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Spencer
Despite lavish production values, meticulous direction, and the Oscar-nominated performance by Kristen Stewart in the starring role, 2021's Spencer is a disturbing film experience that provides a laid bare look at a historical icon that we don't want to believe is true, though it did have me riveted to the screen.
It's ten years after Diana Spencer married Prince Charles and their marriage is dead in the water. As this bizarre story begins, Diana is observed driving alone to the royal family's country estate for the Christmas Holidays, where she intends to end her marriage to Charles, but her agenda is derailed when we are privy to what appear some mental health issues.
Steven Knight, who received an Oscar nomination for his screenplay for Dirty Pretty Things, has provided us with a story that strays beyond fact and into speculation, as it only could, allowing uncomfortable looks into private moments with the Princess, like the Helen Mirren film The Queen. Before she arrives at the estate, we watch Diana cross a muddy field to remove a coat from a scarecrow that she claimed belonged to her father. Before the closing credits roll, we learn that Diana is being haunted by the ghost of Anne Boelyn, that she likes to dress in front of her open window, and that she has experimented with self-mutilation.
In my review of the Nicole Kidman film Grace of Monaco, I stated that Grace Kelly might have felt trapped in her new princess clothes. This is the initial look we get at Diana here, but it goes to a much deeper, uglier level here. We watch her rebel as it's revealed that her clothes have been pre-selected for every family gathering. She refuses to join the family for Christmas Eve dessert, but later sneaks into the freezer holding the desserts and samples just about everything in there. There is a moment where she asks her maid lo leave her alone and the explanation she offered made my jaw drop. Most important of all, Diana is warned by more than one character in the movie that she is being watched at all times. Of course, she doesn't believe it, but as the film progresses, it appears to be true.
Director Pablo Larrain, who also directed Natalie Portman to an Oscar nomination in Jackie employs a stylish and intrusive look at Diana through several different methods that allow the camera to tell equal parts of the story. There's an extraordinary scene that has the family exiting Church after the Christmas Day service, where the camera delicately moves between Diana, Charles, and Camilla Parker Bowles that speaks volumes.
Production values are flawless, with a shout out to cinematography, costumes, and art direction/set direction. Kristen Stewart's eye-opening performance in the starring role fascinates throughout and mention must also be made of Timothy Spall as the head of royal family security and two-time Oscar nominee Sally Hawkins as Diana's favorite maid, Maggie. It's dark and sad and hard to believe at times, but I couldn't take my eyes off the screen.
Despite lavish production values, meticulous direction, and the Oscar-nominated performance by Kristen Stewart in the starring role, 2021's Spencer is a disturbing film experience that provides a laid bare look at a historical icon that we don't want to believe is true, though it did have me riveted to the screen.
It's ten years after Diana Spencer married Prince Charles and their marriage is dead in the water. As this bizarre story begins, Diana is observed driving alone to the royal family's country estate for the Christmas Holidays, where she intends to end her marriage to Charles, but her agenda is derailed when we are privy to what appear some mental health issues.
Steven Knight, who received an Oscar nomination for his screenplay for Dirty Pretty Things, has provided us with a story that strays beyond fact and into speculation, as it only could, allowing uncomfortable looks into private moments with the Princess, like the Helen Mirren film The Queen. Before she arrives at the estate, we watch Diana cross a muddy field to remove a coat from a scarecrow that she claimed belonged to her father. Before the closing credits roll, we learn that Diana is being haunted by the ghost of Anne Boelyn, that she likes to dress in front of her open window, and that she has experimented with self-mutilation.
In my review of the Nicole Kidman film Grace of Monaco, I stated that Grace Kelly might have felt trapped in her new princess clothes. This is the initial look we get at Diana here, but it goes to a much deeper, uglier level here. We watch her rebel as it's revealed that her clothes have been pre-selected for every family gathering. She refuses to join the family for Christmas Eve dessert, but later sneaks into the freezer holding the desserts and samples just about everything in there. There is a moment where she asks her maid lo leave her alone and the explanation she offered made my jaw drop. Most important of all, Diana is warned by more than one character in the movie that she is being watched at all times. Of course, she doesn't believe it, but as the film progresses, it appears to be true.
Director Pablo Larrain, who also directed Natalie Portman to an Oscar nomination in Jackie employs a stylish and intrusive look at Diana through several different methods that allow the camera to tell equal parts of the story. There's an extraordinary scene that has the family exiting Church after the Christmas Day service, where the camera delicately moves between Diana, Charles, and Camilla Parker Bowles that speaks volumes.
Production values are flawless, with a shout out to cinematography, costumes, and art direction/set direction. Kristen Stewart's eye-opening performance in the starring role fascinates throughout and mention must also be made of Timothy Spall as the head of royal family security and two-time Oscar nominee Sally Hawkins as Diana's favorite maid, Maggie. It's dark and sad and hard to believe at times, but I couldn't take my eyes off the screen.