Downton Abbey A New Era takes us back to the cinema screens with a sequel worthy of the cinematic. Production of the famous television series. The script is at the hands of Julian Fellowes. The creator of the series. With this sequel, fans once again enter the world of the Crawleys and their servants, this time for what appears to be the outcome of a story. That has taken us through the early 20th century under the watchful eye of high British society. The film premiered in Spain on Friday, April 29, 2022.
Downton Abbey A New Era "I'm going to say good night and let you discuss my mysterious past," Maggie Smith's Dowager Countess sneers in an early scene of Downton Abbey: A New Age.
This mysterious past turns out to be the height of the intrigue in this sequel to the series' hit movie venture. After the moving and low-key final scene of the first film between the Dowager Countess and granddaughter/protector Lady Mary Talbot (always charismatic Michelle Dockery), an ailing Violet Crawley once again provides the springboard for some of her family members to perform a sunny jaunt to the French Riviera after inheriting a luxurious villa there.
Meanwhile, as Downton begins to fall into disrepair, Lady Mary is approached by handsome film director Jack Barber (the always charming Hugh Dancy) to allow a film crew to use the estate as the backdrop for his new film.
Despite the protests and uncertainty of her father, Lord Grantham (Hugh Bonneville), Mary agrees and soon both the upstairs and downstairs of the house are invaded by the glamorous stars of the silver screen.
Director Simon Curtis is certainly more at home with the fun scenes of Downton than offering the glitz and glamor of the Riviera, but the abrupt set-up between conversations to capture some glorious sights feels a bit disorienting at times.
Going from walks around the grounds of Highclere Castle to some aerial shots of the house and back to a shot on the lawns in the gardens is a bit unnecessary for the sake of 'sumptuousness'. However, the great location, costumes, score, and punchy jokes are in abundance, enough to satisfy longtime fans of the series and entertain newcomers.
Viking has partnered with Focus Features, Universal Pictures and Carnival Films for the release of the new feature film Downton Abbey: A New Era. The carrier became a household name during its sponsorship of the series when it aired on PBS, and the partnership extension builds on the company's commitment to enriching cultural programming.
“Many of our guests were Downton Abbey A New Era introduced to Viking and Highclere Castle while watching the acclaimed series. For over a decade, we have been connected with Downton Abbey and the team at Carnival Films, through the television series and the first film, and we are proud to continue that partnership,” said Karine Hagen, Executive Vice President of Viking.
Since 2013, Viking has offered guests a variety of ways to experience the cultural life of the destinations they visit. For those looking to explore France like the Crawley family in the upcoming movie, the cruise line offers eight river voyages with ports of call across the country.
Through June 30, 2022, Viking will be holding two drawings for residents of the United States and Canada for a chance to win a grand prize for two from a Viking, Paris and Heart of Normandy 8-Day River Trip and extension 3-night privileged access land program, Oxford and Highclere Castle. The winner will also receive a round trip international flight in Business Class for two people.
Of the two central storylines, the film crew's arrival in Downton provides the main amount of entertainment and social commentary that Downton has become known for. The newest addition to the cast making the most impact is the exceptionally funny Laura Haddock as screen goddess Myrna Dalgleish, who doesn't quite fit what the servants had in mind.
Although some of this story sounds like something out of Singin' in the Rain (1952), Fellowes uses everyone in the house during this story in a sweet and funny way, poignantly describing the shift from silent to talkies.
Sadly, despite some nice - but inconsequential shots of the Crawleys on the Riviera yachts, much of this plot feels underutilized, with the potential for some truly captivating glamor and drama going to waste. Self-proclaimed "journalist" Lady Edith (Laura Carmichael) talks about the wild and glamorous types who frequent the areas visited in the film, but this is the most she has to offer.
In these scenes, French acting legend Nathalie Baye is also wasted in the role of a potential antagonist, who she too would like to have gotten into an argument with the Dowager Countess herself. Meanwhile, Fellowes again juggles various subplots that follow the incredibly broad ensemble of aristocrats and their staff with varying degrees of success.
