Fackham Hall Review – A Fast-Paced, Witty Takeoff on Downton Which Is Pleasantly Ephemeral.
It could be the notion of an ending era in the air: following a long period of quiet, the spoof is enjoying a resurgence. The past few months witnessed the rebirth of this lighthearted genre, which, when done well, skewers the self-importance of pompously earnest genre with a torrent of pitched clichés, visual jokes, and stupid-clever puns.
Playful eras, it seems, give rise to self-awarely frivolous, laugh-filled, welcome light amusement.
The Latest Offering in This Absurd Resurgence
The most recent of these silly send-ups is Fackham Hall, a takeoff on the British period drama that needles the easily mockable self-importance of wealthy British period dramas. Co-written by UK-Irish comic Jimmy Carr and directed by Jim O'Hanlon, the feature has plenty of material to draw from and exploits every bit of it.
Opening on a ridiculous beginning to a preposterous conclusion, this amusing upper-class adventure packs each of its hour and a half with gags and sketches running the gamut from the puerile to the truly humorous.
A Mimicry of Upstairs, Downstairs
Much like Downton, Fackham Hall offers a spoof of very self-important the nobility and excessively servile staff. The story revolves around the incompetent Lord Davenport (brought to life by an enjoyably affected Damian Lewis) and his anti-reading wife, Lady Davenport (Katherine Waterston). After losing their male heirs in a series of tragic accidents, their plans now rest on finding matches for their offspring.
The younger daughter, Poppy (Emma Laird), has achieved the aristocratic objective of a promise to marry the right close relative, Archibald (an impeccably slimy Tom Felton). However once she backs out, the pressure transfers to the single elder sister, Rose (Thomasin McKenzie), considered an old maid at 23 and who harbors dangerously modern beliefs concerning female autonomy.
The Film's Laughs Works Best
The film achieves greater effect when joking about the stifling norms placed on Edwardian-era ladies – a topic often mined for self-serious drama. The trope of respectable, enviable womanhood supplies the best comic targets.
The storyline, as is fitting for a purposefully absurd spoof, takes a back seat to the gags. The co-writer serves them up maintaining an amiably humorous rate. Included is a killing, a bungled inquiry, and a forbidden romance between the plucky thief Eric Noone (Ben Radcliffe) and Rose.
A Note on Frivolous Amusement
It's all in lighthearted fun, however, this approach comes with constraints. The heightened silliness inherent to parody can wear over time, and the comic fuel for this specific type expires somewhere between a skit and a full-length film.
After a while, you might wish to retreat to the world of (very slight) reason. Yet, it's necessary to respect a genuine dedication to this type of comedy. If we're going to amuse ourselves unto oblivion, it's preferable to find the humor in it.
