Synopsis: The year is 1927. The Dowager Countess of Grantham inherits a villa in the south of France from an old friend at the same time a filmmaker gets permission from Lady Mary to shoot a moving picture at Downton Abbey
Stars: Hugh Bonneville, Laura Carmichael, Jim Carter, Raquel Cassidy, Brendan Coyle, Michelle Dockery, Kevin Doyle, Joanne Froggatt, Michael Fox, Harry Hadden-Paton, Robert James-Collier, Allen Leech, Phyllis Logan, Elizabeth McGovern, Sophie McShera, Tuppence Middleton, Lesley Nicol, Douglas Reith, Maggie Smith, Imelda Staunton, Penelope Wilton, Hugh Dancy, Laura Haddock, Nathalie Baye, Dominic West, Jonathan Zaccaï
Director: Simon Curtis
Running Length: 125 minutes
TMMM Score: (7/10)
Review: Coming off its monumentally successful five-year run in 2015, Downton Abbey creator Julian Fellowes promised its audience clamoring for more upstairs/downstairs tales surrounding the fictionalized titular manse that a movie was in the works. It took four years, but the 2019 film Downtown Abbey was a perfectly filling bit of big-screen fun that ultimately felt like an extended television show episode. The creators didn’t raise the stakes any higher than necessary, and while some hint of finality was suggested for a few characters that might not have wanted to return should another chapter be ordered up, the door was left ajar for any and all to return.
Return they all do a mere three years later for Downtown Abbey: A New Era, and this time Fellows and new director Simon Curtis (Woman in Gold) have done what the first one didn’t want to bother with, shake things up a bit. With its production that seemed to drop out of nowhere amid post-pandemic start-ups, there was a nice amount of anticipation for this one because it targets the same group that has been an elusive get at movie theaters for the last several years. After all this time, would this PG-rated continuation of the hit series coax them out of their homes and back into cinemas?
I’d wager a bet that the same audiences that turned out to make the first film reach nearly 200 million at the box office will venture out for a matinee of this one. However, they may first wonder why all the rainy English countryside inhabitants are so tawny and tan. For a while, I thought they might want to call the film DownTAN Abbey instead because of actors like Hugh Bonneville’s (visibly slimmed down) golden glow. If you’re like me and didn’t take the time to re-watch the first film before showing up, Fellowes and Curtis have demonstrated good manners and included a nice recap narrated by Kevin Doyle’s Joseph Molesley.
We’re nearing the end of the 1920s, and wedding bells are ringing for former chauffeur and current estate manager Tom Branson (Allen Leech, Bohemian Rhapsody) just as Violet Crawley, the Dowager Countess (Maggie Smith, Quartet), receives the news she has been left a villa in the south of France. Unable to travel to France herself, Robert (Bonneville, Paddington) and Cora (Elizabeth McGovern, Ordinary People) accompany honeymooning Tom, his new wife, along with Lady Edith (Laura Carmichael, Tinker Tailor Soldier Spy), and her husband to visit Violet’s new property, allowing the younger set to find out more about the mysterious inheritance in the process.
Meanwhile, back at Downton, Lady Mary (Michelle Dockery, Non-Stop) reluctantly agrees to let a film crew make a movie in the family home after figuring she can put the money they are offering toward repairs the property desperately needs. With Mary’s husband away (a convenience that is explainable at the outset but downright preposterous by the end), the director (Hugh Dancy, Late Night) takes an interest in their host, eventually getting her more than a little involved in the production. At the same time, the stars of the film (Laura Haddock, Guardians of the Galaxy, and Dominic West, Tomb Raider) each make different impressions on the dedicated staff at Downtown.
Shifting directing responsibilities to Curtis (McGovern’s real-life husband) from Michael Engler was wise. While Engler oversaw the first film with an assured hand, he perhaps brought too much of a television eye to the feature film. Having directed numerous episodes of Downton Abbey, Engler’s movie just felt like more of the same, however welcome it was at the time. Curtis gives the film some stamina and speed, though if anything, it’s Fellowes that lets the audience down a bit with plotlines straight out of Singin’ in the Rain and more than a few strange detours that, in hindsight, are just emotional misdirects.
Downton Abbey: A New Era ushers in more robust filmmaking, script quibbles aside. We’re getting close to periods in history when the glitz and glamour that made the series so appealing at first will need to come to an end, and that’s when the real test of audience devotion will take place. Wartime dramas are a dime a dozen, but what made Downtown Abbey so unique was its dreamy days before war factored in. You can be sure there are more Downton Abbey films on the horizon, and I wouldn’t rule out another entire series to come along one of these years either.