Heading back to Downton Abbey for ‘The Grand Finale’ yields a comfortable catharsis

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The “Downton Abbey” saga has reached its conclusion, as clearly indicated by the title “The Grand Finale.” After six captivating seasons, five heartwarming holiday specials, three enchanting films, and a figurative partridge in a pear tree, this marks the end of the series – at least until Julian Fellowes, the creator, feels another creative spark.

Setting humor aside, “The Grand Finale” serves as an apt conclusion to the cherished British period drama. This series chronicles the intricate lives of the noble Crawley family, along with their staff, as they maneuver through the turbulent early years of the 20th century.

In “A New Era,” released in 2022, the Crawleys embarked on a trip to France and entertained a film crew at their Yorkshire manor. However, “The Grand Finale” stays true to its roots by focusing primarily on the intimate social and family issues, peppered with some entertaining guest stars who reflect the era of 1930, rather than delving into new territories.

Fellowes skillfully transports viewers to a bygone era with “Downton Abbey,” providing an enjoyable escape while addressing contemporary issues through its historical backdrop. The show masterfully presents contrasts between ancient customs and modern-day concerns, which remain just as relevant today. In the final episode, there’s the sensationalized divorce drama surrounding Lady Mary (Michelle Dockery), along with Lord Grantham’s ongoing resistance to handing over control of Downton Abbey to the next generation, with Hugh Bonneville reprising his role as the patriarch.

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Hugh Bonneville and Michelle Dockery discuss their father-daughter dynamic in ‘Downton Abbey’ and share thoughts on the series finale, as well as paying tribute to Maggie Smith’s lasting impact in ‘The Grand Finale.’

In simpler terms, this scene humorously portrays characters’ discomfort around a divorced woman, similar to how generations like Gen X and millennials might criticize the older generation (the boomers). It’s as if social norms of the past, such as excluding divorced women, are being challenged by a new generation yearning for change. Despite progress, some traditional attitudes remain, like divorce still causing unease in certain circles.

In my perspective as a movie enthusiast, Julian Fellowes isn’t shy about delivering his messages in the finale of the Downton Abbey series. Uncle Harold (played by Paul Giamatti) expresses a longing for the good old days. Fellowes delves even deeper into introspection with the character of Molesley (portrayed by Kevin Doyle), who advanced from footman to screenwriter in the previous film and now yearns for the recognition he believes he deserves. It’s amusing when Molesley asserts to the camera that screenwriters are more significant than even the biggest movie stars, a claim made by an author who has earned an Oscar for his original script for “Gosford Park.

In “The Grand Finale,” we see the return of some familiar faces from “A New Era,” including film actor Guy Dexter (Dominic West), who is now in a tranquil relationship with former Downton footman Barrow (Robert James-Collier). Alongside them, theater personality and writer Noel Coward (Arty Froushan) makes an appearance, symbolizing the rising crop of media personalities. Arty Froushan provides a captivating, breakout performance as Coward, delivering clever innuendos with glee, relishing the abundance of tantalizing material he finds at Downton for his upcoming works, whether it’s Lady Mary’s romantic tribulations or the behind-the-scenes drama among the Downton staff below stairs.

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In this grand finale, Lady Mary assumes control at Downton Abbey, Edith discovers her inner resilience, Robert Crawley adjusts to his new position with the support of Cora, and various characters are here to refresh our memories as we prepare for the final chapter.

In the absence of Dame Maggie Smith’s trademark wit, Simon Russell Beale takes on the role of upholding traditional viewpoints. As Sir Hector, he butts heads with Lady Isabelle (Penelope Wilton) regarding the arrangement of the county show, standing firm against any changes and making sure she knows it. Furthermore, his portrayal of the phrase “beekeepers and bottling fruit” is quite remarkable, thus ensuring that the essence of the Dowager Countess continues to shine brightly.

In other storylines, the Crawleys find themselves grappling with two intertwined issues: firstly, the fallout from the American stock market crash impacting their finances, and secondly, the arrival of a slick con artist named Gus Sambrook, portrayed by Alessandro Nivola. Gus manipulates Harold into an illicit Argentine currency scheme and entangles Lady Mary in a brief romantic fling. However, his primary purpose is to highlight Lady Edith’s refined English assertiveness when she intimidates him with warnings about his social standing, and to motivate the Crawleys to reevaluate their financial management strategies. Despite serving these narrative purposes, Gus’s mischievous presence adds an entertaining element to the storyline.

In a harmonious blend of established and fresh personalities, along with global turmoil and rural intrigue, Fellowes masterfully portrays Downton Abbey’s signature strength: an insightful exploration of how society evolves while remaining constant. Though certain character developments may not significantly enhance our understanding or introduce fresh perspectives, it’s delightful to revisit one last time – at least until the next opportunity arises. As World War II looms near, can’t you just imagine the Crawleys dealing with such a monumental event? After all, who wouldn’t be curious to witness that unfold?

Katie Walsh is a Tribune News Service film critic.

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2025-09-12 20:31