Downton AbbeyNo matter whether you're rich or poor, there's always the inescapable comfort of returning to a familiar home. Downton Abbey is a follow up to the British dramatic series of the same name, and explores the "upstairs/downstairs" relationships of the landed gentry of early 20th century England and their servants who comprise the estate of Downton Abbey. When a visit by the King and Queen of England is announced, the whole house goes on full alert in preparation of the visit. New relationships are forged, and existing ones are explored even more before and during the event.
|
|
As with the television series, the key themes that define Downton Abbey remain ever present. This is evident from the start of the film, set to the melody of the show's iconic theme song, depicting the ritual involved in merely delivering the royal missive into the hands of the Downton Abbey regulars--eventually handed from the current butler, Thomas Barrow (Robert James-Collier), to the 7th Earl of Grantham, Robert Crawley (Hugh Bonneville). Rituals and traditions are a cornerstone of the series, as well as when those rituals and traditions are challenged. The prevailing question of the latter part of the series and this film is whether or not Downton Abbey--and the way of life it represents--still matters. This question is even put directly by Robert's eldest daughter, Lady Mary Talbot (Michelle Dockery), to Tom Branson (Allen Leech), the widower husband of Robert's departed youngest daughter, as she contemplates that her present way of life is not representative of the future in England. In this scene, she vocalizes the inevitable end of a sophisticated, elegant, yet overly complicated lifestyle that led to her setting up chairs in the pouring rain for a royal visit, among so many more notable examples that preceded it in her life (and the series). There certainly is an anachronistic quality to this gentrified life in the 20th century--a part of what made the series so enjoyable--and is most evident in the role of the servants in contemporary society, both those employed by Robert and the later arrivals who serve the King and Queen directly. The youngest of the servants, Daisy (Sophie McShera), has come to relish her working relationship in the kitchen alongside Mrs. Patmore (Lesley Nicol), but increasingly notes how the rituals that come with service no longer make sense, if they ever did. When the royal servants arrive, they commandeer Downton all but by force, prompting Mary to solicit the return of the erstwhile and retired butler, Mr. Carson (Jim Carter). Although this justifies a reappearance of the knowledgeable (if curmudgeonly) fan favorite, it simultaneously (and understandably) infuriates Thomas Barrow, who feels the familiar pain of not being trusted returning. Some rituals take on an almost obscene level of contrived detail, such as the complex mechanism used by the invading "Royal Page of the Backstairs", Mr. Wilson (David Haig), to decant the wine Carson picked out for the visit. And even those as simple as the social graces which delay Tom from an important appointment prior to the parade could mean the difference between life and death. But a crucial part of enjoying Downton Abbey (and the series that preceded it) is about seeing what rituals will bend in the face of what is truly noble.
It may sound outrageous to make the comparison, but Downton Abbey and Avengers: Endgame share in common the challenging act of juggling an abundance of established characters, while still giving them meaningful contributions to this capstone film. The central conflict in Downton Abbey is arguably of lower stakes, however, and is about the royal visit by King George V (Simon Jones) and Queen Mary (Geraldine James); virtually every other subplot stems from it. The montage of the royal notice being mailed to Downton is intercut with a stranger--later identified as Major Chetwode (Stephen Campbell Moore)--coming to Downton and investigating Tom, whose history as a former Irish radical makes him a person of interest. The middle child of the Crawleys, Edith (Laura Carmichael)--now Marchioness of Hexham--bemoans the monotony of her new station in life, despite her altogether sympathetic husband, Bertie (Harry Hadden-Paton), the 7th Marquess of Hexham. After the King invites Bertie to accompany the Prince of Wales to South Africa for three months, Edith reveals a detail that puts Bertie in the awkward position of choosing between his wife or his king. Thomas befriends one of the royal valets, Richard Ellis (Max Brown), and the closeted butler discovers a relationship that makes him feel less isolated in a society where his homosexuality is a crime. Daisy's betrothed, the footman Andy (Michael C. Fox), becomes jealous of a plumber who makes eyes at his fiancée, leading to a build up of pressure. Several minor valuables start going missing during the royal visit, and Anna Bates (Joanne Froggatt) begins to piece together why. And of course, the always magnificent Maggie Smith reprises her role as the cutting beacon of traditional English values, the Dowager Countess of Grantham, Violet Crawley--always ready with a barbed retort for her rival and friend, Isobel (Penelope Wilton), and a Machiavellian scheme or two tucked away. Violet discovers that Maud (Imelda Staunton)--a lady-in-waiting to the Queen and a cousin with whom she had a falling out with years prior over an inheritance--will be attending the royal visit, along with her close maid, Lucy Smith (Tuppence Middleton); despite the royal visit, she expects a confrontation. Many other classic characters from the series return in more or less a supporting capacity, like Anna's husband, John Bates (Brendan Coyle) and Robert's American wife, Cora (Elizabeth McGovern), reminding audiences that they are still important members of the Downton household. The unmistakable challenge in adapting a long-running television show for film is evident here, since not every character has equal time in the spotlight. Doing so runs the risk of appearing forced or obligatory, not to mention overwhelming the audience (or their bladders for theater goers) with an excessive running time. In this way, Downton Abbey resembles Gosford Park, the film which brought the progenitor of "Downton Abbey" to fame, Julian Fellowes. While Downton Abbey moves at a speedy clip, it generally bobs from one plot thread to another without lingering on any single scene for long, as if they were hors d'oeuvres from a grand buffet. And with a cast of characters as diverse and rich as those of Downton Abbey, there is a veritable smorgasbord to savor here.
