Downton Abbey

This is not the sort of show I would willingly watch, but my wife wanted to see it, so I'm along for the ride. The acting and dialog are absolutely perfect. In fact, the show is worth watching just for the character Violet (Lord Grantham's mother) played by Maggie Smith. She has hilarious lines in every scene she's in, and delivers them perfectly. Perfect dry English humor. The automobiles used in the show are amazing. Almost characters themselves. Most of all, this show has inspired me to treat my own servants better. I've been working on learning all their names, even the second footmen. Of course, the show has been the cause of some disagreement in our house. My wife sees the good side of Lady Mary, but I just can't see it (the actress who plays the character does so splendidly, though).

First off i am definitely not the demographics this show was trying to capture. I am a United States Marine and I really don't think the writers had a guy like me in mind. All I can say is I'm so glad I took the time to watch this show. I absolutely loved it and have now watched the series twice. Its not action packed or anything like that. It is all about the writing and the characters. Just brilliant from start to finish and is a show the entire family can watch together. Maggie Smith if you ever read these comments just know you played my favorite character out of any series I've ever watched. You made this show absolutely perfect! If you are debating on whether or not to give this show a try take it from me, you wont want the show to ever end...

What can i say? Since I saw the first season I've been an unconditional fan of Downton Abbey. I think it's one of the most historically accurate and refined series of recent years. Over the course of six seasons, we have been following the life and adventures of the Crawley family, which has lived in Downton Abbey for generations. We also follow the lives of house servants, with all their quarrels, ambitions to rise in life, and leave behind service in the big house. And it is rare to find a series with as much respect and appreciation for historical rigor as it has shown over the six seasons. An enormous effort has been made to make real the historical period in which everything happens, which does not exceed fifteen years (1912-1926). A short time span between the six to seven years the show aired, which allowed the cast's natural aging to dispense with make-up gimmicks to forge the characters' aging. The script, created and written by Julian Fellowes, is interesting and covers well hot topics from that historical period: the sinking of the Titanic, the First World War, the political turn of Russia, the rise of Nazism, the emancipation of women, the loss of influence of aristocratic families etc. We can really see how all this has changed society, political life, mentality. We felt transported to that time to see how this noble family had a way of life threatened with extinction by the rapid advancement of time. Serious themes, in fact, but lightly approached and with room for moments of perfectly British humor, in charge of strong characters like Violet, who is against everything modern, and Mrs. Pattmore, always with a sharp tongue. There are no villains here ... despite some classic antagonists appearing in certain seasons (such as Bates's ex-wife) the one who comes closest to a villain is first footman Thomas Barrow, although last season be a true redemption for the character. In addition to it, we have some situations where generally good or neutral characters antagonize each other. This is the case of the Crawley sisters, where rivalry and mutual grudge prevail, while blood ties unite them, or Violet and Isobel, who cherish mutual love and hatred. The cast is excellent and congratulations. Maggie Smith, a veteran, never disappoints us by impersonating the perfect Victorian lady. Hugh Bonneville was perfect in the role of Robert. Laura Carmichael and Michelle Dockery are amazing in the roles of the Crawley sisters. Jim Carter is the perfect butler and makes a great pair with Phyllis Logan. A word of appreciation, too, for Elizabeth McGovern, Jessica Findlay, Brendan Coyle, Joanne Froggatt, Robert James-Collier, Sophie McShera, Lesley Nicol, Penelope Wilton, Kevin Doyle, Siobhan Finneran, Dan Stevens, Lily James, Jeremy Swift, Sue Johnston and Zoe Boyle. With sleek production and smooth photography, magnificent scenery (Highclere Castle's choice was very wise and made the house an additional character to the plot, which proves that I am right when advocating location shooting rather than abusive use of the green screen Downton Abbey is a true time machine. Grand, magnificent, it is certainly one of the best period television series of this decade.

