Downton Abbey II: Uma Nova Era

Set in 1928, following the wedding of Lord Robert Crawley (Hugh Bonneville) son-law Tom Branson (Allen Leech) to Lucy Smith (Tuppence Middleton), film company British Lion sends a request to Downton Abbey asking to produce a film using Downton as the location. While Lord Grantham is not keen on the idea, Lord Grantham's eldest daughter and agent of the estate Lady Mary Talbot (Michelle Dockery) convinces Robert to approve the idea due to Downton's roof being in dire need of repair. As Downton reluctantly welcomes the film production to the estate with some members of the household staff excited while others repulsed, a discovery comes to light that Lord Grantham's mother, Dowager Violet Crawley (Maggie Smith) is the owner of a villa in the south of France that was willed to her by a late acquaintance of hers Marquis de Montmirai which has continued to be used by his surviving wife and son. As the Crawley's, except for Mary, head to the villa at the request of the current Marquis, Robert soon finds reason to question his legacy and lineage.

Following the release of the first Downton Abbey film in 2019 wherein the $20 million production grossed $200 million worldwide, creator Julian Fellowes sated he and the cast had ideas for further continuation. After Fellowes finished working on The Gilda Age, Fellowes wrote the script in 2020 and following various work arounds for COVD protocols in 2021 the film began production. Released in 2022, the film didn't deliver the same numbers as its predecessor making $90 million against a $40 million budget, it was seen as a success overall due to the nature of the cinema landscape favoring blockbuster tentpoles while adult skewing material such as Downton went to streamers. As a film it's very much in line with the first Downton Movie where it's a chance to revisit the characters and world audiences fell in love with in the TV show.

As with the previous film, Downton Abbey: A New Era is a very busy film with many things going on in both major plotlines and individual character moments so once again it's pretty much like you're watching an episode of the TV series except on a theatrical budget. The two major plotlines are both very rich with the filming plotline playing as a clever culture clash with elements of Singing in the Rain as we see this silent melodrama filmed at Downton need to be retrofitted into a "talkie" due to the rising popularity of talkies in the wake of The Jazz Singer. The movie production crew colliding with the ordered world of Downton is somewhat similar to the royal staff rolling over the Downton Staff from the previous film, but there's enough differences that it doesn't feel like we're retreading ground. The secondary plotline involving Violet's inheritance of the French villa does stretch disbelief to an extent and does risk going into "soap opera" territory, but the writings strong enough that it avoids that pitfall.

If you enjoyed the TV series and the previous film, there's enough here to motivate longtime fans to indulge in a viewing. It's a very busy movie but it never feels overstuffed and most of the plot lines and revisits of characters hit instead of miss.

High-class soap-opera-like Downton Abbey: A New Era should be called what it really is: high-class melodrama. Here is a rambling story with too many characters, but who cares? Because it's told so well with each character clearly defined and loveable.

After the binge-worthy six-sessions TV series in the early 2010's, the 2019 film, with its visit from royalty, held up well enough to spawn this sequel, Downton Abbey: A New Era, in which the aristocratic Crawley family is crawling into the 1930's, with The Great Depression, wars, and innovations imminent. The film creates a vitality even in a staid Brit world largely because of a robust screenplay and spot-on actors. Not to forget drone shots of the impossibly cinematic estate.

In fact, no melodramatic villain appears, if you exclude the arch-disturber, Change. Writer Julian Fellowes and director Simon Curtis have crafted a rousing fable about a new era as it approaches the third decade of the 20th century through the lens of a visiting Hollywood production to the Abbey.

Marry that modern incursion to the hidebound Brit tradition and you have a sentimental farewell to the old world, signified by the sharp-witted Dowager Countess Violet (Maggie Smith), who is ready to pass the estate and a newly-added villa in the south of France to the younger Granthams. A formidable subplot is the change the Hollywood production itself must face as sound trounces silent movies and same-sex relationships emerge, galaxies away from our modern acceptance of sexual orientations.

The most moving scene is when the production learns it has to create a sound track in order to continue filming. Watching them sync the sound (dubbing so to speak) to the actors for the first time since they saw Jolson say a few words in The Jazz Singer is just as if we were in a time machine witnessing that monumental change almost 100 years ago.

