Downton Abbey: A New Era
The second Downton film raises the emotional stakes with a hugely entertaining confection.
A kiss before sighing: Tuppence Middleton and Allen Leech
There is a reason that Downton Abbey remains such a popular phenomenon. Besides tapping into a redolent nostalgia for a bygone era of regimented grandeur and proper syntax, it has remained loyal to its wide array of vivid and empathetic characters. Like any decent soap opera, Downton has continued to breathe life into the backstories of these people, be they marquis or maid. And in the latest chapter of the chronicle, their lives are a’changing.
Following the successful gamble of bringing Downton to the big screen in 2019 (global box-office: $194.3 million), the franchise returns with a second helping that should delight the faithful. Its creator, Julian Fellowes, is back on board as scriptwriter and he really knows how to keep the porcelain spinning. Edging the saga ever further into modern times, Fellowes has enormous fun in raising the hackles of the old guard. The maintenance of such a large staff is proving onerous, the roof is leaking and funds have to be found. And then a mixed blessing descends in their midst – the proposal of a motion picture using Downton as its backdrop. Here, then, we have a real stately home (Highclere Castle) playing host to a fictional family (the Crawleys) playing host to a Hollywood invasion.
The servants, of course, are beside themselves with excitement, as many of their number subscribe to the fanzines of the day. Upstairs, the temperature is different. The Earl of Grantham (Hugh Bonneville) is none too pleased to have the agents of such a vulgar profession swanning around his furnishings. “It’s a horrible idea!” he huffs. “Actresses plastered in makeup and actors…plastered.” But the family and the house need the American dollars and, besides, another revelation has raised its unforeseen head. The Dowager Countess (Maggie Smith) has discovered that a villa in the south of France has been bequeathed her in the will of an old paramour – and the Earl and his tribe have been requested to visit it before final documents are exchanged. So, while the Earl is off to France, his own estate is overrun by all the paraphernalia of a film crew, along with the glamorous movie stars Guy Dexter (Dominic West in Errol Flynn mode) and screen goddess Myrna Dalgleish (Laura Haddock).
Punctuating the numerous surprises with sweeping drone shots of the eponymous pile with orchestral strings in full flight, the film makes itself hard to resist. In spite of all the unseemly hiccoughs, the institution remains a safe haven, an environment in which everyone knows their place. And there are complications aplenty in A New Era, prompting Maggie Smith to concede, “that’s life, isn’t it? Getting past the unexpected.” Tying together all the brocade threads is Simon Curtis, no stranger to such heritage drama, having directed seven episodes of the BBC’s Cranford. Besides, he is married to none other than the Countess of Grantham herself (Elizabeth McGovern). With the help of Fellowes, a superlative cast and tip-top production values, Curtis has created a giddyingly enjoyable entertainment. As a work of expertise and chutzpah, along with its share of narrative shocks, A New Era is to the upmarket soap what No Time to Die was to the mythology of 007.
JAMES CAMERON-WILSON
Cast: Nathalie Baye, Hugh Bonneville, Laura Carmichael, Jim Carter, Raquel Cassidy, Brendan Coyle, Hugh Dancy, Michelle Dockery, Kevin Doyle, Michael Fox, Joanne Froggatt, Harry Hadden-Paton, Laura Haddock, Robert James-Collier, Allen Leech, Phyllis Logan, Elizabeth McGovern, Sophie McShera, Tuppence Middleton, Lesley Nicol, Maggie Smith, Imelda Staunton, Dominic West, Penelope Wilton, Jonathan Zaccaï, Samantha Bond, Sue Johnston, Douglas Reith, Paul Copley, Alex McQueen, Jonathan Coy, David Robb, Cherise Adams-Burnett.
Dir Simon Curtis, Pro Gareth Neame and Liz Trubridge, Screenplay Julian Fellowes, Ph Andrew Dunn, Pro Des Donal Woods, Ed Adam Recht, Music John Lunn, Costumes Maja Meschede and Anna Robbins, Dialect coach Daniele Lydon.
Carnival Films-Universal Pictures.
125 mins. UK/USA. 2022. UK Rel: 29 April 2022. US Rel: 20 May 2022. Cert. PG.