I enjoy a good period piece. _Downtown Abbey_ starts off well. Attractive setting, great costumes, high production values, all the eye candy one would hope for. The characters are mostly good even if many are clearly two dimensional and obviously fictional, with some a little more lovable and some a little less, (ugh, Bates). I can accept the notion of modern sensibilities inserted into a period piece. This is, after all, light entertainment not a historical reenactment. I can also accept revisionist history whereby our fictional heroes are all somehow directly involved in the significant events of the day. But I still expect a bit of integrity and maturity in the character development, and sadly _Downtown Abbey_ drops the ball in that regard. Petty sensibilities leading to false assumptions are the norm and the driving force for so much of the plot. It's a tired, albeit well proven and effective model for creating drama instead of allowing the story to flow naturally from the depth of the characters themselves. I faithfully immersed myself in the first season of _Downtown Abbey_ back in 2011 during its original airing. I cringed and winced a bit, particularly at Mary's fickleness, O'Brien's treachery, and the ever pathetic Bates. Then season two began and the soap opera kicked up to extra suds. Bates accused of murder! I'd had enough. Even as a guilty pleasure it had become too much of a chore to stay emotionally invested. Eight years on and I'm rewatching _Downtown Abbey_ again, as it conveniently follows after _Victoria_. And I find my feelings are exactly the same as they were 8 years ago. Starts off well, progressively getting more and more shallow by the end of season one. Can I tolerate season two and beyond?

Back in the 1980s Granada made two long drama serials at almost the same time. One was "Brideshead Revisited" based on Evelyn Waugh's novel and the other was "Jewel in the Crown" – the dramatisation of Paul Scott's extraordinary "Raj Quartet". Both these series were masterpieces and if you watch them today you will find they have stood well the test of time. The drama tradition of Granada, of some of the other commercial companies and, of course, of the BBC is strong and is something of a jewel in the crown of British television. It is also an important source of revenue, not least in the United States, where posh British TV has a small but well-heeled following. This brings me to "Downton Abbey", superficially in the great tradition and with obvious links also to the very successful and ground-breaking "Forsyte Saga" and "Upstairs Downstairs" of the 1960s and 1970s. Downton is set in the second and third decades of the twentieth century and we have moved from Edwardian complacency and excesses through the horrors of the Great War to the early 1920s. As with "Upstairs Downstairs" we see life, and to an extent history, through the eyes of the aristocracy and simultaneously from the perspective of those in the Servants' Hall. Over the 16 episodes that have so far been transmitted, spanning the years 1912-1920, the stories are reminiscent of a Soap like "Eastenders" or "Coronation Street" in that there are episode ending cliff-hangers and improbably extreme story developments. Every historic event from the sinking of the Titanic through women's suffrage, the Irish independence movement, the Battle of the Somme, the post-war Flu epidemic and many others is a trigger for something to happen in the plot. In addition we have adultery, murder, homosexuality, alcoholism, illness and recovery or death, the black market, inter-class affairs and marriage, and most of the seven deadly sins in sharp relief. The stories are often signalled rather obviously and it is an amusing parlour game to predict what will happen next - as with any soap. Taken as a whole the story is totally preposterous and the "issues" are not handled with any subtlety at all – there is none of the restraint of a Galsworthy, a Waugh or a Scott. The starting point for Downton Abbey was in the creative mind of the writer Julian Fellowes and its main inspiration was clearly that author's film script for "Gosford Park" - which won an Oscar for Best Original Screenplay in 2002. But whereas this film lasts a couple of hours and was tightly directed by Robert Altman Downton goes on for 20 – and running! The characters are largely pastiches of real people. Maggie Smith, for example, is wonderful as the Dowager a figure straight out of Pantomime - Dame Maggie overtly seeks hisses from the stalls. Fine actors like Hugh Bonneville, Penelope Wilton and Dan Stevens struggle with a script that is always close to parody and sometimes spills over into farce. Indeed at times there is a slight sense that they know what they are being asked to say, or the absurd plot twist in which they are expected to participate, has moved into lampoon territory and that Mel Brooks or the Directors of "Airplane" or "Something about Mary" are in charge. The great strength of Brideshead Revisited, Jewel in the Crown and the Forsyte Saga is that the stories had passed the tough test of being seen as credible in the original novel format. They were great books before they became great television. The original screenplay of "Downton Abbey" has had none of the checks and balances that apply to the written word. And because the medium is only to be visual, and in a number of time-limited episodes, it is presumed that there is a need to provide colourful action rather than attempt any true characterisation. We are supposed to like the Earl of Grantham because he is a benevolent toff – fragile but caring with a true sense of noblesse oblige. But compare his character, which is utterly superficially sketched, with the way that Evelyn Waugh gradually introduces Lord Marchmain in Brideshead - we feel we know the Marquess long before we meet him. The same superficiality applies to Downton's "below stairs" characters most of whom are stereotypes we have met frequently before. The visual impact of "Downton Abbey" is strong and in this area the production values are high. The sets, both in the studio and on location, are beautifully designed and the costumes and other artifacts are good and look authentic. There is a strange paradox here which I suspect has led some to assume that because it looks good then it is good - perhaps ignoring the often wooden acting and sloppy direction. Downton's viewing figures are good and this is no doubt reflected directly in the income received from advertisers and the revenue from the sale of overseas rights and DVDs etc. - it is evidently a profitable venture. So a legitimate response to those critics who deplore the triviality of the series would be to never mind the quality and weigh the receipts. There is nothing really wrong with "Downton Abbey" if you see it for what it is – a Soap of fleeting interest with can pass the time on an autumnal evening. However Downton does take itself quite seriously at times and some of the acting is so pompously self-important that it can only be seen as light comedy, which it isn't meant to be, or over-written moralising trash - which at times it comes dangerously close to being.

