DOWNTON ABBEY: THE MOTION PICTURE

Now playing at arthouses, multiplexes, and drive-ins (okay, maybe not at drive-ins) everywhere: 

DOWNTON ABBEY (Dir. Michael Engler, 2019) 

The aristocratic Crawley family and their staff from the British TV smash, Downton Abbey, make the leap to the big screen in this fluffy, frothy, yet charmingly fine film which is currently the #1 movie at the box office. 

Taking place in 1927, three years after the events of the sixth season of the show, this update concerns the returning cast (nearly every member of the sprawling ensemble is back) dealing with a visit by the King and Queen (Simon Jones and Geraldine James) to Robert Crawley, Earl of Grantham’s (Hugh Bonneville) majestic Edwardian estate. 

The family, including Crawley’s wife Cora (Elizabeth McGovern), daughters Lady Mary Talbot (Michelle Dockery), and Lady Edith (Laura Carmichael); is excited about the royal occasion while Crawley’s mother, Violet (Maggie Smith) spouts acidic wittisms just like you’d expect. 

That’s the upstairs, downstairs the servants, including the stern butler Carson (Jim Carter), housekeeper Phyllis Baxter (Raquel Cassidy), valet John Bates (Brendan Coyle), Bates’ wife, Lady’s maid Anna (Joanne Froggatt), footman Joseph Moseley (Kevin Doyle), and cooks Daisy Mason (Sophie McShera), and Beryl Patmore (Lesley Nicol); are fretting about nervously about how best to do their duties. 

Since Carson has returned from retirement to reclaim his butler position, this puts the film (and the series’) semi-villain Thomas Barrow (Robert James-Collier) out of a job (a familiar predicament as his job was always on the line on the show) and he heads into town for his own little racy adventure. 

Then the staff finds out from the King’s crew that they won’t be need for the event as the royal staff will fulfill the duties of cooking, serving, cleaning, and the like. This leads to a plan to sabotage the visiting servants in comical ways so that they can do their treasured work to “restore Downton’s honor.” 

Meanwhile there’s also a budding romance between honorary Crawley family member and Irish Republican sympathizer Tom Brosnan (Allen Leech), and royal attendant Lady Bagshaw’s (Imelda Stauton) maid Lucy (Tuppence Middleton); and friction between Smith’s Violet, and Lady Bagshaw over the family inheritance. 

There are a few other little subplots, but that’s all I’ll go into. DOWNTON ABBEY: THE MOTION PICTURE is an enjoyably breezy piece of glossy entertainment, but it’s really just a super-sized episode of the show. The only really cinematic moments, courtesy of cinematographer Ben Smithard, are when the camera circles the exteriors of the stately house of the title (in real life it’s Highclere Castle), and in some tasty angles in the large interiors. 

Also, with a cast so large like this, many roles are reduced to mere cameos. For example, Coyle’s Bates, a very significant character on the series, gets like three to four lines here. But screenwriter, Julian Fellowes, who created and wrote or co-wrote the entire series, mostly juggles the various strands deftly, and with plenty of well-earned humor. Director Michael Engler also handles the material with amusing aplomb, something he’s had a lot of experience with as he’s helmed choice episodes of such notable shows as My So Called Life, Six Feet Under, 30 Rock, The Big C, Unbreakable Kimmy Schmidt, and Downton Abbey itself. 

Fans of the show should love this film follow-up, and with its major success, it just may be just the beginning of a new franchise. 

The movie has been structured so that folks who haven’t seen the series should be able to find a way in, but I’d say that it will largely help to have some sort of working knowledge of what went down over those six seasons before taking it on.

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THE BEST EXOTIC MARIGOLD HOTEL: The Film Babble Blog Review

THE BEST EXOTIC MARIGOLD HOTEL (Dir. John Madden, 2012)

Last weekend, this geriatric crowd-pleaser really packed ‘em in at the Rialto Theater in Raleigh. The hype had been building for months - promos run in conjunction with Downton Abbey on PBS certainly helped – so folks (not all seniors, but mostly) came in great numbers to see the film.

From the laughter and applause I heard (I work part-time at the Rialto), they were not disappointed.

THE BEST EXOTIC MARIGOLD HOTEL (tagline: “for the elderly and the beautiful”) concerns a group of British retirees (Judi Dench, Bill Nighy, Maggie Smith, Penelope Wilton, Celia Imrie, Ronald Pickup, and Tom Wilkinson) who travel to India to take up residence at a hotel run by Dev Patel (SLUMDOG MILLIONAIRE).

They were expecting a luxury retirement development, but what they find is a crumbling, dusty, run-down dwelling in the center of Jaipur, India. But Patel’s sunny enthusiasm - mainly because these are his first guests – attempts to smooth things over: “In India we have a saying ‘everything will be alright in the end – so if it is not alright, it’s not yet the end.’”

Each of the pensioners has obvious issues with their living arrangements, but to most of them it’s preferable to their life back in the Western world.

You see, Dench is a highly in debt widower, the acerbic (and racist though that's something she all too easily gets over) Smith (not expanding much on her Downton Abbey character) is in need of hip replacement surgery that is less expensive in India, Wilkinson is a retired judge who had been raised in Jaipur so he returns to make peace with his past, Pickup is, well, an aging pick-up artist hoping to score better than back home, Imrie is also looking for love, and Nighy and Wilton (also a Downton Abbey cast member) are a miserable married couple who lost their savings investing in their daughter’s internet company.

Patel’s problems are that his mother (Lillete Dubey) wants to shut down the hotel, and she doesn’t approve of his girlfriend (Tena Desae), so there’s an excuse to break out the rom com third act standard: the mad dash to get one’s love back.

Well shot with a lot of colorful cinematography, this film is breezy and spirited, but it’s way too tidy, and overly cutesy. It’s not cloying however, and the cast is so appealing that they often transcend that their characters aren’t very fleshed-out and the simple-mindedness of Ol Parker’s screenplay (based on the book “These Foolish Things” by Deborah Moggach), and there’s a wealth of good one-liners.

THE BEST EXOTIC MARIGOLD HOTEL should entertain undemanding movie-goers and mildly amuse most others. It’s a fluffy yet fine time. Expect it to play all summer long at an indie art house theater near you.

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