Tea, Tears and Tiaras – ‘Downton Abbey’ Says Farewell With a Luxe Grand Final Bow

Tea, Tears and Tiaras – ‘Downton Abbey’ Says Farewell With a Luxe Grand Final Bow

By Lynn Venhaus
A bittersweet wrap-up of the classy historical drama, “Downton Abbey: The Grand Finale” is a fitting final bow for its legion of fans.

The beloved television series started in Edwardian England and ran for six seasons on PBS, winning 15 Emmy Awards, and was followed by a popular film trilogy, the first in 2019 and second “A New Era” in 2022.

Reminiscent of the British television hallmarks “Upstairs, Downstairs” and “Brideshead Revisited,” but “Downton Abbey” had more soap opera elements, optimistic tone, and used the past to reflect on present class and gender issues.

The rich-people problems of the Earl of Grantham’s family captivated with their depiction of a regal world, class dynamics, the historical impact of the 1910s and 1920s, and their relationships with their servants.

All helmed by director Simon Curtis, he maintains their winning formula of heartbreak, joy, intrigue, and luxury in the latest endeavor. For viewers who have never seen the series, you will be able to follow along without frustration.

Laura Carmichael and Michelle Dockery as Lady Edith and Lady Mary.

Redolent with warm humor and lavish designs, creator and writer Julian Fellowes’ compelling narratives on the aristocrats upstairs and their dedicated staff downstairs have taken fans on a transportive journey through every corner of the grand country homestead and grounds (the real Highclere Castle in north Hampshire stands in).

In this one, set during the global economic crisis that was the Great Depression in the 1930s, it’s clear that the times are changing. The principal characters start out enjoying the London social season, but trouble intrudes.

The family, now with money woes post-stock market crash, faces societal changes, and a necessary shift in direction. Their traditional way of life is disappearing.

From the beginning, Lord Robert Crawley (Hugh Bonneville), Earl of Grantham, always saw Downton Abbey as his family heritage, and now must wrestle with moving on and allowing the next generation to take over.

After his heir’s death aboard the R.M.S. Titanic, his distant cousin, Matthew Crawley (Dan Stevens), was next in line. He married Robert’s daughter Lady Mary (Michelle Dockery), and after he died in a car crash, and she later married Henry Talbot (Matthew Goode), others believed that Mary should inherit the vast estate.

So that is at issue. Mary has another scandal to deal with, publicly played out, and there is a family matter that involves her mother, Countess Cora (Elizabeth McGovern). Her brother, Harold Levinson (Paul Giamatti), arrives from his home in America with a financier friend, Gus Sambrook (Alessandro Nivola). Further complications arise, which fans will find out soon enough.

The twisty line of succession, staff retirements, and future residences are also part of the plot that provides fans with nods for their loyalty. The emotional tugs are there, if not the conflicts.

There isn’t a dramatic occasion like King George V and Queen Mary arriving on their tour of Yorkshire in 1927, as in the first film, followed by Violet Crawley’s inheritance of an Italian villa in 1928 and a film crew using the estate for a movie shoot in the second one.

However, this third go-round doesn’t leave stones unturned and looks towards a world where Thomas Barrow (Robert James-Collier), formerly of the house staff who is the dresser for dashing movie star Guy Dexter (Dominic West), is allowed to mingle upstairs with guests.

Just as Bonneville’s Lord Robert is grumpy about his displacement, so is ‘retired’ butler Charles Carson (Jim Carter). He is reluctantly relinquishing his duties to eager Andy Parker (Michael Fox), who – gasp – has a mind of his own.

The downstairs staff.

Those who have a special fondness for the humble downstairs folks can rejoice, because the staff characters are as appealing as ever. The delightful cook Mrs. Patmore (Lesley Nicol) and housekeeper Elsie Hughes, played by chipper Phyllis Logan, are among the many fan favorites.

As pregnant Anna Bates, Joanne Froggatt takes good care of Lady Mary as her maid, and her doting husband, valet John Bates (Brendan Coyle), takes good care of her. Always a bright spot, Daisy Parker (Sophie McShera) takes on a bigger role in the kitchen.

