Those of us who so enjoyed the British series created by Julian Fellowes (2010-2015) about the Crowley family and their servants in the country-house of the county of Yorkshire, and its dramas throughout Up and down (1971-1975), we are not opposed to insisting with Downton Abbey: A New Agethe second film after the one directed by Michael Engler (2019) and signed on this occasion by simon curtis (2022), who had not intervened in the episodes but in those of other English fictions.
It is often said, among film buffs or professional critics, that it is best to end a story when is in a good moment, interesting in its scripts and firm with its audiovisual approach, and not allow it to sink into a lack of scenic energy and a sad irrelevance. And it is not a wrong approach. Please check what happened with The X-Files (since 1993) and Chris Carter’s stubbornness for never ending.
But the hard part is knowing when to conclude a delightful story like Michelle Dockery’s Mary Crowley, Jim Carter’s Charlie Carson and company, and not clip its wings when it still has the chance to offer us more satisfaction. Because if Julian Fellowes and his team had chosen not to continue after the first film, we would have missed out on the great joy of knowing that Downton Abbey: A New Age could outperform the other. and she has done.
‘Downton Abbey: A New Age’ exists for our sincere enjoyment
Hear from the beginning the first musical notes of the recognizable soundtrack composed by John Lunn, whose talent had already been at the service of desolate house (2005) or Little Dorrit (2008) and after The Last Kingdom (2015-2022), our heads flood with endorphins directly. Because its exquisite sound cascade, just like meeting again with such beloved characters, gives us a joy that we only feel with very specific works.
Works that have found a place in our emotional memory as spectators and that, thanks to episodes like Downton Abbey: A New Age, confirm us once again that it had not been a mirage and that they continue to deserve it. To a greater extent than the first feature film, too. because not only his plot makes a lot more sense in the whole and, thus, justifies its own existence with unquestionable firmness, but rather it excites us a lot.
One, apart from having a good time with the witty, lively and so well written dialogues by Julian Fellowes in the mouth of a cast british even the marrow that he would embrace with pure enthusiasm, is discovered in more than one scene with watery eyes and tears about to spill down his face. Not because Simon Curtis’s film reveals itself as a drama like Lars von Trier or Susanne Bier, far from it, but because the emotions of the characters are ours. a great triumph.
So who doesn’t want more of the Crowleys and company?
On the other hand, Simon Curtis, to whom we also owe My week with Marilyn (2011), the golden lady (2015), Goodbye Christopher Robin (2017) and The art of living in the rain (2019), a visual boast is allowed in the same tricked-out sequence shot from the beginning of Downton Abbey: A New Age. Which, due to the apparent simplicity of the planning, seems a bit strange but one forgives it. Especially because he has brought his usual Adam Recht to the agile montage.
And we cannot tire of saying that the very veteran Maggie SmithOscar-winning star of The best years of Miss Brodie (1969) and the face of the Bowers of death on the nile (1978), by Minerva McGonagall in the saga of Harry Potter (2001-2011) or, here, from the immeasurable Violet Crowleyis a British national treasure, and whenever the Dowager Countess opens her sour mouth, our love for downton abbey. And, in these conditions, what fool does not want more?