Set in 1930, “Downton Abbey: The Grand Finale” (2025) is the third and allegedly last of three movie sequels to the television series. It is time to pass the baton in all strata of society from the ruling to the working class and from the old to the young, but the reception is mixed even from those who encouraged it. With scandal plaguing Lady Mary (Michelle Dockery), it threatens the plan to make her the leader of the county and the head of the Grantham Estate. Can a dinner party and the Yorkshire County Show solve everything? Fans are going to love this farewell and demand more.
As fans may recall, Dowager Countess of Granthem Violet Crawley (Maggie Smith) reminded Mary that people think that people like them fall into one of two categories: dragon or fool. Sisters Lady Mary and Lady Edith (Laura Carmichael) are closer than ever, and Lady Edith turns out to be the dragon! At last, no more sad sack, mournful storylines, Lady Edith is shaking what her grandma gave her, and it is fun to see Lady Edith kick ass and take names in the most appropriate way possible. Edith also retains the crown that she inherited from Tom Branson (Allen Leech) in the first movie and is back to changing clothes on screen to show more skin. It is also a sign of the family’s health that the sisters are a team and confidantes at last. Edith may actually be the true heir to Violet’s sharp but loving tongue. She makes a gentle barb to Mary, which is a callback to her scandal from Season 1. Also, it sounds like she has a great relationship with her husband, Lord Hexham (Harry Hadden-Paton).
Or maybe it is what her mama gave her? Lady Cora Grantham (Elizabeth McGovern) sets her brother, Harold Levinson (Paul Giamatti), straight since he has been playing the fool. It is long overdue that the lead investor in the Grantham Estate should get a more prominent storyline. While it is reminiscent of Season 4 Episode 7, which happened off screen and involved the Teapot Dome scandal, it feels different because “Downton Abbey: The Grand Finale” shows how the sausage is made. While everyone in the cast are lauded actors, this installment spares no expense and has more than a couple who are considered greats in the artsy fartsy biz to mainstream fare. Alessandro Nivola plays Gus Sambrook, a business associate who offers to help the family get out of their financial jam and makes time to flirt with Mary.
More people, some old, some new, want to lend a hand. Thomas Barrow (Robert James-Collier) and actor Guy Dexter (Dominic West) are still together and touring in a Noel Coward (Arty Froushan from “Daredevil: Born Again”) stage production. All these theatrical types have done their part to upend the class system and encourage mixing with no qualms about keeping a distinction between servants and employers and want to do the same for divorcees and the people with good names. Fans of Coward’s work should adore this development, especially the accurate allusions that it makes to Coward’s work and life. Also, finally Barrow is happy, but still no kissing. Not the most chaste romance in the series, but probably in the top three if appearances are true.
Not to be outdone, Lady Merton (Penelope Wilton), Matthew’s mom, has assumed Violet’s role as president of the Yorkshire County Show and gets to cross swords with Sir Moreland (Simon Russell Beale), the chairman, who is a snob. He is horrified that Lady Merton has invited servants to the committee, namely Daisy Parker (Sophie McShera) and Mr. Carson (Jim Carter). Daisy finally has a place to speak out and make change, and it is great to watch her bring Mr. Carson out of his deferential default behavior and parade his expertise around mixed company. Also, it appears that Lady Merton has decided to make Daisy into her friend.
Ambitious Andy Parker (Michael Fox) shows more personality in his role as butler than he did on his off-hours, and it turns out that he and Daisy are a power couple. He is British mean to some people above his station. Even Barrow would never be so bold and open in his disdain. Mr. Molesley (Kevin Doyle) is still the comedic relief, but he gets a serious storyline about how fame and fortune have changed him and introduces some nuanced class tension usually seen in American stories. Mrs. Patmore (Lesley Nicol) calls in a shocking favor from Mrs. Hughes (Phyllis Logan). The Bates (Brendan Coyle and Joanne Froggatt) get a suitable plot point that finally has nothing to do with murder or law enforcement. Branson fans will be disappointed that he remains a supporting character and does not suddenly take center stage. His wife does not even make it to the final round so grand opening, grand closing.
Like many of the characters, Lord Grantham (Hugh Bonneville, who is back to fighting weight) is in a war with himself. He wants Lady Mary to lead the way but reflexively scoffs at her ideas and defends the old. A pivotal scene involves her introducing him to the concepts of flats, and it is funny, but it cuts both ways. Anyone with noisy neighbors would agree in principle about his wonder over apartment buildings. In the end, Lady Mary’s parents stand ten toes down for their daughter and watching them rally is heartening. They do not play when it comes to their children. Rules be damned.
Director Simon Curtis, who directed the second movie sequel, is back at the helm for “Downton Abbey: The Grand Finale.” The opening Trafalgar Square sequence is the jewel in the crown of any period moment in the series or films. It takes over twenty-two minutes to get back to the estate, which is a contrast to everything preceding this installment. You have to earn that theme song, which probably has a positive Pavolvian effect on fans that will outlast still disappointed “Game of Thrones” fans whose pulse used to quicken at the sound of those violins. The outdoor gathering scenes multiplied more than ever as an excuse to display the house’s grandeur as often as possible. Curtis gives into fan service during the last scene in the house with mixed results since this franchise does not have Marvel money.
Writer and show creator Julian Fellowes was wise to add more scenes of all the couples’ home lives. It gave Curtis a chance to show the characters in intimate spaces, reflect character dynamics between beloved characters and give one last opportunity to explore aspects of their characters that they may not have done yet. Stay for the end credits, which offers more of these precious moments.
Even if you only thought that you were mildly into the series, “Downton Abbey: The Grand Finale” will make you act as if you are a zealot. It is so much fun, especially with a crowd of people who appreciate even the slightest reference that may sound like nothing to those unfamiliar with the lore. Somehow “Downton Abbey: The Grand Finale” manages to tell a typical episodic story but make it grand and dishy enough for the big screen. It truly is the best of the three. Films with explosions and a lot of machinations pale in comparison to seemingly sedate storylines that will be exciting to those in the know.
