‘DOWNTON ABBEY: THE GRAND FINALE Review: A Finale That Brings Comfort & Closure

Courtney Howard // Film Critic

DOWNTON ABBEY: THE GRAND FINALE

Rated PG, 2 hours and 3 minutes

Directed by: Simon Curtis

Starring: Michelle Dockery, Joanne Froggatt, Laura Carmichael, Hugh Bonneville, Elizabeth McGovern, Alessandro Nivola, Paul Giamatti, Michael Fox, Sophie McShera, Dominic West, Allen Leech, Kevin Doyle, Jim Carter, Arty Froushan, Robert James-Collier, Lesley Nicol, Brendan Coyle, Penelope Wilton

DOWNTON ABBEY: THE GRAND FINALE is the 3^rd and alleged final feature in the franchise that spanned 6 seasons on television before making the jump to the big screen with two features, DOWNTON ABBEY and DOWNTON ABBEY: A NEW ERA. The Crawleys and their servants have been through a lot in its lifetime, weathering historical eras marked by war and financial fiascos. It’s only now that this illustrious book comes to a close with a splendid, stylish, if not a tad slight last chapter. Though its dramatic crux recalls past story beats and recycled thematic ties, director Simon Curtis and writer Julian Fellowes give fans a hefty dose of closure and comfort. It acts as a warm, cozy blanket to cuddle up with during current cynical times.

It’s 1930 and Lady Mary (Michelle Dockery) is going through a crisis. She’s due to take over Downton Abbey when her long-coming divorce is finally revealed to all. This worries her father Lord Robert Grantham (Hugh Bonneville). Since it’s a frowned-upon practice, she’s become a pariah in her haughty social circles. However, there are some progressive thinkers outside her family who don’t mind the perceived scandal, notably one Gus Sambrook (Alessandro Nivola). This dashing, debonair American is visiting Downton with Mary’s uncle Harold (Paul Giamatti), who has lost much of the family fortune in bad investments, and has come begging for help from his sister, Mary’s mother, Lady Elizabeth Grantham (Elizabeth McGovern). Naturally, Mary’s own sister Lady Edith (Laura Carmichael) is suspicious of Gus’ intentions and goes into protective mode.

Meanwhile, in the servant’s quarters, there are also big changes. Mr. Carson (Jim Carter) is retiring and ceding control of the estate’s day-to-day operations to Mr. Andy Parker (Michael Fox), who’s proven his mettle, yet is supervised and second-guessed by his predecessor. Andy’s wide-eyed wife Daisy (Sophie McShera) is inheriting kitchen duties soon from Mrs. Patmore (Lesley Nicol), who’s also wrapping up her decades-long employment in residence. And Mrs. Bates (Joanne Froggatt) is feeling caught between her allegiance to Lady Mary and Lady Elizabeth when Elizabeth and Robert are deciding whether or not to move out of the castle and into a cottage on the property.

Characters’ conflicts and conundrums are fairly gentle, even by DOWNTON ABBEY standards. That’s of course perfectly fine as any minute spent in this world is a rapturous escape. But it’s notably lacking a punchier, more immersive overarching story. Outside of Lady Edith’s confrontation with Gus and a rousing 3^rd act moment at the fair, the dramatic arcs are softly embraced rather than structured as a mounting escalation. Suave actor Guy Dexter (Dominic West) once again saves the day as he did in the previous installment, this time bringing Noel Coward (Arty Froushan, who’s a standout) along with him and boyfriend/ assistant/ former footman Thomas Barrow (Robert James-Collier) to Downton. It does contain a few funny asides. Mr. Molesley’s (Kevin Doyle) struggle with his newfound artistic pursuits as a screenwriter lends some good comedy to the proceedings (including some cheeky meta-jokes), as do Lady Isobel Merton’s (Penelope Wilton) barbs and schemes. And there’s some humor in seeing Mr. Carson skulking about the property like a high-school graduate sticking around campus to remind folks they used to go there.

Narratively, the upstairs/ downstairs problems aren’t as broadly cinematic, nor as immersive as what came before in the 2019 film and its sequel. The drama isn’t nearly as impactful as what happened in the series either. The characters certainly get our empathy, as basic humanity dictates the feelings we fans have towards our beloved family and their staff. But there’s no sense of urgency or suspense. It’s not like Robert and Mary are debating selling Downton or are in danger of losing it. No, here, they’re debating selling their second mansion, Grantham House (a location that hasn’t earned as much affinity as say Downton has), and downsizing to an apartment for their visits to London. Poor rich people. How will they ever survive?!

That said, the production value doesn’t disappoint. Much like Christopher McQuarrie and Tom Cruise begin their MISSION: IMPOSSIBLE films with an explosive action sequence, Curtis and costume designer Anna Mary Scott Robbins start their film with a dazzling red dress. It’s a Movie Moment given ample time for the flowing silk silhouette to shimmer. Later, during the Ascot races there’s yet another powerful scene – replete with a hero shot that genuinely takes our breath away – where the family arrives decked out in gorgeous dresses, hats and fine suit tailoring. Production designer Donal Woods and his team breathe finely-detailed life into locations like Downton’s kitchens, dining rooms, bedrooms and salons, along with the aforementioned Ascot races, the fair, and London. Plus, the tear-jerking, nostalgia-filled finale of THE GRAND FINALE is worth the admission price alone, as are the end credits vignettes, which put a poignant finishing touch on our adventures inside this sprawling estate.

Grade: B-

DOWNTON ABBEY: THE GRAND FINALE opens in theaters on September 12.