A One Mann’s Movies review of “Downton Abbey: The Grand Finale” (2025, 4*, PG).
As a trilogy of films, Downton could have continued a downward slide down the rubbish chute. But I’m glad to report that the laziness of “Downton Abbey: A New Era” has been reversed and the finale of the series – “Downton Abbey: The Grand Finale” – is a joy for fans and a pretty enjoyable romp for everyone else too.
As for my previous reviews, there are two ratings for this one:
Bob the Movie Man Rating(s):
Plot:
It’s 1930. Since the last film, the already strained marriage of Lady Mary (Michelle Dockery) and Henry Talbot (Matthew Goode, only seen in flashback here) has dissolved. This has made Mary an outcast of London, and indeed Yorkshire, society. A plan is hatched to bring the Yorkshire elite back to Downton, with Noel Coward (Arty Froushan) as the bait on the hook!
Certification:
UK: PG; US: PG. (From the BBFC web site: “Mild bad language, sex references”.)
Talent:
Starring:
Michelle Dockery, Joanne Froggatt, Hugh Bonneville, Paul Giamatti, Dominic West, Laura Carmichael, Elizabeth McGovern, Alessandro Nivola, Allen Leech, Michael Fox, Joely Richardson, Sophie McShera,
Daisy Parker, Robert James-Collier, Phyllis Logan, Brendan Coyle, Raquel Cassidy, Arty Froushan, Jim Carter, Penelope Wilton, Lesley Nicol, Kevin Doyle, Simon Russell Beale.
Directed by: Simon Curtis.
Written by: Julian Fellowes.
Running Time: 2h 3m.
Summary:
Positives:
- It’s all comfortably familiar and stress-free enjoyment.
- The ensemble cast are great together, with new additions adding additional colour.
- The script is much sharper and wittier than the previous film.
- The ending is truly touching.
- John Lunn’s music adds perfect touches.
Negatives:
- It’s another two hours of very little happening!
- As before, some of the characters are barely there as window-dressing.
Full Review of “Downton Abbey: The Grand Finale”:
What’s not to love?
I know that some people have only ever known Downton through the three films. But I have seen all of the TV episodes as well and been through all the highs and lows of the ‘above stairs’ gentry and the ‘below stairs’ servants. Thus, this feels like a fitting end to the saga, presenting some of those long-running dramatic themes as getting resolved.
Barrow (Robert James-Collier), for example, has suffered in previous series for his homosexuality but here is a re-made man, thanks to his release from servitude and his employ with the equally gay actor Guy Dexter (Dominic West). The pair clearly share a great deal more than the fan correspondence! You gain an insight into the shifting views of society, with their ‘closeness’ not being approved of, but at least being deliberately overlooked.
The Granthams all get more of a chance to act in this outing, with Lady Edith (Laura Carmichael), getting to show her teeth against a threat to them all and Lord Gratham (Hugh Bonneville) displaying an angry side we’ve little seen before.
A witty and engaging script.
I complained after “Downton Abbey: A New Era” about Julian Fellowes’ script feeling below par, but I have no such complaints here. Sure, it’s another two hours of gentle inoffensive ups and downs where very little happens, but it is spiked with some engaging new characters and cheeky dialogue.
In terms of the new characters, it is fun to have Noel Coward (a nice interpretation by Arty Froushan) in the mix with his typically dry interjections and a song at the piano that wickedly reminded me of Eric Idle doing “Isn’t it awfully nice to have a penis?” from “Monty Python and the Meaning of Life”! We also have Simon Russell Beale playing the pompous Sir Hector Moreland, firmly and deliciously put in her place by the powerhouse combination of Lady Merton (Penelope Wilton) and the Downton cook Daisy Parker (Sophie McShera), flexing her social muscles and finding a liking for it.
Some of the excellent passages of dialogue includes the very funny Mr Moseley (Kevin Doyle), now a successful screenwriter but desperate to meet Noel Coward, staring almost (but not quite) directly into the camera and stating “It’s the screenwriters that are the real stars of the cinema!”. Oh, Mr Fellowes, you cheeky, cheeky sod!
The finale of the film I found genuinely touching, particularly a scene where Lady Mary says farewell to a range of ‘ghosts’ in the Downton hallway under the ever-present steely gaze of the late Violet Grantham (Dame Maggie Smith): a touching tribute to the late Dame.
A brilliant ensemble cast.
I commented on “Freakier Friday” how impressive it was that they were able to assemble almost the entire cast from the first film. But here again, “Downton Abbey” has been running since 2010 and it is truly awesome how this familiar troupe of actors has been able to be reassembled time-after-time during those years. This extends even to the smallest characters within the “Downton universe”, including Paul Copley as the farmer Mr Mason, about to enjoy some ‘tremendously fun’ conjugal relations with Mrs Patmore (Lesley Nicol), now she has retired and has the long afternoons free!
It’s particularly gratifying to see that Michelle Dockery hasn’t in fact been typecast by her role as the rough and tough Air Marshal in the recent “Flight Risk“. (#HeavySatire).
Unused cast.
Poor old Mr Bates! For the third film in a row, he is given virtually nothing to do, other than a touching ‘thank-you’ scene from Lord Grantham for ‘taking a bullet’.
This could actually be said for a lot of the characters in the film, many of who have only a glancing acquaintance with the story. Perhaps that’s why Matthew Goode hasn’t appeared in this one… he got fed up of never being called from his trailer during “New Era”!
Technically delightful.
I also must recognise the technical brilliance of the British crews who make this film. I know that – unusually – the film is actually filmed within the sumptuous interior of Highclere Castle near Newbury, but elsewhere the production design, costume and hair & makeup is all beautifully done. A day out at the races (I was trying to get an extra position for that, but couldn’t make the dates work!) is gloriously shot by DP Ben Smithard.
Another star of the show once again is the music by John Lunn who gets to trot out variations on his famous Downton theme. A highpoint for me, since the film spends much of its first reel in old London town, is the arrival of the Grantham’s back at the Abbey itself. As the cars approach, you can almost feel Lunn reining in the orchestra, building the tension for minute after minute until you finally get the ‘money shot’ drone-eye view of Downton itself and the orchestra soars into the main theme. Magnificent! It reminded me of Jerry Goldsmith’s breakthrough into the main theme as Kirk first sees the Enterprise in “Star Trek: The Motion Picture“!
Also, hats off to the special effects guys for the dramatic opening in 1930’s West End with the camera starting at the statue of Eros before darting through the traffic, into a theatre, through a door and directly down to the singer operetta star in a ‘single take’. Very impressive stuff.
Summary Thoughts:
One that I think the fans will love. Certainly, the three fans in this family came out with a big broad grin – and the odd damp eye – from this one. A film that will pack in the ‘silver dollar’ viewers over the next few weeks and be good for UK cinemas.
Where to watch?
Trailer:
The trailer is here: https://www.youtube.com/watch?v=P_30wFRxlnA.
Subscribe
Don’t forget, you can subscribe to One Mann’s Movies to receive future reviews by email right here. No salesman will call!