Each of the characters has their moment to shine - perhaps apart from the usual Brendan Coyle as Mr. Bates, who has literally nothing to do here - but some of his stories are introduced and resolved in a matter of a couple of weeks. of scenes.
Of the returning cast, a gentle but soulful Elizabeth McGovern really shines in a potentially heartbreaking story for Lady Grantham, while Penelope Wilton is always warm and comforting as Isobel, who spends some time with her old battle mate, the Dowager Countess.
Unsurprisingly, Maggie Smith also stands out here as a Violet Crawley getting her affairs in order, offering more laughs, tears and food for thought as her iconic character.
Like its predecessor, A New Age lacks the danger and drama of the TV series' superior first three seasons, and gets a bit stuck on aesthetics and cozy antics. However, the final scenes are genuinely poignant that will leave the viewer wondering what the (probably inevitable) third chapter will be like.
The theatrical release of Downton Abbey: A New Age has brought the aristocratic Crawley family and their servants back into the spotlight. Fans around the world of the six seasons of the series and now of the second film know all the details of the lives of these characters, but perhaps not so much about the artistic career and private life of the actors who play them.
The veteran Maggie Smith (Violet. Dowager Countess of Grantham), is also a widow in real life and is the only one of all her co-stars who holds the title of Lady, granted by Elizabeth II. With two Oscars, at 87 years old she continues to receive the affection of the public thanks to her last roles in Downton Abbey and in the Harry Potter saga.
With Penelope Wilton (75), her friend Isobel Crawley, she has worked on the film The Exotic Marigold Hotel. In real life, Wilton has been married twice and has a daughter and like her character in Downton Abbey she too suffered the loss of a son, albeit shortly after birth.
Hugh Bonneville (58) will always be linked to his role as the elegant and polite Lord Grantham. But the general public may remember him as one of Hugh Grant's friends in Notting Hill, who messes up with the character of Julia Roberts. Bonneville has been married since 1998, with an old friend who, upon meeting her again, thought “I want to be with her”. They have a son, Felix.
Cora or Lady Grantham, his wife in fiction, is played by Elizabeth McGovern (60). Like her character, she was born in the United States, although she lives in London. In 1992 she married the British filmmaker and producer Simon Curtis (precisely director Downton Abbey: a new era), and they have two daughters. Her debut as an actress was in the Oscar-winning G ent run. Then she opted for the statuette as a supporting actress for Ragtime. She was the girlfriend of Sean Penn whom she met in Farewell to Innocence.
The jump from television to the big screen doesn't always leave well depending on which series, but 'Downton Abbey' knew how to weather the storm and with honors with her first film. With the pandemic and calendar adjustments, the sequel has been made to beg, but finally this April 29, 'Downton Abbey: A new era' arrives in our cinemas.
'Downton Abbey: A New Era' picks up a few months after its predecessor with several surprises for the Crawley family. The first is that Lady Grantham (Maggie Smith) has inherited a villa in the south of France and part of the family decides to travel to the neighboring country to visit the property and try to unravel the mystery behind the strange inheritance.
Although the previous film could be seen as a period drama more apart from the series,** we must warn that this is a full-fledged sequel and that at least it would be necessary to see the first film** to understand where Some characters come out. 'Downton Abbey: A New Era' is a movie for fans (very fans) of the series, and if you get to it from scratch, many dynamics and even character backgrounds are not too clear.
Still, 'A new era' works perfectly as a long chapter and manages to balance much better the huge number of characters with which it has to juggle. Julian Fellowes and director Simon Curtis manage to give everyone their own little plotlines and moments to shine, even if they sometimes go overboard with unnecessary drama that leads to nothing. In particular, the characters that until now have been left as supporting characters finally have more moments on screen or redeem themselves with a happy ending that didn't quite fit.
This long-awaited return to the big screen of the television phenomenon reunites its emblematic cast to embark on an exclusive trip to the South of France, where the mystery of the villa recently inherited by the Dowager Countess will be unveiled.
