‘Downton Abbey: The Grand Finale’ – Review
The time has come to bid Downton Abbey goodbye, and Lord Julian Fellowes takes audiences, and long time fans of the series into a new era with the 1930s and new dramas and conflicts find their way into the Crawley household, affecting both them, and their servants and the result is one of 2025’s most dramatic and opulent watches of the year that leaves you with a flutter in your heart, and reaching for the tissues.
The film follows the Crawley family and the Downton Abbey staff as they enter the 1930s. When Mary (Michelle Dockery) finds herself at the centre of a public scandal caused by her divorce and the family faces financial trouble, the entire household grapples with the threat of social disgrace. The Crawleys must embrace change as the staff prepare for a new chapter with the next generation leading Downton Abbey into the future.
Since its debut in 2010, Downton Abbey has stood as an exemplar of rich, character-driven drama. What began as a period series exploring the lives of both the aristocracy upstairs and the loyal servants downstairs grew into a cultural phenomenon. Audiences fell in love with the finely layered narratives, the staggering costumes, the lush cinematography, and the unforgettable ensemble of characters who felt as real as family.
Following the global success of the series, Julian Fellowes transitioned Downton Abbey onto the big screen with 2019’s Downton Abbey and 2022’s Downton Abbey: A New Era. Both films delighted audiences, but with The Grand Finale, he offers a true swansong; a sweeping final bow that celebrates everything fans have cherished while embracing the thematic shifts of a world marching into modernity.
And what an ending it is.
Working once again with director Simon Curtis, Fellowes spares no expense in delivering spectacle on a grand scale. The 1930s setting bursts to life in dazzling fashion: from the sultry, modernist couture that marks a changing age, to grand ballrooms alive with elegance and romance, to moments of pomp and circumstance at Royal Ascot that positively dazzle on the big screen. Every frame breathes with the lush opulence fans have come to expect, while also carrying a spark of bold modernity.
Ben Smithard’s cinematography is painterly in its beauty, with every shot of Highclere Castle reminding us of the estate’s enduring majesty. Costume designer Anna Mary Scott Robbins shines once again, curating an exceptional collection of 1930s fashion—most notably Lady Mary’s breathtaking crimson evening gown, which embodies the daring glamour of the era. From tailored suits to feathered hats and sparkling gowns, the visual tapestry of The Grand Finale is nothing short of ravishing.
Curtis and Fellowes ensure that audiences don’t just watch this world — they luxuriate in it. Whether at a homely county fair bursting with charm, or amid the charged whispers of a scandalous drawing-room conversation, The Grand Finale is a feast for the senses.
True to form, Fellowes opens the narrative with a shocking scandal, immediately plunging audiences into the drama. The repercussions ripple through both the aristocracy upstairs and the loyal staff downstairs, ensuring that the pace never falters. This deft balance of tension, humour, and heartfelt emotion is classic Downton.
Fellowes’ gift lies in weaving the many threads of his ensemble into a coherent tapestry, and here he ensures that every beloved character receives what he calls “a bite at the apple.” From shocking twists to witty comedic beats, The Grand Finale dances between tones with elegance, keeping audiences laughing one moment and tearing up the next.
At the heart of the narrative is Lady Mary Crawley (Michelle Dockery), who has now firmly assumed the mantle of mistress of Downton Abbey. This is very much Mary’s story, and Dockery rises to the occasion with a performance that is commanding, layered, and deeply vulnerable.
Mary must contend with scandal, shifting loyalties, and her own fiery desires. She makes daring decisions that might scandalise her peers, yet it is precisely through her courage and belief in herself that she steers Downton toward a new future. Dockery has never been better, and her ability to capture both Mary’s iciness and her tender humanity makes her the true anchor of this finale.
Parallel to Mary’s journey is that of her father, Robert Crawley, Earl of Grantham (Hugh Bonneville). Bonneville delivers a deeply affecting performance as Robert grapples with the twilight of his stewardship. The chemistry between Bonneville and Dockery is electric, and their father-daughter bond becomes one of the film’s most poignant threads. Watching Robert come to terms with the inevitability of change, and Mary embrace her role as Downton’s future, gives The Grand Finale its powerful emotional core.
Fellowes’ generosity as a storyteller ensures that every character shines in their own way.
Laura Carmichael’s Edith Pelham, Marchioness of Hexham has grown into a formidable, independent woman who wields her intelligence with confidence, evoking echoes of the Dowager Countess herself; Joanne Froggatt’s Anna Bates remains a steadfast confidante to Lady Mary, her warmth and loyalty giving audiences moments of heartfelt comfort; Elizabeth McGovern’s Cora Crawley demonstrates grace and resilience, her sharp mind and maternal warmth a steadying presence throughout the film; Jim Carter’s Charles Carson returns with his inimitable charm, his scenes laced with humour and nostalgia that remind us why he remains such a favourite, snd finally Penelope Wilton’s Isobel Grey brings her signature wit and bite to every scene, sparking with sauciness that delights audiences.
The ensemble nature of Downton Abbey has always been one of its great strengths, and The Grand Finale honours that legacy by giving everyone their due moment.
Beneath the splendour and wit, The Grand Finale carries profound themes of change, growth, and inevitability. The 1930s were an era of upheaval, and Fellowes leans into this historical context — exploring the waning power of the aristocracy, the shifting dynamics of class, and the need to adapt to an uncertain modern world.
There is sentimentality here, yes, but it never feels cloying. Instead, it resonates with depth, giving weight to every farewell and every decision. The film acknowledges the legacy of what came before while confidently stepping into the new, making its goodbyes all the more moving.
Audiences will feel the full range of emotions; from joy and laughter at the familiar banter, to aching sadness at the inevitability of parting. The emotional weight of this finale lingers long after the credits roll.
Few stories have captured the cultural imagination quite like Downton Abbey. Over the years, it has become more than just a period drama; it has become a touchstone of television and cinema, a story that resonated across class, culture, and geography. With The Grand Finale, Fellowes cements the series’ legacy with a conclusion that is as opulent as it is heartfelt.
This is a film that will make you smile, laugh, gasp, and yes, shed tears. It is a love letter to the characters, the world, and above all, the audience who have followed the Crawleys and their household for so many years.
As the final curtain falls on this grand tale, one thing is certain: Downton Abbey will endure. In our hearts, in our imaginations, and in the annals of cinematic history. Long live Downton Abbey.
Image: Universal Pictures
