They say it’s best to leave the party early. However, when you’re a globally famous franchise by the name of Downton Abbey, you might be persuaded to stay a bit longer; three movies longer, to be precise. And, even after six seasons, you might be right to stay: the first two installments of this trilogy were absolute box office triumphs. With The Grand Finale arriving in theaters this weekend, the British period drama finally leaves the party, at least for now — anything can happen in the business of IP. With Simon Curtis returning to direct the final chapter, penned by creator Julian Fellowes, this finale is an attempt at a crowd-pleaser that unfortunately fails to balance the nostalgia of the past with the excitement for the future, resulting in an ending more bitter than sweet.
Similar to the TV show of origin, Fellowes adeptly juggles a big ensemble and several storylines in this final installment. As the title suggests, the thread that ties them all together is endings, and everyone is dealing with them with resistance. We find Lord Grantham (Hugh Bonneville) struggling to let go of the family’s London estate, Grantham House, after financial troubles persist, while also grappling with passing on his leadership role to his daughter, Lady Mary (Michelle Dockery). Similarly, Downton’s butler, Carson (Jim Carter), is having a hard time retiring and being replaced by a younger version of himself. Mrs. Patmore is also in the process of retiring and letting go of the comfort of routine to embark on the unknown — intimacy with her husband. At the center of this battle with endings is Mary, who is in the process of letting go of her previously untouchable image, now alienated from 1930s British society after her divorce becomes the talk of the town.
The production and costume design, accompanied by an orchestra-heavy score and a few choreographed numbers, achieve the signature Downton-brand escapism. The writing, in its own way, does the same. While the lush settings allow this escape by overwhelming our senses, the story, in contrast, offers a way out of our daily anxieties by underwhelming us, by presenting characters who struggle only within safety. This final chapter’s protagonist, Mary, is allegedly grieving the loss of her immaculate reputation. But her composure never falters, not even in her most private moments. In the midst of her downfall, and after quickly recovering from being thrown out of a party, Mary confidently manages to have a one-night stand with newcomer Gus (Alessandro Nivola), confront her father about her vision for the future of the family, get invited to host important society events, and find the perfect London flat. By the time her family throws a party to reintegrate her into society, it is as if she never left.
From the beginning, Mary seems to be the only character ready for the future, even if nothing about it is presented as promising. The future is personified by American Gus, who quickly reveals himself to be an evil scammer. The future is set in a London apartment where we’re forced to hear the developing lives of our neighbors through thin walls. The future is Paul Giamatti’s Harold calling the past “a more comfortable place”. In true Downton Abbey fashion, everything works out in the end. But the comfort implicit in films like this has inevitably been overshadowed by a daunting feeling. And instead of the grand finale that was promised, we see the characters go out with a shy whisper, without evoking any strong feelings in their audience. Its most emotionally striking moment potentially happens after the story wraps, with a tribute to Dame Maggie Smith, and for a moment, we agree with Harold’s words.
Rating: 2/5
Even if it ends up being more disheartening than intended in its execution, this is a story clearly told with no irony or pretense, and that has to have some value within our current slate. Overall, Grand Finale is not a promise that is kept, but a selling line that will provide closure to its loyal fanbase, although it won’t equip them with much hope for what happens after the credits roll.
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