The episode opens with the conclusion of Bates’s
imprisonment. This was a notably long plot line and the audience is allowed
some happy shots of Bates and Anna walking around the estate and admiring their
future home. Anna and Bates discuss how Lord Grantham will have to let Thomas
go now that Bates is back, and Bates remarks “revenge is sweet.”
This was an unsettling moment. Thomas has become more
sympathetic as the show has progressed, and I think Bates reveling in the
downfall of Thomas creates a moment of internal analepsis. We've examined these moments before,
Steph pointed out the scene where Daisy reflected on all that’s happened in the
past three seasons. This internal analepsis Bates created was more focused. When I
bristled at the thought of Bates taking down Thomas, I immediately thought back
to the sneering, scheming Thomas of season one. That Thomas would never have
cried over Sybil’s death, and I probably would have been rooting for Bates to
take him down.
Of course, this moment of reflection was only building
towards the climax of the Thomas/Jimmy plot line Now that Thomas has become
more sympathetic, we’re pushed into the role of a helpless observer. The
sequence of Thomas sitting in room, with tense music building and building, is
almost farcically contrasted with the easy flirting and banter between Alfred
and Ivy as they head back to the house.
The cuts between the cheerful pair and the agonized, singular Thomas serve to
highlight Thomas’s desire for something he can’t have. And as Alfred and Ivy
fall apart on a sour note, Thomas decides to go to Jimmy. The quick disintegration
of Alfred and Ivy is a foreboding warning for the viewer, and as if that’s not
enough, Thomas’s approach is filmed in unsettling colors and angles. Some of
the camera angles on Thomas are noir-ish, they’re shot from below and he’s in
heavy shadow as he approaches Jimmy. This is not a romantic moment, it’s a moment
laden with tension and fear.
In the aftermath of this scene, the audience’s sympathy is on
Thomas. This only complicates the Bates vs Thomas plot line and the audience is
placed in more ambiguity. Unlike season one, we don’t have the easy decision
between a snarky, evil Thomas a saintly Bates. We have a more complex and
sympathetic Thomas, and Bates…is about as saintly as ever.
What are some other character progressions or shifts
in dynamics that you've noticed?
I also found Thomas' progression to be interesting. The sympathetic view of Thomas generated in this episode of Downton Abbey reminds me of the change in character we are confronted with in Part 2 Chapter III of Lady Audley's Secret. Throughout most of the novel Mr. Maldon has generally been portrayed as a despicable person. However, in this chapter he is placed in a vulnerable position, much like Thomas. This vulnerability allows the audience to place themselves in Mr. Maldon's position, and feel sympathetic towards his character.
ReplyDeleteI'm intrigued by these parallels also to Lady Audley's Secret! If Thomas is more worthy of our concern, is O'Brien really the only character left who fits the role of a melodramatic villainess?
ReplyDeleteI dig how today's posts have pointed out the increase in tolerance amongst almost all of the characters, juxtaposed with Robert and Carson being more stagnant, as well as Thomas becoming more a sympathetic character--also intriguing;this all happens while Obrien seems to be growing more repulsive. She seems to be making up for everyone's increase in tolerance and Thomas' increase in sympathy all on her own. While there are other characters that leave something to be desired, Obrien really seems to be the only character that is a truly awful villain.
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