Concluding big-screen period-piece drama shows change afoot in Crawley Manor and its upstairs/downstairs world
Downton Abbey: The Grand Finale
Starring Michelle Dockery, Joanne Froggatt, Elizabeth McGovern, Hugh Bonneville & Paul Giamatti
Directed by Simon Curtis
PG
In theaters Friday, Sept. 12
It’s time for one more—and one last—trip back to post-Edwardian England to gaze upon the Crawley family as they deal with a final, brow-furrowing wave of high-society scandal, a financial fiasco…and the hubbub of an American celebrity coming to dinner.
In this seqel to the 2022 movie, it’s 1930 and the Downton estate is rocked when everyone finds out Lady Mary (Michelle Dockery) is a divorcee—gasp! Then her uncle (Paul Giamatti) arrives on a visit from America, bearing some not-good news about the family’s investment assets. Can a posh dinner—with a guest appearance by flamboyant American playwright Noel Coward (Arty Froushan)—restore some high-society shine to this upper-crust Yorkshire world created some 15 years ago by British writer Julian Fellowes?
Downton Abbey, which began as a PBS series back in 2010, ran for six seasons before leaping onto the big screen. Fellowes returns in this third movie adaptation as screenwriter, and director Simon Curtis mostly picks up where he left off with 2022’s Downton Abbey: A New Era.
Laura Carmichael as Lady Edith and Michelle Dockery as Lady Mary
Fans will recognize a slew of familiar faces—in addition to Dockery and Giamatti—reprising their TV and movie roles. There’s Hugh Bonneville as Lord Grantham, showing the stress of years atop “the throne” of Downton alongside his wife, Lady Grantham (Elizabeth McGovern). Joanne Frogatt is Anna Bates, a Downton servant now expecting a baby with her valet husband (Brendan Coyle). There’s Mr. Mason (Paul Copley), a farmer married to a Downton cook (Leslie Nicole). And Daisy (Sophie McShera), a rising star in the kitchen, finds her voice in the community at large. Missing, though, is Dame Maggie Smith, who died in 2024. But her framed portrait, as matriarch Violet Crawley, looms large.
Among the new characters is Alessandro Nivola as a dashing, horse-racing “Yank” who captures Lady Mary’s fancy. But what are his true intentions? Can Lady Mary prove herself suitable to take over as the admin of Downton, to usher it into the next generation? How will the extended Downton “family” cope with the changes afoot in a world rocked with upheaval—a World War, the stock market crash of ’29, plus rising hemlines, same-sex relationships and the sloughing off of old stigmas, like marriages that just don’t work out?
The Downton series and its movies have always depicted its era’s strictly enforced “segregation” of classes, from the upstairs aristocracy to the downstairs workers, and this one shows change afoot, as well, down in the servant quarters. Will Downton’s lords and ladies eventually progress to the point of having to (yikes!) cook for themselves?
It’s a posh, sumptuous-looking period piece, festooned with rich details, from dresses and ball gowns to top hats and a fleet of shiny vintage vehicles. There’s a fancy ball, a day at the races and a spirited county fair, where the two “classes” meet on common ground, a merry-go-round metaphor for equal social footing as Great Britain heads into its future.
There are no earthquakes, no space aliens, superheroes or serial killers. Just the retro highs and lows of a bygone era, a concluding look inside the lush manor where everyone looks sumptuous, tea is served in fine china and gleeful kids play cricket on manicured lawns. It doesn’t look like anything in anyone’s real experience, and that’s always been part of Downton Abbey’s deep-dish fan-fantasy appeal. And this dressed-up version of the past couldn’t last forever, and now it’s time for everyone to move on.
“It’s hard to accept that it’s time to go,” says Lord Grantham, facing the inevitable. In one scene toward the end, Paul Giamatti’s character sends up a rousing cheer for a moment of joyous entertainment, giving it hearty “Bravo!” Most Downton Abbey fans will probably feel the same way.
—Neil Pond
The Media Tourist 