The film’s striking opening recreates London’s Theatre district, setting the scene circa 1930. Cut to the interior of a theatre and, in a canny move, we get to see the whole Downton gang watching a play. In an ironic twist, the ‘upstairs’ toffs relax in the prime seats below while the ‘downstairs’ mob are perched up top, in the Gods.
Fans of the franchise will be soothed to see all the regulars resume their roles with practised ease: Hugh Bonneville as Lord Grantham, Elizabeth McGovern as the ever-smiling (grimacing?) Cora, Michelle Dockery as the upright Lady Mary. The familiar servants are there – Carson, Mrs Patmore, Daisy, Mr Barrow and crew. Absent, of course, is the inimitable Dame Maggie Smith, RIP, whose commanding Dowager Countess is replaced by a painting. Though a tip of the hat to Simon Russell Beale as the crisp Sir Hector Moreland, who whisks up a bit of necessary drollery.
True, the plot might be thinner than a fine consommé – ergo, the potential scandal faced by Lady Mary’s divorce and the fleecing of family funds by the American contingent. The Granthams’ hopes for financial relief are mismanaged by Lady Grantham’s foolish brother (Paul Giamatti, The Holdovers), and his shady associate, Gus Sambrook (Alessandro Nivola). The latter even manages to seduce Lady Mary. Goodness gracious!
Series creator and scriptwriter, Julian Fellowes – that is, Baron Fellowes – knows a truffle or two about the peerage, being one, and handles the characters and mini-subplots with skill. Unlike the patchy DA – A New Era, Grand Finale finds its straps, structurally speaking, and romps along. It’s all so delightfully British and polite, nostalgically recreating a pre-WWII summer pudding. As in Gosford Park, Noel Coward makes an appearance (Arty Froushan), and the film’s soundtrack (John Lunn) includes some of his songs. You’d be surprised how many you know! I’ll see you again….
Capably directed by Simon Curtis, the attention to detail is pleasing. There’s much to feast on: sumptuous food, stunning costumes, delightful sets, and adroit art direction. Just how much fine china, tea-drinking, syllabub and champagne can polite society bear? Quite a lot, apparently. And really good cinematography too – particularly the Derby racing scenes.
A strong theme throughout is the relinquishing of the past to embrace modernity – and with it, the blurring of class distinctions and standards. Whether you enjoy watching the lives of the rich and privileged getting waited on hand and hoof, or sympathise with the underclass ploddering downstairs, this is a recommended soupçon of sheer escapism.
My rating:       More ‘Soufflee at  Sunset’ than Grand Finale
                       A drawing room, a frowning butler….and a scone