A Reel Review: DOWNTON ABBEY

The British historical drama DOWNTON ABBEY was an immensely popular series that ran from 2010 to 2015. Set in the fictional Yorkshire country estate, it followed the lives of the aristocratic Crawley family and their domestic servants through all their ups and downs, triumphs and tragedies…with great events in history having ripple effects on the family and the British social hierarchy. The series finale served as a satisfying end, with the family intact but with the winds of change hanging heavily. Here in 2019, the Crawleys return, this time to the big screen for another go. 

The estate of Downton, led by Robert Crawley (Hugh Bonneville), his wife Cora (Elizabeth McGovern), and their eldest daughter Mary (Michelle Dockery), are informed that the royal family of King George V and Queen Mary will be stopping by for a visit. As the family scrambles to prepare, Mary recruits the services of their retired butler Carson (Jim Carter), to return to Downton to help the overwhelmed butler Mr. Barrow (Rob James-Collier). 

Written by series creator Julian Fellowes and directed by Michael Engler, DOWNTON ABBY plays out like a condensed season of the series, with various plotlines effecting the large cast. Carson’s return gets under Barrow’s skin, who by-the-way is still coming to terms with his identity as a gay man in the 1920’s. Mary in the meantime is debating the future of Downton in British social hierarchy, while Granny (the wonderful Maggie Smith), is battling with cousin Lady Maud (Imelda Staunton) over an issue of inheritance. On top of that, Branson (Allen Leech), is dealing with a mysterious visitor, while the entire domestic staff…cooks, butlers, maids, and footmen…are displaced out of their own house and duties by the King’s own people. 

If it sounds like a lot, it is…and those are just the major plot points. But the script by Fellows impressively keeps it tightly and neatly organized, and keeps the film from diving into episodic territory. The many storylines converge nicely, with nearly every character getting their moments. For long-time fans of the series, it is a treat to behold, and newcomers can fully embrace it as a period drama. The film doesn’t hang its hat too heavily on what came before, so newcomers wouldn’t be lost (there is a nifty re-cap in the beginning), and veterans of DOWNTON can benefit from knowing the backstories. The pacing is brisk and the film moves along nicely with no fat to be trimmed. Humor comes in doses, and the dramatic, emotional moments handled well. The music by John Lunn is outstanding. 

Acting is excellent from the seasoned cast. Newcomer to the Abbey is Imelda Staunton, whose scenes with old film-rival Maggie Smith are a blast. Hugh Bonneville and Elizabeth McGovern are drastically underutilized, with both of their characters given very little to do. The show is stolen by returning footman and server Molesley (Kevin Doyle), who is excited out of his pants to be serving the royal family. 

The burning question for DOWNTON ABBEY is if the film serves a purpose after the satisfying and emotional series finale. For fans it is a treat to see the beautiful Abbey on the big screen, and one major character gives their final bow. Despite that there is no sense of finality, as the script does play it safe, and the door is open for even more drama at this famed estate. This film easily could have been done as another full season, and its sole purpose seems to be fan-service. But if fan-service is all it cares about, then it’s a job well done. 

BOTTOM LINE: See it