Downton Abbey (2019) | Film Review

For the 2019 feature adaptation of the enormously successful television series, Downton Abbey, the majority of the cast has been reunited for yet another adventure of noblemen, lords, ladies, and the servants who address their every whim. Picking up almost where the series left off, King George V and Queen Mary are coming to visit, and it is up to everyone in this glorious Yorkshire estate to ensure their visit lives up to the very pompous nature of royalty.

To make this easier for you, allow me to cut to the chase: if you were a fan of the defunct series, you are going to love this return to 1920s sophistication and upper-class snobbery. The gang that you all love is here with hijinks and melodramatic subplots aplenty. Plots are rushed and brushed off while few consequences are paid, yet everything about the show that you cherished has remained. In fact, very little has veered from the source material, other than the addition of Ben Smithard’s sweeping cinematography.

Lady Mary Talbot (Michelle Dockery) is questioning her resolve to remain at Downton, though not her dedication to its care, as she swiftly decides that former butler, Carson (Jim Carter) will replace current butler Mr. Barrow (Robert James-Collier) – whose closeted homosexuality becomes an intriguing subplot in the second half – for the King’s visit. A notable switch it turns out, as the entire servant team is so ecstatic to serve royalty that they’re willing to jeopardize their very freedom just to undermine the King’s private staff and have a go at it.

Aside from the upcoming visit, the other major plot point in the room is Violet Crawley (a sublime Maggie Smith) facing off with Dolores Umbridge…sorry, Maud Bagshaw (Imelda Staunton), over Maud’s refusal to name Robert Crawley her rightful heir. At the same time, Tom Branson (Allen Leech) finds himself thwarting a ridiculous assassination plot while simultaneously courting Maud’s maid and actual heir, Lucy Smith (a delightfully charming Tuppence Middleton). Crazy happenings are afoot at the Abbey.

As I said, if you were a fan you will not be disappointed. That said, if you had never seen the show – GUILTY! – then your mileage may vary.

You can find a recap of the series online, but truth be told, it’s not difficult in any way to keep up with Downton Abbey as a film. Nothing within this narrative is too complicated or overly reliant on past efforts, and creator Julian Fellowes does an admirable job of ensuring no audience member finds themselves lost in the process.

It’s also not terribly compelling.

In a film that begs us to follow both the haves and the have nots as they prepare for a visit of the highest honor, it would be greatly appreciated if any of the haves carried even a 1/10th of the wit, charisma, or allure of Maggie Smith. Even Branson – the only other appealing member of the entitlement crew – finds his beginnings and connection to the outside world belonging squarely in the hands of the have nots. This is a talented cast, and even still, it is near impossible to align with a gaggle of uptights who seem to inform every person willing to listen how difficult their position is to maintain, even as we personally witness their toughest chore is choosing which priceless dress to wear and setting up a handful of chairs in the pouring rain. It’s the Kardashians with British accents.

The have nots, on the other hand, are far more engaging and carry the brunt of the storytelling. Yet, their entire plight is being allowed to serve a meal and clean the sheets of the King and Queen. Their dreams and goals are apparently tied into the pride of making the elite appear even more elite. It’s an exhausting premise to sit through, as all I wanted to scream was “live your better life!” to everyone who waddled in and out of frame.

In the end, this film was definitely hand-crafted for fans of the series. That said, I am a film critic and I have to weigh this on the merits of a stand-alone work. Director Michael Engler deftly handles Julian Fellowes’ script, and the pacing was rather brisk, yet the ups-and-downs in engaging storytelling left much to be desired. If the characters on the elitist side of this massive mansion had half of the appeal as the better halves serving them, this could have been a rousing success. Instead, Downton Abbey closes its doors as a solid fixer upper.