Julian Fellowes’ legendary TV series and two follow-up films finally conclude in Downton Abbey: The Grand Finale, a splendid sendoff that brings the multiple characters and their storylines to a conclusion that should provide closure for most ardent fans.
It is 1930, and the Crawley family spends time in London’s social scene where the announced divorce of Lady Mary (Michelle Dockery) creates a perceived scandal and backlash at a pivotal time amidst the Great Depression where the financial solvency of aristocracy is threatened. When American relative, Harold (Paul Giamatti), arrives, he brings what could be a risky proposition, while playwright Noël Coward pays a memorable visit that brings an air of unpredictability. The times are changing as patriarch Robert (Hugh Bonneville) and Cora (Elizabeth McGovern) contemplate life beyond the estate and entrusting Downton Abbey to a new generation.
The classic cast returns minus deceased matriarch Violet (Maggie Smith) as this installment wraps up subplots and various, intertwined narratives in a sharp screenplay that focuses on the relationships and conveys humor and sentiment in equal measure. As before, Fellowes makes a distinct contrast between the upper class Crawleys and lower class servants. Loyalties are tested with the emerging theme of how progressive minded thinking must challenge old fashioned tradition and convention.
The
grandeur of the Downton setting never fails to impress as do the sumptuous
production values of art direction, costume design, and a rich, musical score. At slightly more than 2 hours, the film moves along at a good clip,
and while it could arguably continue for more installments, this is a good,
proper place to end the saga, which it does in fine fashion (with a few
emotional call backs).
****1/2
of ***** stars (A must for Downton
purists)
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