The main cast of 'Downton Abbey' returns for this sequel, including Maggie Smith, Hugh Bonneville, Michelle Dockery, Elizabeth McGovern, Laura Charmichael and more. But there are also promising new additions: Hugh Dancy, Laura Haddock, Nathalie Baye and Dominic West are also part of the cast.
'Downton Abbey: A New Age' is directed by Simon Curtis ('My Week with Marilyn'), and written by series creator Julian Fellowes alongside Gareth Neame and Liz Trubridge.
The first film became one of the biggest hits at the American box office in 2020 with a collection that exceeded 83 million dollars obtained by the winner of three Oscars 'Brockeback Mountain', which, until then, was the film that received the most collection had achieved in the history of distributor Focus Features. “We feel very lucky and privileged. Not everyone who is dedicated to the world of entertainment has had the opportunity to experience a phenomenon like this, "confesses Fellowes, who is also behind the series 'Belgravia'.
Let's also remember that, if you're a fan of this universe, your new period serial obsession may be waiting for you on HBO Max thanks to 'The Golden Age', Fellowes' new television creation now available on the platform. On this occasion, the also screenwriter of 'Gosford Park' takes us a little further back (and a little further) than with the story of the Crawleys: set in the last decades of the 19th century in the United States, the HBO series Max immerses us in a world of profound social changes and where class warfare is the order of the day.
The taste for the British (Anglophilia that always wins over even the most stubborn political Anglophobes) is a curious, long-lasting and never-exhausted cultural and, perhaps to a greater extent, affective phenomenon.
It has nothing to do with other affiliations or fashions that indicate the influence, splendor and dominance of a culture at a given moment: the Spanish in the 16th century, the French in the 18th, the American in the 20th– to fade away, although always keeping embers , while the power of the nation knows its decline.
Admiration for things British certainly has to do with this and it is no coincidence that fashion and taste emerged with the rise of the empire in the 19th century and the early years of the 20th, from Victoria to George V, said in political terms; or from Jane Austen to Virginia Woolf, from Dickens to Galsworthy or from Conan Doyle to Agatha Christie, said in literary terms to stick to the years of the empire.
Ways of life, humor, comfort, green landscapes, mansions, fog, books, discretion of elegance for gentlemen, sordid and dangerous alleys poorly lit by gas lamps, irony, sense of humor, containment of passions that makes them explode with more devastating force, tea at five o'clock or apple pie make up and feed the phenomenon of Anglophile militancy.
This rodeo comes to mind because the success on television and in cinema of the many installments of Downton Abbey (six seasons and two feature films) has no other reason for being than this taste (never disappeared, although the world that inspired it has long since disappeared ) for the English.
Just think of recent hits like The Crown or The Bridgertons. The intelligent actor, novelist and screenwriter Julian Fellowes has known how to exploit this passion for the British in his novels (Snobs) and especially in his scripts for television and cinema (Queen Victoria, Gosford Park, Dowton Abbey, Belgravia) in which he expresses characters, environments and situations not seen many times less gratifying to see again, pulling from the great novelistic sagas of the Forsytes, the Cazalets or the Flytes and the television hits of the 70s and 80s inspired by them as many times as Arriba and below, The Forsyte Saga or Return to Brideshead.
It gives Fellowes more of the same that he never gets enough of: pure England of mansions, elegance, secrets, irony, humor and drama. And he gives it intelligently in his script, the brilliant idea of mixing the story of the mysterious inheritance in the south of France with that of shooting a movie in the family mansion, with good manners in the direction that in this new installment, and with excellent results.
Simon Curtis, a filmmaker with extensive experience in recreating these ultra-British universes on television (David Copperfield, Cramford) and cinema (Goodbye, Christopher Robin), is entrusted with an extraordinary cast of actors who perfectly portray Englishmen as as we believe and hope that the English should be, and with careful and elegant costumes and production design. The result is a perfect light entertainment machine that will more than satisfy that never-fading British fascination.