Downton Abbey: A New Era (2022)

Score: 4.5 / 5

It's as if we never left the fastidiously groomed estate. Downton Abbey had its throngs of adoring fans as a serial show, and these films meant to continue the soapy saga keep bringing them out in droves; in the sold-out evening screening I attended, I was the youngest audience member by at least two decades. I'm grateful for these films, because they feel more self-contained than most of the show's seasons, almost like extended single episodes. The delicious drama imagined by Julian Fellowes continues its upstairs/downstairs conflicts while we can enjoy and imagine such an aristocratic life a hundred years ago across the pond. But this movie is a bit different than the previous film, which itself triumphantly pushed the envelope farther than I thought the show would or could, so let's put our best foot forward here and step right in.

A New Era, indeed. This installment's two main plotlines are as follows: most of the Crawley family goes on a vacation to the south of France, where Granny Violet has suddenly come into possession of a seaside villa; most of the servants remain at the abbey, where a motion picture crew takes up residence to make an early "talkie" film. That's it. Typical of Fellowes, it's brilliant and self-contained and reliant on the tense policing of propriety in dialogue to work, which of course it does. I thought it was a bit annoying at first, as butler and teacher Molesley (Kevin Doyle) gives us some introductory narration, much like a "previously on Downton Abbey" catch-up reel, but then, it has been a while since we've seen these characters.

Thankfully, Granny Violet, the Dowager Countess, is back again after her poignant potential send-off in the previous film, and here she is herself, in fact, the inciting incident. She receives notice that an old acquaintance (very old, as they last saw each other some sixty or seventy years prior) has willed her the deed to his seaside French villa, and she in turn is willing it to her only great-grandchild without property, young Sybbie (daughter of former chauffer and current estate manager Tom Branson and the late Lady Sybil Crawley). The family is atwitter with curiosity about this unexpected gift. What exactly was the nature of their Granny's relationship with the recently deceased marquis? Why has she never spoken of it? Naturally, most of them venture south to learn more, and the film spares no expense in its lavish attention to beauty when they eventually reach the villa. Her son Robert (Hugh Bonneville), the Earl of Grantham, is especially anxious, as he begins to suspect that he may have been the product of his mother's potential tryst with the marquis.

While enjoying the warm weather and sunshine -- all except their tightly-laced butler Carson (Jim Carter -- the family must field skepticism and doubt from the marquis's family, including his widow and son. Robert's wife Cora (Elizabeth McGovern) seems to be battling with her health, and with the ailing Granny back at home, Robert begins to spiral out, fearing losing the two most important women in his life along with his good name (or, rather, his surname, if his fears about Granny's past prove to be founded). It doesn't help that the French family already suspect the same, but things don't really get settled there emotionally. Just legally, as Tom (Allen Leech) and his new wife Lucy (Tuppence Middleton) gratefully accept ownership of the villa on behalf of their daughter.

When they return, they see what their servants have been up to under the watchful eye of Lady Mary Crawley/Talbot (Michelle Dockery). Working as the head of the estate now, Mary has welcomed a film crew in for the month, excited to open the house to the world again and to earn enough money from them that she might finally repair the leaking roof. Unlike the aloof family, the servants are thrilled at the prospect of meeting stars and seeing the magic behind the scenes; Molesley reveals his passions for the art form, and even manages to help the film by rewriting its screenplay. The gracious director (Hugh Dancy) intended to make a silent film, but as talking pictures are the new rage in London, he quickly enlists Mary to help him get a sound technician and flip the film. He also develops feelings for Mary, whose husband is always away. This particular subplot feels especially, cloyingly soapy, but it's Hugh Dancy so that's fine with me.