Another welcome addition is impressive Arty Foushan as a cheeky Noel Coward, the sharp-witted playwright who charms every person he meets at a Grantham dinner party – and even gets an idea for his next play by hearing about Lady Mary’s private life (wink, wink).

As always, the ensemble cast is strong – and so are the attachments to them. The sprawling cast conveys its customary lived-in quality and longtime association with each other in heartwarming fashion.

Among family members, Laura Carmichael shows Lady Edith’s inner strength in a new way, especially in steadfast support of her sister. And Allen Leach is always a voice of reason as Tom Branson.

Penelope Wilton, Allen Leach, Michelle Dockery, and Paul Giamatti.

As progressive Isobel, Penelope Wilton is always a welcome presence, and she comically tussles with a huffy snob Sir Hector Moreland (the great Simon Russell Beale) at the county fair.

For its swan song, the cinematography by Ben Smithard, costumes by Anna Robbins, production design by Donal Woods and variations on the familiar theme music by composer John Lunn are opulently crafted.

Not only does Robbins surpass herself on the ballgowns and party clothes, but she outfits an Ascot afternoon with an incredible array of hats.

The series MVP, two-time Oscar winner Maggie Smith as dowager Countess Violet Crawley, left a huge gap after her death last year. Her character’s death was written into the second film, and tributes continue here. But her sparkling quips are dearly missed.

Fans who fell in love with this story 14 years ago are welcomed to the party, and it’s a fond farewell full of wit, sentiment and a warm hug of nostalgia.

“Downton Abbey: The Grand Finale” is a 2025 period drama, directed by Simon Curtis and starring Hugh Bonneville, Michelle Dockery, Elizabeth McGovern, Laura Carmichael, Jim Carter, Lesley Nicol, Phyllis Logan, Allen Leach, Arty Foushan, Paul Giamatti, Alessandro Nivola, Sophie McShera, Brendan Coyle, Michael Fox, Joanne Froggatt, Simon Russell Beale, Robert James-Collier, and Dominic West. It is rated PG for suggestive material, smoking and some thematic elements and run time is 2 hours, 3 minutes. It opens in theatres Sept. 12. Lynn’s Grade: B.

‘The Many Saints of Newark’ Enhances ‘Sopranos’ Legacy With Savvy Cast, Gripping Story

‘The Many Saints of Newark’ Enhances ‘Sopranos’ Legacy With Savvy Cast, Gripping Story

By Lynn Venhaus

Thoughtfully constructed with insightful character snapshots foreshadowing the people they become in the landmark television series, “The Sopranos,” the well-cast “The Many Saints of Newark” is one of the year’s best films.

Molti Santi translates to “Many Saints” in English, and the backstory connecting the people to Tony Soprano is a fascinating, yet tangled, web. The movie begins with a voice from the grave, and an Emmy-winning actor reprises his famous role through narration.

Set in the late 1960s and early 1970s, this prequel to “The Sopranos” follows Dickie Moltisanti (Alessandro Nivola) as he climbs the ladder in the DiMeo crime family. His nephew is Anthony Soprano (Michael Gandolfini), a teenager who idolizes his uncle.

Dickie’s influence over his nephew will help shape the impressionable teenager into the all-powerful mob boss we came to know in the HBO series, which ran from 1999 to 2007. Tony is growing up in one of the most tumultuous eras in Newark’s history as rival gangsters rise and challenge the DiMeo crime family’s hold over the increasingly race-torn city.

The year is 1967, and one mobster notes it’s the “Summer of Love,” which is ironic, given all the violence on the Newark streets. Race riots erupt, creating chaos and confusion. The times, they are a-changing, and rival gangsters try to muscle in on the Italian mob’s stronghold.

Racist attitudes prevail, although Dickie has Harold McBrayer (Leslie Odom Jr.), who collects money from the black side of town for him, as he runs the numbers game.

Leslie Odom Jr., 2016 Tony winner as Aaron Burr “Hamilton” and Oscar nominee as Sam Cooke in last year’s “One Night in Miami,” stretches his acting chops as the ambitious and fearless defender of his turf. He becomes a formidable foe.