DOWNTON ABBEY is the kind of "Masterpiece Theatre" material that the British do with such finesse that one can only sit back and marvel at the sets, costumes, music, and above all, the performances that are all on an extraordinarily high level. The moment the first series ended, I wanted to see more--so no doubt I'll be ordering my copy of Season 2. Central among the gifted performers are Maggie Smith (as the Dowager Countess Violet), Hugh Bonneville as the Earl of Grantham, and Elizabeth McGovern as Cora, his American wife. But all of the lesser roles are played to perfection with special mention for Brendan Coyle as John Bates, Joanne Froggatt as Ana, Michelle Dockery and Laura Carmichael. Complicit in schemes involving wicked behavior are two of the downstairs help played brilliantly by Siobhan Finneran and Rob-James Collier as Thomas, both of whom cast a shadow over the household. The plot has dialog that is always witty and good for a quick chuckle or a gasp of disapproval and the character motivations are all played out in a convincing manner true to each person involved. Very compelling to view the fluid story unfold with its many sub-plots and shadings of the class warfare that existed in the U.K. then and now. Absolutely one of the most rewarding and richly satisfying shows from Great Britain that have come along in recent years. The color photography amid location settings create the proper atmosphere for the entire story which takes place just before WWI among a wealthy titled household undergoing some major changes inside the castle walls.

I'll agree that the British know how to do period drama better than anyone (certainly better than us Americans) and this is no exception. You'll be captivated immediately and hours will go by before you realize you've spent an entire afternoon in front of your television set. The relationships built between all characters of this show are what tie it up in a nice, fluffy (although not always pretty) bow. Brilliantly written and set in lush, vibrant surroundings with detailed costuming, this drama series should set the bar for others. No busy dialog or wasted scenes, just good, solid craftsmanship in every episode of this poignant family story. You'll do well to invest in seasons 1 and 2. Looking forward to the arrival of season 3!

