Four stars. Rated PG, for no particular reason
By Derrick Bang
Goodness. What more could one desire?
Despite having settled everybody quite pleasingly, when Downton Abbey concluded its television run on Christmas Day 2015, creator/writer Julian Fellowes once again has worked his magic: ingeniously concocting fresh upstairs/downstairs dramas that unite the aristocratic Crawley family and its voluminous house staff.
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| When cascading events at Downton prove too overwhelming for the comparatively untrained head butler, Lady Mary (Michelle Dockery, center) asks Mr. Carson (Jim Carter) to return, much to the amusement of Mrs. Hughes (Phyllis Logan). |
Mind you — as always was the case, during six enthralling television seasons — the Crawleys remain more progressive than most of their stuffy peers, and the staff manages far more impertinence and independent thinking, than ever would have been allowed, back in the day. Such is the shrewdness of Fellowes, who layers these one-century-removed escapades with enough modern attitude to reference contemporary issues, without damaging the period authenticity.
All the while making us smile, occasionally giggle and — yes, even this — shed a tear or two.
Very little has changed here, aside from the slight march of time. Fellowes managed to assemble just about the entire cast: a frankly stunning achievement, given that several of these talented actors have moved on with their individual careers. The only notable absence is Lily James’ Lady Rose MacClare, and I do miss the warmth of her sparkling smile; she always was a breath of effervescence, alongside the far more severe Lady Mary (Michelle Dockery) and Lady Edith (Laura Carmichael).
This big-screen adventure unfolds like an even better Christmas special; the enhanced budget’s only noticeable impact is a broader location backdrop for production designer Donal Woods to fill — which he does splendidly — and cinematographer Ben Smithard’s spectacular swooping shots of Downton and a few of its equally majestic neighbors.
Indeed, the film opens on an extremely clever sequence, as Smithard’s camera follows the posting of a Most Important Letter, while it crosses England by train and — finally — reaches its destination by individual carrier. That would be Downtown, of course, and our first glimpse of its familiar grounds is accompanied by the equally familiar swell of composer John Lunn’s iconic theme.
Theater patrons breathed an audible sigh of happy satisfaction, at that moment.
The year is 1927. Some children have grown a bit older; a few new moppets have arrived. The aforementioned letter announces the impending arrival of their Majesties King George V and Queen Mary, who will stay at Downton for a full day, during a tour of Grantham and the surrounding countryside. This news naturally causes all manner of consternation, given the precise dictates of custom, tradition and regard.
The Earl (Hugh Bonneville) and his wife, Cora (Elizabeth McGovern) — Mary and Edith’s parents — have all manner of details to coordinate, not the least of which is the royal parade scheduled for the same afternoon: an event eagerly anticipated by all the local townsfolk. Downstairs, Mrs. Hughes (Phyllis Logan), Mr. Bates (Brendan Coyle), Mrs. Patmore (Lesley Nicol) and all the other servants are just as excited about this opportunity to attend to the most prestigious guests in the land.
Ah, but there’s the rub. As becomes clear when the “advance team” arrives to inspect the premises, the Downton staff won’t be allowed to serve the royals. The imperious Royal butler (David Haig, as Mr. Wilson) coldly informs everybody that his people — and his people alone — will handle everything. That includes all the cooking, which will be supervised by the equally snooty Monsieur Courbet (Philippe Spall); needless to say, that puts Mrs. Patmore’s nose out of joint.
Haig is marvelous, as the de facto villain of this piece. The archly condescending Mr. Wilson regards himself as the King’s Page of the Backstairs, rather than a “mere” butler, and thinks nothing of demeaning the Downton staff at every opportunity.
But that’s far from all. Despite his strong ties to the Crawley family, Tom Branson (Allen Leech) finds that his Irish Republican background makes him the focus of unwanted scrutiny. Elsewhere, the hilariously prim Violet Crawley (Maggie Smith, still effortlessly stealing every scene) is dismayed to discover that the royal entourage will include a lady-in-waiting (Imelda Staunton, as Maud Bagshaw) whose long-estranged tie to the Crawley family revives a festering rift.
Then there’s the matter of Lady Bagshaw’s maid, Lucy Smith (Tuppence Middleton), an oddly out-of-place soul who might be more than she seems.
Add a despondent princess, an unhappily displaced butler, a bit of relationship jealousy and a budding new romance, and it feels just like old times. As always, Fellowes’ ability to weave these little dramas in and out of each other, while granting equal time to dozens and dozens of characters, is nothing short of genius.
These various incidents take place alongside the many character dynamics we’ve grown to love. Violet still trades waspish barbs with Isobel Merton (Penelope Wilton), who gives as good as she gets; Fellowes delights in granting Smith the best one-liners, which she delivers with aplomb. (“I don’t argue. I explain.”)
Smith and Merton have great fun, jabbing at each other; and of course we understand that Violet and Isobel rely upon each other … although neither would ever admit as much.
Mr. Bates and his wife, the adored Anna (Joanne Froggatt), remain devoted not only to each other, but to the entire Downton staff. Young Daisy (Sophie McShera) is as feisty as ever, forever veering toward the razor’s edge of ill-advised insolence. Thomas Barrow (Robert James-Collier) still has a chip on his shoulder, despite having had several years to settle into his position, following the retirement of the imperious Mr. Carson (Jim Carter, he of the richly booming basso profundo).
And poor, hapless Mr. Molesley (Kevin Doyle) still manages to do and say the wrong thing at the worst possible moments. Indeed, the wonderfully comic Doyle is entrusted with this film’s best gasp-out-loud blunder, which prompts director Michael Engler to pause on a frozen tableau: a wide-eyed moment that lingers so long, we all but scream for relief.
Engler certainly knows the territory, having directed four episodes during the show’s fifth and final seasons, including the concluding Christmas special. He and editor Mark Day pace these events with unhurried assurance; this is a genteel environment that rewards moviegoers who’ve grown tired of smash cuts, and who prefer long takes that allow the actors room to breathe.
It’s an old-fashioned style of filmmaking, just as Fellowes delivers an old-fashioned mode of storytelling. Such a refreshing change.
But I do wonder whether this big-screen Downton Abbey can stand on its own, as a satisfying experience for viewers unfamiliar with the series. Although Fellowes finds clever little ways to inject bits of explanatory back-story — particularly in Tom’s case — the richness of what has come before, which so enhances our appreciation of where these characters are now, will be lost on newbies.
The series’ loyal fans, on the other hand, are guaranteed to be charmed. This revived Downton is true to its roots, in every possible way, and Fellowes ingeniously expands the tapestry to include even more characters. It’s hard to accept that this might be the last time we eavesdrop on the Crawleys, just as it was difficult to watch the television screen fade to black, back in December 2015.
But who knows? I’d like to believe Fellowes still isn’t finished with Downton, whose inhabitants must be as important to him, as they are to us.
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