A Look at Fackham Hall – This Rapid-Fire, Witty Downton Abbey Spoof Which Is Delightfully Ephemeral.

It could be the sense of end times in the air: after years of dormancy, the parody is enjoying a comeback. This summer witnessed the re-emergence of this playful category, which, in its finest form, lampoons the self-importance of pompously earnest genres with a barrage of heightened tropes, visual jokes, and dumb-brilliant double entendres.

Frivolous periods, apparently, create an appetite for deliberately shallow, joke-dense, refreshingly shallow amusement.

The Newest Entry in This Absurd Resurgence

The most recent of these absurd spoofs comes in the form of Fackham Hall, a takeoff on the British period drama that jabs at the very pokeable self-importance of opulent UK historical series. The screenplay comes from stand-up performer Jimmy Carr and directed by Jim O'Hanlon, the movie has plenty of source material to work with and exploits every bit of it.

Starting with a ridiculous beginning and culminating in a outrageous finale, this enjoyable upper-class adventure crams each of its hour and a half with puns and routines ranging from the childish up to the authentically hilarious.

A Pastiche of Upstairs, Downstairs

Much like Downton, Fackham Hall offers a spoof of extremely pompous rich people and very obsequious staff. The story focuses on the incompetent Lord Davenport (played by an enjoyably affected Damian Lewis) and his book-averse wife, Lady Davenport (Katherine Waterston). After losing their male heirs in separate tragic accidents, their plans are pinned on marrying off their offspring.

The junior daughter, Poppy (Emma Laird), has accomplished the dynastic aim of a promise to marry the suitable close relative, Archibald (a perfectly smarmy Tom Felton). But when she withdraws, the onus falls upon the unmarried elder sister, Rose (Thomasin McKenzie), considered a "dried-up husk at 23 and who harbors radically progressive notions about female autonomy.

Its Humor Lands Most Effectively

The spoof fares much better when sending up the oppressive norms imposed on pre-war women – a subject often mined for po-faced melodrama. The archetype of proper, coveted ladylike behavior supplies the most fertile punching bags.

The narrative thread, as is fitting for a deliberately silly spoof, takes a back seat to the bits. The writer keeps them arriving at a pleasantly funny clip. Included is a killing, a farcical probe, and an illicit love affair involving the charming thief Eric Noone (Ben Radcliffe) and Rose.

Limitations and Pure Silliness

It's all in the spirit of playful comedy, but that very quality imposes restrictions. The heightened foolishness characteristic of the genre may tire quickly, and the entertainment value for this specific type expires in the space between sketch and feature.

At a certain point, one may desire to retreat to stories with (at least a modicum of) reason. Nevertheless, it's necessary to applaud a genuine dedication to the craft. In an age where we might to amuse ourselves to death, it's preferable to laugh at it.