With a profound embrace of modern times and clever nods to Downton Abbey fans, screenwriter Julian Fellowes and director Simon Curtis deliver a poignant conclusion.
All good things must come to an end. Even "Downton Abbey," the acclaimed historical drama that sparked instant fandom in 2010 when it began as a lavish television series about the inner workings of a post-Edwardian aristocratic family, the Crawleys, and their devoted staff.
Director: Simon Curtis
Writer: Julian Fellowes
Stars: Michelle Dockery, Joanne Froggatt, Elizabeth McGovern
Since then, writer-creator Julian Fellowes has elegantly transformed the series into an equally compelling three-film trilogy. And with the stylish and sharply humorous final edition, "Downton Abbey: The Grand Finale," he proves once again that he knows exactly how to harness the elements that made the series such a captivating story, beyond its magnificent costumes and detailed production design: a commitment to consistent character work that spans all social classes of the era, as well as an elegantly restrained depiction of the past with a firm eye toward the future.
In that sense, many die-hard "Downton" fans will know that one of the franchise's pillars has been preserving Downton's well-deserved honor throughout the ages, which have challenged the family and its servants with various ups and downs, with numerous high-profile guests impossible to please, and moments of love, death, and even war that have entered the Crawley estate's orbit. Throughout this process, protecting the integrity of "Downton"—not just the fictional house, but the entire franchise—must also have been a priority for Fellowes, as he carefully developed the residents of the upper and lower floors of the majestic estate on their own terms.
In the final film, a character wistfully suggests that the past might be a more comfortable place to live than the future. Be that as it may (especially for the privileged), if "Downton" owes its enduring appeal to anything, it's Fellowes' determination to gradually ease the characters we've come to know so well out of their comfort zones in a cozy past. And so, "The Grand Finale" also prides itself on that disposition, perhaps more so than the "Downton" movie or any of the television episodes that preceded it. Despite the nostalgic glow that surrounds the film, there's a delightfully subtle theme of relief running through this crowded affair.
The final story begins with a scandal—the kind that would make us grateful for the present and, rightly, judge the past—involving Lady Mary (Michelle Dockery), who has been navigating the social life of a recently divorced woman. It's the 1930s, and the glittering London season—featuring Noel Coward plays and sumptuous balls, like the one Lady Petersfield (Joely Richardson) organizes annually—is in full swing. But when Lady Mary shows up to the event in an unapologetic crimson gown, accompanied by her parents, Lord and Lady Grantham (Hugh Bonneville and Elizabeth McGovern), she has no idea she's about to be humiliated by being ejected from the party. It turns out that, back then, divorced women weren't welcome.
The problems only get worse when Lady Grantham's American brother, Harold (a charming Paul Giamatti), shows up with the mysterious financial advisor Gus Sambrook (Alessandro Nivola, wonderfully enigmatic) and some bad news. It seems she's lost much of the Dowager Countess of Grantham's (the late Dame Maggie Smith) remaining fortune, and what she was able to salvage, she did so thanks to Gus. Feeling marginalized and burdened by financial woes, Mary falls for Gus's American charms, and the two have a one-night stand discreetly observed by Anna (Joanne Froggatt), his faithful right-hand woman. In the end, Gus is not the trusted advisor he claims to be, although he is certainly bold enough to threaten Mary's reputation.
Enter the scene: the wily Tom (Allen Leech) to foil Gus's scheme and save the family from further ruin with his business acumen. Mary's formidable sister, Edith (Laura Carmichael), along with trusted members of the Downton staff, cleverly organizes a dinner party to restore Mary's social standing. The bait for the guests? The in-person attendance of Noel Coward (an absolutely charming Arty Froushan) and movie star Guy Dexter (Dominic West, in a charismatic return). Traveling with the duo is former Downton staffer Thomas Barrow (Robert James-Collier), now Guy's companion, wardrobe master, and close friend.
The tightly packed film includes other plots surrounding the reluctant-to-retire butler Carson (Jim Carter) and his enthusiastic successor Andy (Michael Fox); the impending County Fair, now open to Daisy (the always charming Sophie McShera), who replaces Mrs. Patmore (Lesley Nicol) as Downton's cook; and Kevin Doyle's successful screenwriter, Mr. Molesley, desperate to make himself visible to Noel Coward. It's no easy task, given that Coward is busy drawing inspiration from Lady Mary's divorce story, which will serve as the basis for his play "Private Lives."
It's no surprise that "The Grand Finale" is hilarious, shocking (a further nod to the costumes, especially the bias cuts and roll-necks, designed by Anne Robbins), and as moving as the iconic brand's swansong. There are expected doses of fan service throughout the series (including a playful nod to one of Dame Smith's most unforgettable lines, "What's a weekend?") and a flawless finale sequence that bids a charming and memorable farewell to all those for whom the series has meant so much. But what endures most after "The Grand Finale" is its end-of-an-era message, which inherently understands that big ideas matter more than big properties. (On that note, a scene in which Lady Mary and Lord Grantham consider buying a London apartment is superbly written.) What's also striking is the final dedication to Dame Maggie Smith, who may no longer be with us, but her spirit is felt generously throughout "The Grand Finale."
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