by Elaine Matlock
It is November 1932 and Sir William and Lady McCordle (Michael Gambon and Kristin Scott Thomas) have cordially invited a group of people for a shooting weekend at their lavish estate. There are two sets of characters, the upstairs nobility and the servants downstairs. Not that the noble folk are well-heeled or even well-mannered. Most are superficial noveau-riche or penniless aristocrats and in-laws, bored and boring. Nearly all of them depend on the good graces and deep pockets of the despicable Sir William. The downstairs staff adhere to their own caste system, yet are characters of more depth and interest. Rich or poor, their strengths and weaknesses, motives and frustrations eventually become clear.

With his customary overlapping dialogue and interwoven storylines, director Robert Altman sets up the complex interactions within and between the two classes with Kelly MacDonald's character, Mary, the maid of the Countess of Trentham's (Maggie Smith), serving as the tour guide and intermediary between the groups.

The narrative moves along at a fast pace, weaving in and out of rooms upstairs and down, keeping the viewer alert so as not to lose track of what is happening. Scenes such as the aristocracy in the drawing room having tea - many conversations happening, relationships being set up and the servants hustling about are breathtaking in their complexity. The scenes appear almost choreographed they are so fluid.

There is a beautiful scene where a guest, Ivor Novello (Jeremy Northam), sings for the gentry as the servants listen from any vantage point they can find. The noble folk are quickly bored but the servants are spellbound and it is during this episode that a murder occurs. So disliked is Sir William that when he turns up dead there are suspects galore and everyone seems to have something to hide. Enter the not only clueless but clue-destroying Inspector Thompson (Stephen Fry) who makes Inspector Clouseau look like Sherlock Holmes and it is pretty clear this case will never be solved by the police. In the end, it is astute little Mary who identifies the real killer.

Altman is well-served by a Who's Who of British actors. All are excellent: Kelly MacDonald, Maggie Smith, Emily Watson, Kristin Scott Thomas, Clive Owen, Stephen Fry and Jeremy Northam to name a few. There are 32 speaking parts, each with distinct personalities. From just a few lines, a gesture, the raising of an eyebrow, we have an idea of a character's feelings and motivations. Most of the actors involved here are masters of their craft and one of the best is Helen Mirren.

The tightly wound Mrs. Wilson (Mirren) is the head housekeeper who runs the household with flawless efficiency. When Mrs.Wilson temporarily allows her facade to drop, the outpouring of a lifetime's regret in her emotional final scene is heartwrenching. Her transformation in that scene from the heretofore icy, controlled Mrs.Wilson is simply shattering. The quality that makes Jane Wilson a good servant, other than having no life of her own, is her gift of anticipation and in the end she uses this quality to suit her own purposes. It is a powerful scene, a powerful performance and should not be missed. It is vintage Helen Mirren and like a fine wine, she seems to get better with age.