I got it into my head a few months ago to watch all of it. From Season 1 Episode 1.
My Dearly Beloved™ and I had both enjoyed it, and hadn’t seen the films. So off we went.
Completely delightful. The films were, well, their own animal in terms of pacing and whatnot. It was clear there had to be a Grand Summation and of course that was the last film. When closing off a timeline as long-running AND beloved as this one, one must make allowances for certain tidy storylines.
We enjoyed it quite a bit. Even the last film. The “NextGen” one was pretty well done.
Must admit, I see this as pure fantasy. We know nothing of the history of Great Britain and especially the English aristocracy around the timeline this covers. So, what was accurate is great and where liberties were taken, that’s fine too. It’s not a BBC-2 Docuseries.
When it was in its first run, I do remember getting quite caught up in the real life story of the family, especially the current woman, who owns Highclere Castle. (Location for all exteriors and main floor interiors.) In a Meta moment for the ages, signing on to let it be used as a filming location caused a torrent of £ to head her way. Life imitating Art imitating Life. Loved that bit.
For those who are deep Downton Abbey Nerds, I do have one very specific question:
In the entryway at the house, if you are entering the front door and the camera is positioned with its back to the…uh…Library?..and is facing that entryway, there are/were two IMMENSE cabinets. Not quite identical but close. Each had a bunch of large square leather-covered panels, as though they were drawers. They are just gorgeous. Never opened. Never referenced. Anyone know what those large bits of furniture were to have held?
I do remember that great care was taken when shooting inside of Highclere. As a Camera Operator of 45+ years, I’ve been in my share of tight and pricey situations.
Once, on Martha Stewart, we were in the Metropolitan Museum of Art. Shooting furniture of the 18th and 19th Centuries. Oh MAN did we have to move carefully. At one point I was to walk with my Steadicam on between two gorgeous and priceless sideboards, moving towards the back of the gallery space to see something else. We knew not to touch anything-- there were several Museum employees there for that.
I looked at the gap and said nope. These need to be much farther apart. Because, who wants to be known as the guy who chipped the corner of a 1728 pre-Revolutionary sideboard?
Not moi.