Fackham Hall Review – A Brisk, Funny Parody of Downton Abbey That's Pleasantly Throwaway.
Perhaps the notion of end times around us: following a long period of inactivity, the spoof is making a resurgence. The past few months observed the re-emergence of this unserious film style, which, when done well, skewers the pretensions of excessively solemn genres with a flood of pitched clichés, physical comedy, and ridiculously smart wordplay.
Frivolous eras, apparently, create an appetite for deliberately shallow, laugh-filled, refreshingly shallow fun.
The Newest Offering in This Absurd Trend
The most recent of these goofy parodies is Fackham Hall, a Downton Abbey spoof that pokes fun at the easily mockable self-importance of opulent British period dramas. Co-written by stand-up performer Jimmy Carr and helmed by Jim O'Hanlon, the feature finds ample of material to mine and exploits every bit of it.
Starting with a ridiculous beginning to a preposterous conclusion, this enjoyable upper-class adventure fills each of its 97 minutes with jokes and bits ranging from the childish up to the authentically hilarious.
A Pastiche of Aristocrats and Servants
In the vein of Downton, Fackham Hall presents a pastiche of overly dignified rich people and overly fawning help. The story centers on the hapless Lord Davenport (portrayed by a delightfully mannered Damian Lewis) and his literature-hating wife, Lady Davenport (Katherine Waterston). Having lost their male heirs in a series of calamitous events, their hopes now rest on finding matches for their offspring.
The younger daughter, Poppy (Emma Laird), has secured the dynastic aim of an engagement to the suitable close relative, Archibald (a wonderfully unctuous Tom Felton). Yet once she backs out, the burden transfers to the unmarried elder sister, Rose (Thomasin McKenzie), who is a spinster already and and possesses dangerously modern beliefs regarding female autonomy.
Its Laughs Lands Most Effectively
The spoof is significantly more successful when joking about the oppressive social constraints imposed on Edwardian-era ladies – a topic typically treated for po-faced melodrama. The archetype of idealized ladylike behavior offers the most fertile punching bags.
The storyline, as is fitting for an intentionally ridiculous send-up, is of lesser importance to the jokes. Carr keeps them maintaining an amiably humorous pace. There is a murder, a bungled inquiry, and an illicit love affair featuring the charming pickpocket Eric Noone (Ben Radcliffe) and Rose.
A Note on Lighthearted Fun
Everything is in the spirit of playful comedy, but that very quality imposes restrictions. The dialed-up absurdity inherent to parody might grate after a while, and the comic fuel in this instance runs out at the intersection of a skit and feature.
Eventually, you might wish to retreat to a realm of (very slight) coherence. But, it's necessary to admire a wholehearted devotion to this type of comedy. Given that we are to amuse ourselves unto oblivion, it's preferable to see the funny side.
