For those of us who loved the British series created by Julian Fellows (2010-2015) about the Crawley family and their servants in country house Yorkshire and its dramas everywhere Up and down (1971-1975), we don’t mind insisting on Downton Abbey: a new erasecond film after Michael Engler’s (2019) signed on this occasion Simon Curtis (2022), which interfered not with episodes but with episodes of other English works of fiction.

Movie buffs or professional critics often say that it’s best to end a story when at a good moment, interesting in its script and solid in its audiovisual approach, and not allowing it to sink into a lack of stage energy and sad irrelevance. And this is not the wrong approach. Please check what happened to Secret materials (since 1993) and Chris Carter’s stubbornness that it never ends.

But the hardest part is knowing when to end a delightful story like Michelle Dockery’s Mary Crowley, Jim Carter and Company’s Charlie Carson and not clip its wings when it still has a chance to offer us more fun. Because if Julian Fellows and his team decided not to continue after the first film, we would be missing out on the great joy of knowing that Downton Abbey: a new era could surpass the other. and did.

Downton Abbey: A New Era exists for our sincere pleasure

Universal

Hear from the beginning the first musical notes in recognizable soundtrack composed by John Lunn, whose talent had already served abandoned house (2005) or Little Dorrit (2008) and after The Last Kingdom (2015-2022), our heads are flooding with endorphins directly. Because its exquisite sound cascade, as well as the re-encounter with such beloved characters, gives us a joy that we experience only with very specific works.

Works that have found a place in our emotional memory as viewers and which, thanks to episodes such as Downton Abbey: a new era, once again confirm to us that this was not a mirage and that they continue to deserve it. More so than the first feature film, too. because not only its plot makes a lot more sense as a whole, and thus, with undoubted firmness, justifies its existence, but rather this worries us a lot.

First, in addition to having a good time with witty, lively and so well written dialogues Julian Fellows in a plaster mouth British even a brain he would have accepted with pure enthusiasm is revealed in more than one scene with watery eyes and tears about to spill down his face. Not because a Simon Curtis film reveals itself as a drama, like Lars von Trier or Suzanne Bier, not at all, but because The emotions of the characters belong to us. great win.

So who doesn’t want more Crowley and company?

downton abbey: una nueva era simon curtis crítica julian fellowes
Universal

On the other hand, Simon Curtis, to whom we also owe My week with Marilyn (2011) golden lady (2015) Goodbye Christopher Robin (2017) and The art of living in the rain (2019) visual bragging is allowed in the same fancy sequence, shot from the beginning Downton Abbey: a new era. Which, despite the apparent simplicity of the layout, seems somewhat strange, but this can be forgiven. Especially since he brought his usual Adam Recht in quick installation.

And we do not get tired of repeating that the same veteran Maggie SmithOscar-winning star The Best Years of Miss Brodie (1969) and Face Bowers of death on the Nile (1978), Minerva McGonagall in the saga of Harry Potter (2001-2011) or, here, from immeasurable Violet Crowleyis a British national treasure, and whenever the Dowager Countess opens her sour mouth, our love for downton abbey. And under these conditions, what fool does not want more?

Source: Hiper Textual

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