Almost 15 years to the day since Downton Abbey first hit TV screens, and with 6 seasons and now 3 films capturing the many stories and lives of those in the Crawley estate, our time at the Abbey is coming to an end with The Grand Finale.
Written once more by series creator Julian Fellows, and director of the second film, Simon Curtis, returning along with almost all of the main recurring cast (with the notable exception of the late, great Dame Maggie Smith), The Grand Finale sees the Crawley’s entering the 1930s under a wave of public scrutiny and scandal amid Lady Mary’s (Michelle Dockery) divorce, and the financial troubles of the estate. With the time’s change and legacy on the family’s mind, the staff of Downton Abbey prepare to embrace a new era.
Despite the box office successes of both preceding films, the first and second Downton Abbey films have concluded their stories in the vain that they are the true endings for this series. The Grand Finale knows this, and rather than coyly leading the audience through a new story within the estate, it plays its cards heavily early on, embracing the finality of this extended story in a bittersweet farewell that doesn’t necessarily feel structural in its story plotting, but hits all of the check marks for a satisfying “greatest hits” ending.
It’s interesting that the thematic throughline of The Grand Finale is legacy, with the story primarily focusing on how Lady Mary, the Crawley’s, and the staff, are all struggling to navigate their public image in the wake of the divorce and financial issues, because Fellows’ script very much so isn’t concerned about Downton Abbey’s own legacy as a show, something that most would argue was solidified with the series itself, and then given two decent cherries on top with the films. Rather, this feels like a writer getting one last chance to spend time in a world he loves, and letting the audience experience that same feeling. While this approach doesn’t necessarily make The Grand Finale the most engaging or interesting of stories to follow, the atmospheric sense of fans being able to experience being at the Abbey one last time is enough to make this a necessary and enjoyable watch.
Never skipping a moment of melodrama, each character, new and beloved, gets their moment to shine and close out their arc. The heightened emotion that comes with the impending finality is expelled through every performance, whether it’s putting on the waterworks or being completely overwhelmed with joy, and it’s hard to not get caught up in the abundance of it all. Michelle Dockery and Hugh Bonneville are once more fantastic, and carry a lot of the film on their shoulders. But, it’s Laura Carmichael who is the real show stealer, utilising Lady Edith as this interesting bridge between the old ways of the estate, and the new, exciting future that is being ushered in. Add in a few nostalgic cameos from Paul Giamatti and Dominic West for good measure, and The Grand Finale manages to make every beloved character have enough meaning and substance for a solid goodbye.
Not unlike the previous films, and the show for that matter, the production design, from the sets to the costumes, is phenomenally immersive. It’s all so vividly brought to life by Ben Smithard’s brilliant cinematography, that cuts through the screen with such rich crispness in the colour and lenses, bringing a truly grand cinematic feeling to the film. John Lunn’s orchestral score also plays a large role in the immersive nature, even when it gets a little too emotionally and manipulatively moving.
Downton Abbey: The Grand Finale may not be the best film in the series, but it’s a satisfying, moving farewell to a world of characters that have been beloved for the better part of 15 years. Each person in the Abbey gets their chance to say goodbye, and for the fans, that isn’t a terrible way to spend 2 hours.
Downton Abbey: The Grand Finale is in Australian cinemas September 11.