Downton Abbey is a state of mind, not a place, where our dreams of upper-class blissful isolation clash with the realities of life both for the rich and the poor. Throughout is a benign sense of humanity's essential goodness and our common bonds. Cinema has brought us together in time and sympathy-see A New Era in a theater with its glorious visuals and commanding sound-We've come a long way, Baby.

Lovely to see the cast back again. Script and acting as good as ever. But this film was spoiled for me by the choice of director. In my opinion he just doesn't understand the essential appeal of the piece. Cut, cut, cut.......formulaic and totally out of keeping with the Downtown magic. Such a shame.he has turned this into just any old film rather than embracing the Downton feel. The whole thing feels a bit like a pastiche. Pace is all wrong and it lacks the period feel of both the tv series and the previous film. The whole effect is rather mechanical and lacking in charm which is a real pity.

I haven't watch the TV series outside a few random episodes I walked in on but this movie still managed to engage me right from the start. The humour is great, the acting is phenomenal and there are many emotional moments throughout the film. This film makes me proud to be British.

It's a perfect example on how to do strong female characters. For some reason Hollywood's method to creating strong female characters is just give them characteristics typically associated with men. This film manages to have strong female characters while actually keeping them female. Not only that but it's also the perfect example on how to include gay characters without it feeling forced.

I love that this is a film about making a film. I especially love how the film basically pokes fun at the entire industry. As someone who has worked on film sets, this movie perfectly depicts the behind the scenes of filmmaking. The sound guy in this movie is my favourite character since I have met many sound guys and they pretty much all act in the exact same way he does.

'Downton Abbey: A New Era' (2022)

Opening thoughts: Absolutely loved 'Downton Abbey' throughout its run and still do when watching repeats, so well made, written and acted (how could it not be with that cast) and not too demanding. It was always one of my most-anticipated programmes every year with each season and more often than not was a yearly highlight. Also enjoyed the first 'Downton Abbey' film a lot, it wasn't perfect but was a charming and entertaining piece of escapism that succeeded in many areas.

Was absolutely thrilled hearing that there was a follow up and 'Downton Abbey: A New Era' was seen without hesitation when it was finally available. And you know what? 'Downton Abbey: A New Era' was every bit as good for similar reasons and also a charming, polished and entertaining piece of escapism that doesn't try to do any more than necessary. It isn't perfect and is a little disappointing compared to the show, with the mistakes the first film made being repeated, but so much is also done right.

Bad things: 'Downton Abbey: A New Era' has its problems. The editing is a bit too abrupt at times, especially towards the end of scenes when ends of conversations jumped to scenery shots which made the film feel a little jumpy. Like the first film, there are a number of subplots and characters and again this reviewer couldn't help thinking that there were too many and some of them were too under-utilised. Especially when in the Riviera. A longer length of 15-20 minutes would have helped it and made it feel less like a season's worth of film.

Furthermore, it was sad that Nathalie Baye and especially Brendan Coyle have practically nothing to do, which is pretty criminal.

Good things: However, so much is good. It looks absolutely great, very sumptuous and clearly done with a lot of polish. Reminding me of what makes me love period dramas so much. Downton looks imposing and a feast for the eyes, like its own character, and its elegant interiors brings back fond memories of visiting national trusts. The photography is beautifully framed, the costumes evocative of its period and the scenery takes the breath away. The stunning French Riviera vistas stealing the show. The music avoids over-scoring and intrusion and the hypnotic main theme hasn't lost any of its magic. The direction is controlled and doesn't feel too television bound, opening up the drama enough. Sure, the arrangements may not be true to period but the music choices are very nostalgic.

Writing is witty and heart-warming, the disdainful put-downs and one liners from Violet really standing out. The story is not too dull and does compel, entertain and warm the heart, despite being over-crowded. Everything that happens at Downton is immensely charming and a lot of fun. The ending is incredibly touching and loved the 'Singin in the Rain' (a favourite of mine) influence. The cast are near-uniformly good, apart from the waste of Baye and Coyle. Michelle Dockery and Hugh Dancy are charming, Elizabeth McGovern is moving and Laura Haddock and Maggie Smith are uproariously funny.

Concluding thoughts: Concluding, not great but very well executed on the whole.

7/10.