‘Downton Abbey: The Grand Finale’: A fitting farewell

‘Downton Abbey: The Grand Finale’ is the final instalment of the film trilogy that came after a very successful run for the series on television. Set in 1930, at the time when the stock market crashed and the wealthy found their fortunes disappearing in an instant, the film is focused on the fast-changing roles in society, and the inherent turbulence in a rapidly modernising world.

This film is, in fact, a farewell revisit of familiar characters, their comfortable past and their uncertain future. This re-engagement with the Crawley family is defined by legacy issues, scandal, outmoded belief systems and change.

Harold Levinson (Paul Giamatti) travels to England to see his sister, Lady Grantham (Elizabeth McGovern). It’s not exactly a joyous occasion because his arrival ushers in news of financial losses and the pressing need to sell assets in order to meet the estate obligations. The control of the Abbey and estate are set to come under Lady Mary Talbot (Michelle Dockery), and this complicates things because she becomes a social pariah.

The staff are also set for some drastic reduction. For the Crawleys, the threat of having to sell their London house looms large. The past was comfortable but the future seems fraught with difficulties. Outside this setup, the world is teetering on economic collapse. The genteel problems of the British aristocracy are trivial when compared.

The insular world of rich landed masters and their equally uppity servants comes face to face with a modern, less forgiving society. The drama is basically inherent in the manners, mores and stuffy reactions to change.

The screenplay builds up tempo slowly, giving each character room to stamp their mark on our conscience.

The deepening cracks in the ecosystem of 1930s’ high society are being subtly exposed through financial distress, minor inconveniences, private sorrow and public transgressions.

Lady Mary’s divorce is a public outrage, and to add to the humiliation, she is ousted from a London ball. Her subsequent affair with American financier Gus Sambrook is an act of defiance. Lord Grantham’s predicament, Mr Carson’s impending retirement, Andy’s takeover of the pantry, the arrival of Cora’s American relations, Mr Molesley’s continued success as a published author, the annual County Fair in which Isobel advocates for progressive reforms — are all changes that the Crawleys and their staff are ill-equipped to deal with.

The clash between tradition and modernity is telling and becomes the central tension in the film. It treats these moments with gentle pathos and underlying humour. The conflicts are smile-worthy.

The contrasts between upstairs and downstairs are glaring. The takes are visually sumptuous. Downton, the soirees and ballrooms are captured with adequate reverence. The production design is rich and polished. The emotions are brought out quite well. This film is a fitting goodbye to past glory.