Recommended for: Fans, of course, of "Downton Abbey", which should include those who enjoy early 20th century period dramas that explore the rituals and routines of life for the nobility and their servants in a grand English estate. With rare exception, the content of Downton Abbey is suitable for most audiences. Yet as a capstone film from a long-running television series, its audience should already be familiar with the characters, and that audience would likely be comprised of adults who can appreciate the history and the associated social nuances that have given the series its flavor.
It may sound outrageous to make the comparison, but Downton Abbey and Avengers: Endgame share in common the challenging act of juggling an abundance of established characters, while still giving them meaningful contributions to this capstone film. The central conflict in Downton Abbey is arguably of lower stakes, however, and is about the royal visit by King George V (Simon Jones) and Queen Mary (Geraldine James); virtually every other subplot stems from it. The montage of the royal notice being mailed to Downton is intercut with a stranger--later identified as Major Chetwode (Stephen Campbell Moore)--coming to Downton and investigating Tom, whose history as a former Irish radical makes him a person of interest. The middle child of the Crawleys, Edith (Laura Carmichael)--now Marchioness of Hexham--bemoans the monotony of her new station in life, despite her altogether sympathetic husband, Bertie (Harry Hadden-Paton), the 7th Marquess of Hexham. After the King invites Bertie to accompany the Prince of Wales to South Africa for three months, Edith reveals a detail that puts Bertie in the awkward position of choosing between his wife or his king. Thomas befriends one of the royal valets, Richard Ellis (Max Brown), and the closeted butler discovers a relationship that makes him feel less isolated in a society where his homosexuality is a crime. Daisy's betrothed, the footman Andy (Michael C. Fox), becomes jealous of a plumber who makes eyes at his fiancée, leading to a build up of pressure. Several minor valuables start going missing during the royal visit, and Anna Bates (Joanne Froggatt) begins to piece together why. And of course, the always magnificent Maggie Smith reprises her role as the cutting beacon of traditional English values, the Dowager Countess of Grantham, Violet Crawley--always ready with a barbed retort for her rival and friend, Isobel (Penelope Wilton), and a Machiavellian scheme or two tucked away. Violet discovers that Maud (Imelda Staunton)--a lady-in-waiting to the Queen and a cousin with whom she had a falling out with years prior over an inheritance--will be attending the royal visit, along with her close maid, Lucy Smith (Tuppence Middleton); despite the royal visit, she expects a confrontation. Many other classic characters from the series return in more or less a supporting capacity, like Anna's husband, John Bates (Brendan Coyle) and Robert's American wife, Cora (Elizabeth McGovern), reminding audiences that they are still important members of the Downton household. The unmistakable challenge in adapting a long-running television show for film is evident here, since not every character has equal time in the spotlight. Doing so runs the risk of appearing forced or obligatory, not to mention overwhelming the audience (or their bladders for theater goers) with an excessive running time. In this way, Downton Abbey resembles Gosford Park, the film which brought the progenitor of "Downton Abbey" to fame, Julian Fellowes. While Downton Abbey moves at a speedy clip, it generally bobs from one plot thread to another without lingering on any single scene for long, as if they were hors d'oeuvres from a grand buffet. And with a cast of characters as diverse and rich as those of Downton Abbey, there is a veritable smorgasbord to savor here.
Recommended for: Fans, of course, of "Downton Abbey", which should include those who enjoy early 20th century period dramas that explore the rituals and routines of life for the nobility and their servants in a grand English estate. With rare exception, the content of Downton Abbey is suitable for most audiences. Yet as a capstone film from a long-running television series, its audience should already be familiar with the characters, and that audience would likely be comprised of adults who can appreciate the history and the associated social nuances that have given the series its flavor.