Downton Abbey: A New Era (PG)
Valuation: 
Conclusion: The gift that passes on
“Back to the Future”, “Eyes Wide Shut” and “True Lies” are fine examples of cinematic oxymorons – film titles that contradict each other. And last night it was joined by Downton Abbey: A New Era, which, predictably, plunges us right back into Downton Abbey, the old era.
Downton creator Julian Fellowes didn’t get where he is today (the House of Lords, for starters) by denying his fans what they expect. The new movie, the second theatrical spin-off following 2019’s Downton Abbey, is bursting with all of our favorite ingredients, not least the dowager Countess of Grantham (Dame Maggie Smith), who shoots sour barbs through pursed lips, which is easier said than done is as finished.
Downton Abbey: A New Era, the second big screen spin-off following 2019’s Downton Abbey, is bursting with all of our favorite ingredients
The “new era” part concerns the arrival of the films. It’s 1928, and a seedy director, Jack Barber (Hugh Dancy), wants to hire the handsome bunch to make a silent movie. Lord Grantham (Hugh Bonneville) more or less declares that such commercial vulgarity will only happen over his dead body. For the more reckless of us at last night’s glamorous world premiere in London, this raised a fleeting hope that his lordship might end in spectacular fashion, perhaps by overdosing on kedgeree. Downton has always handled death pretty well.
But no. A hefty check helps change Lord Grantham’s mind, along with the imperious Lady Mary (Michelle Dockery), who is still in the process of turning the property into its 20th century. Coincidentally, right in front of me in the Leicester Square cinema were Lord and Lady Carnarvon, owners of the real Downton, Highclere Castle. This act must have struck a chord.
Under the stairs, the adorable Anna (Joanne Frogatt) and dimwitted Daisy (Sophie McShera) both tremble with excitement at the prospect, matinee idol Guy Dexter (Dominic West) and screen siren Myrna Dalgleish (Laura Haddock, who is having more than everyone else) to see up close and personal.
The Dowager Countess of Grantham (Dame Maggie Smith) fires acid barbs through pursed lips, which is easier said than done
Under the stairs, dopey Daisy (Sophie McShera) trembles with excitement at the prospect of seeing matinee idol Guy Dexter (Dominic West) and screen siren Myrna Dalgleish (Laura Haddock).
It never took much to make Daisy tremble. A new valet in tight pants, Mrs. Patmore (Lesley Nicol), who allows her to go to the shops on her own…these are the things that have always made Daisy’s day. But she’s less stupid, now she’s married to Andy, the button-eared servant (Michael Fox). Could Daisy even have a future in moving pictures? Probably not. But against all odds, nice Mr. Molesley (Kevin Doyle) could do it.
As always with Downton, there is growing suspicion that Fellowes gleaned from Wikipedia what happened at the time and fashioned his narrative accordingly. So, with the South of France becoming increasingly popular with the British aristocracy in the late 1920s, let’s head to the Riviera, where old Lady G was controversially bequeathed a handsome villa by a Frenchman with whom she spent an idyllic week in 1864 .
Staying in France allows Mr. Carson (Jim Carter), who has been dragged out of retirement, to frown more than ever in an outburst of Francophobia, but really it’s back in Downton where the more entertaining things are going on . Silent film is in trouble because talkies have just arrived. Will the seedy director save the project himself? Of course not. He needs the help of Lady Mary and the servants. Meanwhile, Mr. Barrow, the butler (Robert James-Collier), who recently had a personality transplant and is no longer a loser, still struggles with his sexuality. But there is salvation in an unexpected form.
As the south of France became popular with the British aristocracy in the late 1920s, we duly make our way to the Riviera
All of this unfolds in lovable Downton style, skillfully staged by Simon Curtis, although unfortunately he can’t keep Lady Cora from grinning (although he’s married to Elizabeth McGovern, who plays her). There’s a birth, a death, a proposal, and a disputed paternity, with all loose ends tied up as neatly as if Mr. Carson had dealt with them himself. There are also some real laughs and some shamelessly derivative storylines, with particularly obvious references to My Fair Lady and Singin’ in the Rain.
Now what about the Downton saga? My own hope is that next time Fellowes will be brave enough – and there certainly will be a next time – to embrace a truly new era and let the Crawleys flog their ancestral home to the nation. After all, Downton is the gift that keeps on giving; how fitting it would be to give him a National Trust gift shop.
Downton Abbey: A New Era will be released to general public on Friday
Meanwhile, Mr. Barrow, the butler (Robert James-Collier), who recently had a personality transplant and is no longer a loser, still struggles with his sexuality
Downton Abbey: A New Era – What the critics say…
THE GUARD
Valuation:
Peter Bradshaw writes: “The second – and hopefully last – film to be derived from Julian Fellowes’ hit TV series is as silly, goofy and undeniably entertaining as ever… It’s all gleefully ridiculous, albeit in a comparably serious way note is heading towards what Wagner intended with Siegfried’s funeral march.’
The second full-length spin-off of the luxury soap opera ticks all the boxes
THE TELEGRAPH
Valuation: 
Robbie Collin writes: “The second full-length spin-off of the luxury soap opera ticks all the boxes… Like the first Downton Abbey film, A New Era is set up like simple television: Downton itself frolics entertainingly while the French scenes shine nourishing escapist cream and sky blue glow.’
DAILY MAIL
Brian Viner writes, “There is a birth, a death, a proposal, and a point of disputed paternity, all the loose ends tied up as neatly as if Mr. Carson had dealt with them himself. There are some real laughs too and some shamelessly derivative storylines… Downton is the gift that keeps on giving.’
DIVERSITY
Peter Debruge writes, “Fellowes gives us a loving group hug, which is what these encore visits effectively amount to.”
MEETING
Anna Smith writes, “With more than half a dozen episodes of twists and turns, A New Era packs a lot into its running time, and its manipulations can be quite transparent. But it’s hard to blame them when it so clearly fulfills its mission. Finally, as Molesley says, we all need dreams.”
THE HOLLYWOOD REPORTER
David Rooney writes, “Despite the promise of a major change in its title, A New Era is a lot more of the same, which fans of the long-running PBS hit will enjoy.”