Since its launch in 2010, Downton Abbey went on to deliver 47 episodes, and five specials, before heading to the big screen, where now it says its farewell with this its third and final film.

We’re in safe, familiar hands with Julian Fellowes, who wrote this film as well as created the show, as the family and staff receive us as guests one last time.

Lord Robert (Hugh Bonneville) and a few family members – and staff – are in glitzy London enjoying a show, starring family ‘friend’ Guy Dexter (Dominic West) and Noël Coward (Arty Froushan).

The time in the capital quickly turns sour however, when a scandal breaks, when it’s made public that Lady Mary (Michelle Dockery) was getting a divorce; with a break of a marriage like this frowned upon, Mary is quickly ejected from a party with royalty about to attend, and returns home under a cloud of shame.

All the family quickly return to Downton Abbey, where they are joined by Harold (Paul Giamatti), the brother of Lady Cora (Elizabeth McGovern), who brings with him some bad news.

It comes at a bad time for both family and staff, as it’s a turbulent period with many, upstairs and down, moving on.

Having shown its glad rags off for its theatrical release, Downton Abbey returns to our homes, where it belongs, for its finale.

It’s an impressive one too, directed by Simon Curtis again, with what was the largest budget ($50 million), making it look very grand; from the opening scenes in a CGI London, to a day at the races at Ascot, and a visit to the local county fair, it was money well spent.

And then a return to the house itself, looking resplendent on big screen and now small, as all the drama unfolds.

Fellowes wrote a beautiful script, that tugs at the heartstrings on many an occasion, with a changing of the guard within the abbey, that sees a number of characters preparing to move on. And with them doing so, it also serves as a mechanic for the audience to do the same, leaving us with emotional resonance as they say their – and our – goodbyes.

It’s a film about transition then, as well the social injustice of the time, where divorced women were shunned.

It gets quite schmaltzy to, with a number of references to past characters, which certainly adds to the nostalgia of it all. And the final scenes may well bring on a tear or two, just as it ends, dedicating it to Maggie Smith, whose Violet Crawly was sorely missed from its conclusion.

All in all, it’s a cosy, comforting visit, amid a sea of change for all involved, sumptuously shot with warm and elegant performances from all concerned, and is more than a fitting end as Downton Abbey closes its doors forever.