I remember the '70s and another Series which was cut more or less in the same parameters as this one, and that was "Usptairs, Downstairs". This too was a masterpiece of a social study, of the times at the turn between the 19th and early 20th Century. The only difference was that it was set in a City based household, while "Downton Abbey" is set in the very elegant English countryside. Both series display the best of British Theatre and Cinema, in terms of production teams, actors, technicians and general staff. It is absolutely to be considered high quality movie-making, even though meant for the home screen. Everyone, but everyone, in this series, knows his business and does portray his own character with honesty and truth. There is no dull moment, due to a skillful editing of scenes that are almost put together like in an elegant dance sequence. It is a very intelligent show that explores every facet of Society as it was structured (so far, in season 1 and 2), before, during and right after World War I, and as people behaved and felt back on the Homefront, being so detached, yet totally involved with the destinies of those men sent abroad to fight. It is no melodrama in the classic sense of the word. It is an honest depiction of what people "downstairs and upstairs" went through during those years. The conventions, the rigid rules, the traditions, all changing just in a ten year period and being uprooted and twisted by the new winds of war. There is something for everybody here. You want a thrilling story? Check! You've got it. You want love and romance? Check! You've got it. You want a social drama? Check! You've got it. You want a war drama? Check! You've got it too. It's a very human story of all characters on board of this static ship that is "Downton Abbey". As firm as the Rock of Gibraltar one might say. And yet, not so static after all... Lots is happening here, and this, day by day. Just think of the nightmare to have a sudden dinner invitation. The kitchen is in uproar, serving hands are missing, the masters are nervous, and everything seems to be doomed from the beginning, but then, somehow, everything comes together beautifully, like by magic... Magic? Let's say blood and a lot of sweat... I started this saying that it was addictive, and indeed it is. AFter an episode is over you immediately want to jump back in and watch the next to see how it goes on. I only have Seasons 1 and 2 on DVD and I am already asking for the 3rd Season to appear, just to know what happens next. I simply can't wait... I hope it pops up soon.

This is beautifully filmed, with authenticity and societal values inherent in both script and acting. The story weaves in and out of two layers of society -- the masters and the servants -- giving us glimpses into the power struggles occurring on each level, and the colourful characters who inhabit both. I particularly enjoy seeing the large-scale production involved in taking care of a household of this magnitude, and the care taken with all the details. Given today's rapid pace, it's almost peaceful to watch this deliberately slowed pace, and to get a genuine sense of what it was like to be an estate-owner in this period. Housemaids who gossip, independent young men who don't appreciate the butler's code of honour, catty women and genteel sophisticates all combine to make this a very enjoyable romp among the rich of yesteryear!

At 19 minutes in I was hooked. I remember when Lady Marjorie Bellamy of Upstairs, Downstairs died on the Titanic and the impact it had on my family. We felt this because of the investment we had made in the series. This is a series where one can become just as addicted. The lives and loves of the Grantham and the Crawly family are well-written and performed beautifully. The castle and the grounds a pleasure to look at, as are the costumes of the time. As Elizabeth McGovern and I are equal in age, and I have grown up watching her on the silver screen, hers was a warming and dignified touchstone for me personally. The cast couldn't be better suited for their roles, not one can be called a weak link. Maggie Smith has a presences all her own, making each of her projects shine. I am on episode four and can't wait for the remainder. Once again our cousins across the pond show us "how good drama" can be.

I was hooked after the first five minutes and come heaven, hell or high water, I was going to see Downton Abbey twice, the second time to pick up the points which I knew would be too fast, and possibly convoluted, to follow the first time round. I have watched Masterpiece since the inaugural with Alistair Cooke, and I can't remember anything as engaging and entertaining as this. As a cousin of an English family with deep affection for the monarchy and respect for the aristocracy, my perspective is an odd mix of Democratic ideals, old-time Republican values and curiosity about and appreciation of the social structure which prevailed so long in England. Downton Abbey appears to present a very balanced depiction of the social, political, economic and historical forces which drove the lives and fortunes of the classes and produced strange and almost incomprehensible behavior to comply with an unwritten, all-pervasive code. I am completely fascinated by the events and reactions and what would appear to be almost puppet-like behavior on occasion. I pray for a sequel.

Julian Fellowes' intelligent (and sophisticated) take on pre-World War I society of aristocrats and worker-bees is smart-writing on the changes we will see over the next 25 years, encompassing two major wars and a great depression. The writing and the casting make this many steps above "soap opera" as the themes of social mobility and aristocratic incompetence are sharply etched. All of it pleased me, from the smallest character to the dozen or so leads, lead off by the always-brilliant Maggie Smith. This is to be enjoyed for both its eye-candy (Downton Abbey) and its themes of rich- and-poor dilemmas. Gorgeously shot with accurate art-direction. Wonderful all the way around.

