In quite a few ways, I was not looking forward to this one.
While part of that could be due to my inexperience with the series this film
spawned from, it’s not as if that’s been an issue in the past. I haven’t seen
any episodes of Dance Academy or Sword Art Online, and yet I left those films
quite pleased with the results.
No, my apprehension here is more to do with the genre, as I
have stated in previous reviews that costume dramas really aren’t my thing, and
the writer and director bringing it together. Between Crooked House, which was
less film as it was malformed audiobook, and The Chaperone, which as a possible
road-test for Downton Abbey-style storytelling in a feature-length production
ended up crashing into a ditch with all its wheels punctured, I wasn’t
expecting much out of this. And yet, while still not entirely being on board
with it, I walked away from this a lot more chipper than I would’ve guessed.
With how many different subplots whirl around this film’s
narrative, it’s quite refreshing that they all manage to work in sync with each
other like this. From the trials of the kitchen staff when the royal family’s
staff enter the picture (strangers entering a house and the occupants needing
to take a stand and do things their way; it’s a bit odd seeing Brexit
imagery juxtaposed with the British royal family) to Maggie Smith’s countess
and her continual sniping of all in earshot (I could easily watch an entire
film of just her being snarky) to Allen Leech’s Tom Branson who serves as a
linchpin for one of the more clever bits of cinematic irony I’ve encountered
this year, everyone gets their chance to shine and everyone takes advantage of
that chance.
Of course, standard rules with costume dramas still apply;
there is still a lot of stuffiness to contend with, and while not nearly as
lifeless as I feared, it maintains a fair bit of what turns me off from the
genre in most cases. The sense of humour on display is nicely understated, but
it gives an overwhelming feeling that the desired response is for the audience
to laugh solely through their noses. And that’s without getting into the
“making a big deal out of nothing” trappings of the plot, as mild
inconveniences among the upper class isn’t exactly gripping material for me.
There’s a reason why my blog background is of the stylised vastness of outer
space, not a single chandelier copy-and-pasted a hundred times over.
But then again, this is the latest of many, many TV
tie-in films that are designed primarily to satisfy those who already like the
main series. Having not watched a single episode of said series, I’ll try not
to speak beyond my understanding here but, as a conclusion to a pre-existing
work, I’d say that this does fairly well. The pre-existing characters all feel
like they’re getting their chance to flourish on the big screen, whatever new
additions to the cast exist following in their stead, and with the note the
film ends on, it’s a conclusion that closes the book on the overall story while
still giving the impression that said story lives beyond the page. Or, in this
case, beyond the screen. Take it from a sci-fi buff, that’s a lot better than
most film finales to TV shows end up getting.
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