Drama 124 minutes ‧ PG ‧ 2025
The enduring affection for the Crawley family and their estate is perfectly encapsulated in a single, masterful shot from Downton Abbey: The Grand Finale. The camera, in a slow, suspenseful pivot, follows a car carrying key characters through the sprawling English countryside. It's a calculated tease, delaying the inevitable reveal of the iconic house that has been the stage for so much drama since Julian Fellowes' series first premiered in 2010. The payoff, when it finally arrives, is a communal sigh of relief and excitement.
This deliberate moment, which feels like a cinematic hug for long-time fans, reminded me of the grand reveal of the redesigned Enterprise in Star Trek: The Motion Picture. While Downton avoids the orchestral hyperbole of that sci-fi classic, it confidently cashes in on the immense emotional capital it has built over the years. The film, set in the tumultuous year of 1930, is fundamentally about the Crawleys grappling with change, confronting the notion of a final farewell to Downton and their way of life.
The global economic downturn forces the family to tighten its belt, though not enough to fully abandon its stately lifestyle and loyal staff. The plot thickens with the arrival of American businessman Harold Levinson (Paul Giamatti), brother of Cora Crowley (Elizabeth McGovern), and his dubious associate, Gus Sambrook (Alessandro Nivola). Gus’s bad financial decisions have depleted the family's nest egg, jeopardizing a plan to renovate Downton and secure its future. The ensuing tension revolves around whether to trust his high-risk investment scheme, which promises to dig them out of the hole he helped create.
Adding a layer of emotional complexity, Lady Mary (Michelle Dockery) finds herself ostracized from high society after her divorce. Her personal struggles are balanced by the return of beloved actor Guy Dexter (Dominic West), last seen in the previous film. This time, he's starring in a London play by Noël Coward (Arty Froushan), where we also find Thomas Barrow (Robert James Collier) working as Guy’s assistant and lover. The obliviousness of some of the Crawleys to this relationship provides a moment of classic, understated Downton humor.
The presence of Dexter, Coward, and Barrow at Downton offers some of the film's most magical moments. A standout scene features Coward himself accepting a request to perform for the family. The performance is allowed to unfold at a leisurely pace, transporting the audience back to a time when entertainment required full attention and emotional investment. It’s a moment of light in a film where many characters are grappling with the anxieties of an uncertain future. As one character wisely remarks, "Life is lived in chapters, and there’s nothing wrong when one chapter ends and another begins."
Julian Fellowes, who honed his craft with the ensemble drama Gosford Park, masterfully weaves together numerous subplots with remarkable efficiency. This is a film where a pivotal moment can be resolved in a single, minute-long exchange with just a handful of lines. It’s an old-school, ensemble storytelling style that Fellowes and director Simon Curtis execute with practiced ease. My only critique is a slight wish for more lingering moments, as fans would surely welcome a few extra minutes in the world they have come to know and love so well.
While the series has always flirted with sentimentality and often sidesteps the darker historical truths of inherited wealth, its primary appeal lies in the opportunity to spend time with a cast of superb actors who inhabit their roles with effortless grace. The dialogue is sharp and memorable. When Mary tells her sister Edith (Laura Carmichael), "I want my virtues to be celebrated and my sins forgiven," Edith's simple reply—"You should be grateful for what you get"—is a testament to the show's ability to imbue short exchanges with deep, affectionate meaning.
Dominic West and Arty Froushan, in particular, deliver stellar performances as Guy Dexter and Noël Coward. Their dynamic is so captivating that it could anchor a series of its own, following them and Thomas Barrow as they travel the world. Their witty banter is a highlight, and one exchange perfectly captures their charm: "Not much has changed since 1850, has it?" Coward quips. "Well, you can see women’s ankles now," Dexter replies. "That doesn’t do us much good, now, does it?" Coward says with a grin.
Downton Abbey: The Grand Finale is a tight, satisfying conclusion that honors the show’s legacy while providing a fitting end to the Crawley family's story.