Written by Julian Fellowes / Directed by Simon Curtis / Released in the U.K. by Universal Pictures International / 125 Minutes
Review by Rob Deb.
16th May 2022
The Pitch: THE PHENOMENON RETURNS! From award-winning creator, Julian Fellowes comes the motion picture event DOWNTON ABBEY: A NEW ERA. The much-anticipated cinematic return of the global phenomenon reunites the beloved cast as they go on a grand journey to the South of France to uncover the mystery of the Dowager Countess’ newly inherited villa.
I’ve watched every episode, I’ve been there for every chaste glance, car crash, birth and wedding and rolled eyes and sighs as decorum is breached and Isis passed away. Downton holds a dear place in my heart that only really sank when I looked into taking mum for a visit to the estate and the logistics of a day trip would have got us, maybe, a cream bun in a colonnade.
To a large extent, A New Era gives us what we want from Downton and is the show at its frothiest. With a whiff of scandal and a series of typically incredulous events Lord and Lady Grantham go with Tom and his new wife (sorry Tom fanciers, but we all knew it wouldn't last) to a Villa the family stands to inherit. In typical British show fashion, the film turns into a lot of quizzical looks and slapstick level misunderstandings. With Carson, (the ever-loyal Carson) straw-manning his way through these exotic locations - France - by literally talking louder and slower thinking it will help the situation. The culture and shots allow for a certain sense of class without becoming vulgar or opulent. But aside from a potential series-wrecking retcon that hits like something from a Marvel film, the laughs to be had are left flat and the story itself attempts melancholy, but at such a slow pace it's hard to feel invested.
upstairs downstairs finally has the third dimension of the nouveau riche to contend with
This does allow some judicious pacing as the Estate itself is finally recognised as having to modernise as back at Downton, a film crew for a silent-era movie have the novel idea that someone would want to shoot a movie there. Home is indeed where the heart is in this film but it struggles with the interlopers of Hollywood. Lady Mary Crawley is handed the proverbial torch, ostensibly from Lord Grantham, but avid fans know, it's from Violet Crawley. Understanding the estate needs money for the roof, or at least a few more bedpans to keep the attic dry, the negotiation of upstairs and downstairs now has the third dimension of the nouveau riche and the role of fame in class to contend with. It is here that the failings of the film are most barbed. That upstairs-downstairs dynamic of Downton is idyllic and works heavily on the notions of avuncular support and the family’s own sense of Noblesse oblige contend with the staff's sense of duty and honour in serving the house.
THE LIGHTNESS OF TOUCH BECOMES GARISH
Once you remove that bubble the flaws come crashing to the fore and the lightness of touch this mutual understanding pervades becomes quite garish. One particular throughline revolves around a working-class actress, famous in the silent era, looking at the end of her career as tastes change. Rather than circumvent or challenge these notions, it is up to the maids to convince her the best thing to do is literally silence her own voice, be grateful and plough on and lump it so others can profit like the band on the titanic.
I FEEL THIS MAY BE THE LAST VISIT TO dOWNTON
There seem to have been a few hasty rewrites near the end as I feel this will be the last visit to Downton and aptly so. Frothy and frocky, its increasing implausibility in the 1930s can’t not be acknowledged. It does have a lot for avid Abbeyists but since it’s so character-driven, I feel like it wouldn't be one for a dabbler. The frocks and frowns and cakes and crowns of it all is something always delicate in its resplendence but this is a dessert for those who have enjoyed a five-course meal. I don't know what someone turning up late would make of this espresso abbey.
On a final note, I would like to say it was refreshing to see Barrow gain some resolution for his life moving forward. The open secret of his homosexuality has been an interesting commentary on so many levels. The times depicted, the time this show has been made (the first episode was 2010) and has been through a range as a character being at times the villain, the victim, the influence, and the power, while remaining consistent and who he is, continually while being challenged. It was indeed nice to see him amidst all the status and decorum and public standing, receive a happy ending.
‘The Granthams go to the movies meets Bourgeois on the buses as two movies vie for attention, creating a bubbly friction but a stale after taste’