The film is going along rather bumpily, apart from its director's attempts at romance, due to its stars as well. Its dashing leading man Guy (Dominic West) is more than a little anxious about being in his first talkie, but he finds some solace in befriending butler Thomas Barrow (Robert James-Collier), whose hopeful love life (from the previous film) is suddenly dashed. I love that this film embraces his queerness and gives him, finally, a very happy ending. The talkie's leading lady Myrna (Laura Haddock), however, is a stuck-up high society bitch whose voice is, well, not suited for audio recordings. Think Singin' in the Rain and "I can't stand him." She's a hot mess when Lady Mary is asked to step in and dub her dialogue, but there is a remarkable scene in which the cook Mrs. Patmore (Lesley Nicol) and kitchen maid Daisy (Sophie McShera) sit her down and have a come-to-Jesus moment regarding her Cockney accent. It's the first and only time in the entire franchise I've actually liked Daisy, and she's actually being a good person finally!

A New Era is gorgeously shot and rapturously jubilant. Even when things get a little dark, scary, or sad in this franchise (okay, when things get sad, they get tragic), there is always a lovely light shining through reminding us that this is, ultimately, a love story between all kinds of people and with the place they call home. Director Simon Curtis (My Week with Marilyn, Goodbye Christopher Robin, Woman in Gold), accredited cinematographer Andrew Dunn, and their collaborators do really amazing work in this relatively short film to catch us up, absorb us into the new intrigues, and tie everything up in a beautiful and heart-wrenching bow. If this is the last we see of these beloved characters, they've made sure that it's a nearly perfect sendoff. And that's a monumental achievement.

The Imitation Game (2014)

Score: 4 / 5

A surprisingly cold and calculated film, The Imitation Game indeed feels much like a game throughout: one of secrecy and facades, one of brilliance and progression, and ultimately one for which the penalty is death. Our story concerns the life of one Alan Turing, a British mathematician who helped break the Enigma Code, and who was thus key to Nazi Germany's defeat in World War II. Seemingly as a reward for this success, he was criminally prosecuted for his sexuality and chemically castrated before his (alleged) suicide in 1954.

Benedict Cumberbatch performs Turing with his tried-and-true ability to clearly paint a character whose mind works far quicker and abler than most of us could imagine. But he also -- and rather unexpectedly, I thought -- delivers a powerhouse emotional performance, smartly masked by his adherence to cultural and social conventions (namely, what we might affectionately note as a stereotypical British aversion to emoting). In the few moments when his character does let his feelings loose, Cumberbatch bravely owns the screen with vulnerability and honesty. His own performance, I should say, isn't so much an imitation game as an Enigma code in its own right, and one that deserves still more brilliant minds to solve. And his supporting cast is not much less impressive. Kiera Knightley parries his every move with flawless empathy and energy; Matthew Goode and Allen Leech play Turing's complex and conflicted co-code-breakers, while Mark Strong and Charles Dance add strength as intelligence commanders for an operation so secret that even once the code has been broken they cannot disclose their success.

Director Morten Tyldum and writer Graham Moore, however, have created an endlessly watchable maze of intelligence and subtlety, and one that is in itself a most dangerous game of wit and skill. As you might expect, the "code" motifs and rhetoric of the film have seemingly endless parallels and riffs in morality, sexuality, society, and so forth, making the film constantly fresh and engaging. I don't particularly like the excess of "footage" interspersed throughout the film; I think the newsflash images are meant to ground us in the world and give us context, but for a film this intimate, all they do is take me out of the moment.

Interestingly -- and very significantly, as far as I'm concerned -- there is no "sex scene", no lurid kiss. I'm not aware of many films with a gay protagonist that haven't sought to exploit (or punish) his carnality, so I was very pleased with that [I should clarify: Turing himself (and in terms of the plot here) is punished for his alleged proclivities, but this film's commentary on that punishment is explicitly negative]. This omission fits quite well with this particular film, moreover, because so much of Turing's character is its own secrecy. We do, however, see his youth in school, as he apparently developed love for a fellow classmate; this kind of sentimentality at first put me off, but later I realized that, rather than forcing any rote sexual encounter into the film, our filmmakers wanted to emphasize a psychological and emotional approach to Turing's character. Bravo.

One last note: Alexandre Desplat's score is a knockout. I might be biased because he's one of my favorites, but it's really amazing here.

IMDb: The Imitation Game