A warning, although expected — there is a lot of bloodshed. In scenes of grisly torture and gruesome murders, the violence is explosive on the mean streets, and sometimes, directed at their own inner circle. Such is the way of the family business. Lines are frequently crossed, matter-of-factly, and sometimes without consequence.

Dickie, who has had a love-hate relationship with his menacing father, Aldo “Hollywood Dick” Montisanti, played with verve by Ray Liotta, is drawn to dear old dad’s new Sicilian bride, Giuseppina, played by the beautiful Michela del Rossi, who looks like an actress in a Fellini film. She soon becomes his goomah (mistress).

Connecting the dots gets even more complicated – see the movie to find out how everyone is six degrees of separation.

Vera Farmiga and Jon Bernthal as Tony’s parents

Familiarity with the series, which ran for six seasons, is helpful, although not a prerequisite. However, people with knowledge of the series will understand the references and anticipate the mix of dark humor, and secret revelations.

Universally regarded as one of the best shows ever on TV, “The Sopranos” won 21 Primetime Emmys and 2 Peabody Awards.  In 2013, the Writers Guild of America named it the best-written TV series of all time, and TV Guide ranked it the best television series of all time. In 2016, it ranked first in Rolling Stone’s list of the 100 greatest TV shows of all time.

Some of the indelible characters from the television series earned Emmy Awards and nominations, and are an integral part of the prequel, while others barely emerge from the background.

Writer (and show creator) David Chase teamed up with an alum, Lawrence Konner, who was Emmy-nominated for writing “Second Opinion” (Sopranos) and this is a fascinating look back as to how things developed and about the people who made things happen.

In the series, Tony Soprano juggled the problems with his two families – his wife Carmela and their two children, Meadow and Anthony Jr., and his mob family. Power struggles, betrayal, violence, panic attacks, affairs and keeping the business from being exposed as a criminal enterprise were all part of the intoxicating mix. And a lot of people were whacked.

The movie has many of the same issues compacted into nearly two hours – concentrating on the personal and professional struggles of Dickie Moltisanti. And a lot of people get whacked.

For fans, seeing Janice Soprano (Alexandra Intrator) as a rebellious teenager and a young Silvio Dante (John Magaro), wearing a different hairstyle, is just fun.

Corey Stoll is an intriguing Uncle Junior and Vera Farmiga conjures up memories of the mean elderly woman she became as Tony’s mom, so no wonder she is such a non-stop nag here.

Sharp and savvy, Alan Taylor is at the helm. He was previously nominated for primetime Emmy Awards for ‘Game of Thrones” and “Mad Men,” and won for directing “The Sopranos” episode, “Kennedy and Heidi.”

While the writing is top-notch, so are the vintage costume designs by Amy Westcott and the production design by Bob Shaw. It steeps us in the cultural shifting times and the by-gone post-war life in eastern American cities.

In addition, another highlight is a killer soundtrack, just like the series. The eclectic music selection perfectly captures each mood and time: The Rat Pack-vibe of the smoky clubs, the rock music pouring out of Tony’s new stereo speakers and a wide range of tunes punctuating the action.

But the very best element of the film is its cast. In an exceptional star turn, Alessandro Nivola emerges as someone to watch, who rises to the occasion as Dickie – and he’s mesmerizing.

The gamble of casting the late James Gandolfini’s son, Michael, as the younger version of his father’s character, turns out to be a smart decision. He soulfully embodies teenage Anthony with his father’s mannerisms, if not his speaking voice, slipping into the role with ease. He’s another one to watch. It’s guileless and seamless,

Michael Gandolfini as teenage Tony Soprano

Gritty and gripping, “The Many Saints of Newark” bristles with an excitement that describes a fitting backstory and a welcome return to these characters.

“The Many Saints of Newark” is a crime drama directed by Alan Taylor. It stars Alessandro Nivola, Michael Gandolfini, Corey Stoll, Ray Liotta, Vera Farmiga, Jon Bernthal, Leslie Odom Jr., Billy Magnussen and Michela del Rossi. It is rated R for strong violence, pervasive language, sexual content and some nudity and has a runtime of 2 hours. It is in theaters and streaming on HBOMax on Oct. 1. Lynn’s Grade: A.