Farewell, Downton

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Downton Abbey: The Final Chapter”

This film presents an intriguing paradox. On one side, it serves as a delightful trip down memory lane, marking the third adaptation of Julian Fellowes’s beloved upstairs-downstairs series which first graced our screens in 2010 and has since held its place, in various forms. It flows smoothly, with an ambiance so captivating that you almost forget it’s a tribute to the aristocracy, subtly romanticizing the upper class while offering a somewhat condescending nod to the working class. However, on the flip side, despite being the most narratively lightweight film in the series, “The Final Chapter” is also the most profoundly somber, grappling with the challenges of inciting social change and, ultimately, pondering the implications of leaving Downton Abbey behind.

The Final Episode, in typical fashion, presents predictable conclusions. Time consistently moves ahead, and no matter our actions, it cannot be halted. Each new generation makes decisions that their forebears might not comprehend. While I personally disagree with the notion, Capitalism is presented as superior to Socialism in this instance, a point made repeatedly. Fans of Downton Abbey may recognize familiar patterns, yet this predictability perhaps adds to the effectiveness of The Final Episode as a satisfying culmination for the series. It confirms that all which the vast Crawley family values – their wealth, land, connections, and faith in monarchy as the ideal governing system – remains vital, while providing a hint of progress to address any concerns that the show’s focus on tradition might endorse conservatism or traditionalism. It skillfully caters to fan expectations, albeit Matthew Goode is conspicuously absent throughout, with scheduling conflicts cited as reasons for his non-appearance in these movies. Some might argue whether not seeing Goode in a tuxedo was worth missing out on the Danish crime drama, Dept. Q.

Similar to how the movie A New Era delved into the exploration of creating a Downton Abbey film, the movie The Grand Finale delves into the exploration of concluding this entire series. (Once again directed by Simon Curtis.) The story unfolds in 1930, two years after the events of A New Era, with everyone standing on the brink of change. In the final act of A New Era, the Earl of Grantham, Robert Crawley (played by Hugh Bonneville), entrusted the fate of Downton Abbey and the family to his eldest daughter, Lady Mary Crawley (Michelle Dockery). Similarly, Mr. Carson (Jim Carter), the longtime butler, was preparing for retirement and passing the management of the household staff to Andy, the former footman (Michael Fox). As these men, whose lives were shaped by service, pondered what they would do when their time had passed, they questioned their purpose.

In simpler terms, the final episode portrays all characters as equal in a way that suggests the Granthams and their staff are unusually kind, generous, and patient despite their significant wealth disparity. This is characteristic of Julian Fellowes’ writing style, also evident in his current series, The Gilded Age. Regarding Lady Mary’s divorce from Henry Talbot, the show explores how negative media coverage and societal shaming impact her reputation, turning her into a social outcast. However, when Mary’s uncle Harold Levinson comes to discuss their mother’s estate, other family matters take priority, causing tension. The unexpected presence of an American businessman named Gus Sambrook raises eyebrows but charms Mary, potentially to her disadvantage.

The cast of Downton Abbey expanded and became more complex with each new season and movie, introducing various storylines such as one centered around a county fair and another focusing on the entertainment industry in an attempt to cater to all viewers. In true Julian Fellowes style, these plotlines predominantly revolve around class and social status, often emphasizing the kindness shown by the wealthy towards their employees, while subtly discouraging any revolutionary thoughts. The transformation of Allen Leech’s character, Tom Branson, from a former Irish socialist to a capitalist advocate in this series is surprising, as his actions saving the king in A New Era and his subsequent proclamation of capitalism being “sensible” seem to contradict his initial ideologies. Fellowes’ affection for the monarchy is evident throughout his writing, with even minor acknowledgements from the wealthy towards Downton’s staff being portrayed as significant diplomatic events. Attempting a critical or practical analysis of The Grand Finale might prove challenging due to its emphasis on traditional social hierarchies and conservative values.

In simpler terms, “The Grand Finale” is fast-paced due to its resemblance to grand events adorned with elegant attire, as exemplified by John Lunn’s captivating music and Anna Robbins’ opulent costumes. Nivola’s sly smile adds a dash of American charm. The production design, along with the theater shows, parties, races, and festivals, beautifully complement one another. The cast delivers humor and emotion skillfully. Disregarding realism, it offers pure enjoyment, particularly as it empowers its female characters to take charge. Lord Grantham’s disdain for the term “weekend” would have been the funniest moment, but Harold’s sleepy request for murder mysteries steals the show. Unfortunately, the film shows no interest in the family’s children, using them only for scenes of being read to and playing innocently with nannies. Despite its claims of moving forward, this franchise remains rooted in an idealized vision of a wealthy, aristocratic past. In essence, it might spawn a new generation in a decade or so, but its core identity will always be linked to the past.

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2025-09-12 14:55