When Downton Abbey first aired in 2010, Julian Fellowes’ period drama instantly carved out a devoted following. For six seasons and two films, audiences immersed themselves in the lives of the Crawleys and their loyal staff, fascinated by how one Yorkshire estate became a microcosm of class, tradition, and change. With The Grand Finale, Julian brings the saga to a close on the big screen, a lush and sentimental curtain call that doesn’t reinvent the formula but leans into everything fans have cherished — glamour, wit, scandal, and affection.
The film picks up in the early 1930s with Lady Mary (Michelle Dockery) navigating the fallout of her divorce, a revelation scandalous enough to see her expelled from a London ball. Back at Downton, the Crawleys face financial uncertainty, courtesy of Lady Grantham’s American brother Harold (Paul Giamatti) and his enigmatic adviser Gus (Alessandro Nivola). A dinner party, guest-starring Noël Coward (Arty Froushan) and Guy Dexter (Dominic West), becomes the stage for restoring reputations and mending family fractures. Downstairs, the staff continue to balance tradition and transition, from Mr Carson’s reluctant retirement to Daisy stepping into Mrs Patmore’s role in the kitchens.
The good
What makes The Grand Finale work is its unabashed embrace of nostalgia. The film glitters with period detail: Anna Robbins’ costumes are immaculate, from Lady Mary’s scarlet gown to Edith’s elegant racing-day hats, while Ben Smithard’s cinematography puts the Yorkshire estate and London soirées in a warm, golden glow. Performances remain consistently engaging — Michelle gives Mary a brittle strength that makes her struggles feel lived-in, while Laura Carmichael’s Edith steps in with maturity and quiet authority. Paul Giamatti, meanwhile, adds levity and warmth, and Alessandro Nivola’s Gus provides just the right touch of intrigue.
There are also moments that pay affectionate homage to the franchise’s roots. The witty exchanges upstairs, the loyalty downstairs, and the interplay between social classes remain the show’s signature, and here, Julian doubles down on those dynamics. Even without Dame Maggie Smith’s physical presence, the Dowager Countess hovers like a ghost over the proceedings — her portrait dominating the Dower House, her memory honoured in the dialogue, her legacy woven into the fabric of the finale. It’s a fitting tribute that ensures her absence is felt but never empties the story of her spirit.
Perhaps most pleasing is how the film acknowledges change without bitterness. Characters who once resisted progress now lean into it — whether it’s Tom using his business sense to outwit Gus, or former butler Thomas Barrow stepping comfortably into a more open identity with Guy Dexter. These arcs remind us that Downton’s strength has always been its ability to adapt, just as its characters must.
The bad
Still, indulgence has its costs. Fellowes’ determination to give every character a moment in the sun makes the film feel crowded. Subplots often meander, with certain storylines existing more for fan service than narrative necessity. The pacing falters as a result, veering from sharp emotional beats to indulgent filler. At times, the finale feels more like a series of loosely connected vignettes than a streamlined film.
And while the lavish production design dazzles, the story rarely surprises. Long-time fans will appreciate the familiar rhythms, but newcomers may find the stakes too soft, the conflicts too neatly resolved. The sense of risk that once propelled Downton at its best is largely absent here.
The verdict
For all its flaws, The Grand Finale succeeds in what it sets out to do: provide fans with a heartfelt farewell. It is unabashedly sentimental, steeped in nostalgia, and beautifully staged. No, it doesn’t rewrite the legacy of Downton Abbey, but it doesn’t need to. Instead, it allows viewers to bask one last time in the warmth of characters they’ve lived with for over a decade.
