, Branson is having difficulty adapting his thinking about class and place in society. He imagines all the good he could do splitting up Downton Abbey into parcels of land distributed to the country folk who live on the land. Sybil is torn between her love for Branson’s ideals and her family’s history.

The Countess of Grantham’s mother (a part already given to Shirley MacLaine) will be on hand to further the debate about regular people being part of the wealthy. She will have lively debates with the Dowager Countess of Grantham played by Maggie Smith.

Bates will be in prison for about five years. My best guess as to how he gets out is that the Countess’ maid, Sarah O’Brien, confesses she felt bad about telling Bates’ wife he had returned to Downton, that she secretly went off to London and killed her by lacing her tea with arsenic. Her confession releases Bates into the loving arms of Anna.

Season three ends as the stock market crashes.