DOWNTON ABBEY, A NEW ERA

UK, 2022, 127 minutes, Colour.

Hugh Bonneville, Elizabeth McGovern, Maggie Smith, Michelle Dockery, Tuppence Middleton, Hugh Dancy, Dominic West, Laura Haddock, Alan Leech, Imelda Staunton, Jim Carter, Joanne Froggatt, Phyllis Logan, Penelope Wilton, Robert James-Collier, Brendan Coyle,

Directed by Simon Curtis.

Whether you were a constant visitor to Downton Abbey during its television years, or whether you discovered the Crawleys in the first cinema adaptation in 2019, or whether you come across this film unaware of its history (no, that’s impossible), this visit to Downton Abbey, with an extended trip to the south of France, will be satisfying easy entertainment.

It is 1928. The talkies are taking over from silent films. And, believe it or not, this is very important for all those at Downton Abbey, upstairs and downstairs, because, for financial reasons, despite ideological fastidiousness, Robert Crawley has agreed that a film can be shot in his venerable home (to help pay for repairs on leaking attic roofs).

But, there is another story running alongside the moviemaking, Violet inheriting a château in the south of France, a dispute about ownership and a will, an excursion by the British to the Riviera. The two stories are intercut.

For those who have been following the history of the family for so long, everybody is present, has a significant role in the drama, with Maggie Smith once again doing her famous putdowns, though shocking everyone by actually saying she is sorry about an issue, something, she acknowledges, that nobody would have been expecting from her. And the key characters of the family, played by Hugh Bonneville, Elizabeth McGovern, Michelle Dockery, all have their moments of drama.

Life downstairs is much the same, friendly, gossipy, loyal service, Mr Carson presiding (Jim Carter) and the moderating influence of his wife (Phyllis Logan). But they are very much caught up in the moviemaking.

Actually, the moviemaking sequences are quite interesting, a silent film just as talkies were coming in and the company having to adjust their film to talking. Dominic West is suave as the leading man, Hugh Dancy as the film’s director. Laura Haddock has an interesting role as a blonde bombshell whose diction and delivery will eliminate her from the talkies. Bring Julian Fellowes must have been watching Singin’ in the Rain.) And, while she is a figure of fun, snobbery and disdain, she does get the opportunity to come much more human.

Lady Mary becomes unexpectedly involved in the filmmaking, lending her voice for dubbing, giving advice for production – and introducing Mr Mosley, the local schoolteacher, who discovers his talent for writing plays for the cinema. And the scenes for the dubbing and how the sound engineering worked in those early years is interesting and entertaining.

So, the expected material, the expected cast, costumes and decor, and a lovely reversal of roles when the extras for the film go on strike and the downstairs staff have to take their place, all dressed up and exceedingly stylish.

Unless you are a fixated ideological socialist who cannot bear the British traditions of upstairs-downstairs, here are two hours of escapism, easy enjoyment, light entertainment.

1. The opportunity to welcome all the characters from the series, the history of Downton Abbey? And filmmaking? An excursion to France?
2. The importance of costumes, decor, upstairs, downstairs? The Abbey, the grounds, the interiors? The château in France, exteriors and interiors? The musical score, the familiar themes, songs of the period?
3. Audience knowledge of the characters, their stories? Their all being present in this film version? The comfort of familiarity?
4. Upstairs, Robert, head of the family, getting older, the next generations, his loving relationship with Cora, her illness and his concern, the visits to the doctor, reassurance? His relationship with his mother, ageing, illness? With Mary and the next generation? With Carson and the downstairs staff? The coming of the film company, his reluctance, ideological differences, the need for repairs to the roof, his consent, and to be absent for the filming?
5. Violet, age, her sardonic remarks, her later apologising and everyone surprise? The issue of the Villa, the relationship in the 1860s, her being left the Villa, the mystery of her relationship with the French noble? Her not revealing anything until the end?
6. The Villa, the widow, her attachment, her resentment of Violet, the relationship before her marriage? Her son, his love for his father, respecting his wishes? The British coming to the Villa, Robert and Cora, other members of the family, Carson and the entourage? Very British, especially Carson, his clothes, the heat, buying the hat? The parents and the leaving of the château to Sybil by Violet, the mother coming to the Riviera? The discussions, the mother and her resentment, the parties, Robert and his worries, the final resolutions?
7. Robert, his father, the visit to France, his being born nine months later, his concern about his paternity? Fears of exposure and ridicule? Not finding the truth until the end?
8. The film company, the director, seeing him in action, the attraction to Mary? Mary, the household, her character, widow and her dead husband and the accident, her second husband, his being away in Turkey, his neglect? Supervising the filmmaking? Lending her voice for the dubbing? Her ideas for a sound film, and their being taken up? Mr Mosley, teacher, loving film, present on the set, writing scenes, his being hired? (Phyllis, her role in the household, age, spinster, Mosley and his career and his proposal, everybody hearing it?)
9. Carson, the old traditions, running the household, his relationship with his wife, her moderating his behaviour and attitudes? Her intervening with the actress, the maids helping the actress?
10. Barrow, homosexuality, the 1920s, his past disappointments, Guy and the attraction, the proposal, his accepting, Lady Mary and her understanding?
11. Guy, the glamorous film star, British, time in the US, career, his good voice, with Myrna, with the servants, the attraction to Barrow, the proposal? The success of the film?
12. Myrna, the blonde bombshell, arrogant, with the servants, petty? Performance, her terrible voice? The coming of sound, Mary dubbing for her? Feeling her career in ruins? The maids, their friendship, talking with her, supporting her, her participating in the film, allowing Mary to dub, going to America and a future?
13. The details of making the film, the silent film style, Mary and the director going to the movies, everybody going to sound, few to see Myrna’s film? The sound engineer, the details of his work, his command of the situation?
14. Isobel and Violet, coming to watch the filming and, Violet and her disdain? Robert arriving home and bursting in on the film set?
15. Downstairs, the couple and her father living on the farm, the cook and setting her cap at the man, discussions, resolution?
16. The range of downstairs staff, their work, serving the guests, personalities?
17. The extras on strike, the downstairs staff all dressing up for the scene, Carson at the head of the table?
18. Everybody gathering for Violet’s death, her final words, the emotions, her funeral? The new generation and hopes? And the close-up of the portrait of Violet at the end?