OK so I'll admit, Downton isn't a academic study of social change, nor is it entirely original ( let's be honest) - but it doesn't pretend to be! Does that make it any less of a excellent drama? No! Does That decrease the clever, witty and delicious writing? No! Does it cloud the ( at many moments) wonderful acting? No! Admittedly it isn't hard core drama - but it was lovely, it made me feel warm, it let me get all cross and annoyed (in a nice way), it got me exited - and soothed. Honestly what more can you ask for?? Maggie Smith is excellent as the snooty Dowageress, Brendan Cole does Mr Bates very well - and Joanne Froggat (who I only manage to catch on tele occasionally sadly) who was equally lovely. It was all just lovely!

I have to say I loved Downton Abbey, and thought it was one of the better programmes airing this year along with Luther, Sherlock and the stunning Channel 4 drama Mo. Downton Abbey was beautifully produced, well cast and interesting, when it was first advertised it looked as though ITV had a hit and from the first episode I think Downton Abbey lived up to that expectation. I for one loved how elegant Downton Abbey was. The photography was beautiful and skillful, while the scenery was breathtaking and the costumes were exquisite. The scoring was also very good, often very hypnotic and beautiful. The direction was controlled, the episodes were well paced and for me the characters were believable my favourites being Violet and Robert. The writing in general was another strength. It was witty in a subtle way, is often funny and could be heart warming and poignant too, the best coming from Violet and Mrs Hughes I felt. The only bit of dialogue that rang false, and this is such a minor criticism, is Robert's "Downton is my third parent and my fourth child" which came across as somewhat cheesy. And the stories were well written and as believable as the characters, not to mention pretty original. And of course the acting was excellent. Maggie Smith was perfect as Violet. She plays this sort of character well, and she had such good timing and dialogue. Plus I love her in costume. Hugh Bonneville was dashing, and I cannot get over how beautiful Michelle Dockery was here. Jessica Brown-Findlay was also fine as another of my favourite characters Lady Sybil, and Phyllis Logan was always good value though I would love to see more of her if and when the series returns. In conclusion, Downton Abbey was a wonderful series thanks to the great cast and production values especially and I cannot wait to see more. 10/10 Bethany Cox

Having had my fill of 'detective/mystery/thrillers', I have longed for a 'proper drama'. Here we have a wonderful piece, drawing comparisons with such milestones as 'Upstairs, Downstairs', 'The Onedin Line' and the BBC's 1990's production of 'Pride & Prejudice'. An excellent cast, marvellous sets, costumes, writing and storyline make this a truly marvellous (and rare) television event. Yes we know the history, yes we've seen a lot of it before and yes we know the 2nd series (and I sincerely hope there is one) will focus on the First World War but that, in part, is what makes it all the more exciting. The threat of the war looms like a menacing shadow, you just know it's there but fear for and sympathise with the characters, wondering how their safe, secure and seemingly everlasting world will cope with the coming onslaught. All the actors are excellent but special mention must be made of Maggie Smith who is gifted some marvellous lines, delivered as ever, with perfect timing and characterisation. Downton Abbey is something to look forward to every week and savour as a brilliant piece of television.

For me at least Downton Abbey was elegant, controlled and subtly witty. The scenery, of course, is very good. (anyone interested can find short interviews with actor Hugh Bonneville and writer Julian Fellowes via youtube and be infected with their enthusiasm as well as getting an explanation, if you need one, of the setting) The house is suitably dramatic and the fabrics, the costumes, the camera shots of ringing bells and curious meal courses in the form of fences of asparagus, the morning light, or lit windows across the lawn, and the smooth work of all the actors make it something to watch and be both interested and relaxed. There is just enough drama and just enough calm, nothing seems overdone, and (after two episodes) the characters, as it switches between moments of their various days, are none of them an unwelcome change from the view of the last. It is a costume drama but 1912 after all was just as real as 2010 and it is, quite separate from costumes, about people, several different people, house workers and owners, their motives, their histories, pain, relationships, scheming allegiances, awkwardness or ease, old ways and the coming of those things we now call modern… electric lights, the middle class…Enjoyable so far. However, if you find these things dull, if you need constant shocks, use the word inoffensive as an insult or dislike all period dramas, scenery or rich people…stay away. It's not hard to do.