A personal dilemma with a country's morale on the line By Hannah Dallman I saw this film on the suggestion of my husband. That particular Monday evening, I was unimpressed with the films that had been recently released and found myself ho-humming about what to see. Marie Antoinette was the only other thing that grabbed me, but the long running time on this particular night was a turn-off (not to mention Sophia Coppola's quickly developing "poor little rich girl" theme in her work, or at least that was my thinking at the time). So, I went to the theater to see a work that I was a little more than dubious about. I had my doubts because The Queen is a piece about people who are still living, and docudramas don't usually captivate me. I think it's a little strange to create a fiction (however much it happens to be based on fact or circumstance) about people who are still living. What peaked my interest then, was actually the director, Stephen Frears. High Fidelity has been the excuse in the Dallman household for dragging more than one visitor to our Windy City around to see what was shot where. So, off to the theater I trekked. The film opens with Helen Mirren, who plays Queen Elizabeth II, sitting for her portrait. Her likeness to HRM is quite remarkable, and the stoicism of the woman, and the gravity with which she holds her royal duties, are immediately sensed. Tony Blair has just been elected to office, and at the end of the summer, Princess Diana is killed. The main thrust of the film is about the week after Diana's death, and how the royal family, most prominently The Queen, and the public react to the death. Tony Blair, played by Michael Sheen, is endearingly naive about dealing with the royals (at least at first), but correctly gauges public sentiment about Diana's death. Despite his anti-monarchy wife and staff, he decides to try to coax The Queen in to making a public statement about the death. Elizabeth, however, does not see Diana as being part of their family anymore, much less an HRH, and so according to custom and etiquette, it is strictly up to Diana's family to deal with the (private) funeral arrangements. Public sentiment quickly turns against the monarchy and how they are handling things, and Blair attempts to the defend the royals, to no avail, until eventually The Queen responds by allowing a public, state funeral for Diana. Elizabeth's dilemma really is an internal one, and with such a stoic personality, it becomes a cinematic challenge to externalize it in a way that is genuine and comprehensible for an audience. The filmmakers here chose to use the figure of a stag that is being hunted by her grandsons (William and Harry, of course), and others in the royal household. The majestic creature has free reign of the estate, and it is only after The Queen decides to return to London and allow a public funeral, that the stag is killed on a neighboring estate. I think that this is an appropriate metaphor to be used, and I think it could even have been worked in to the film in a deeper way, since the stag doesn't make his appearance until about half way through. It is especially fitting because the animal was killed by an wealthy American tourist from the entertainment industry. HRM first runs in to the stag when her car breaks down on the estate, and she has to wait for a ride. On the screen, we see two old creatures, whose greatness is and nobility has become a rare thing, and who are in imminent danger of becoming extinct, it seems. The stately solitude and grandeur of the royal residences are in stark contrast with the bustle and lovable disorder of the middle class home of Tony Blair, and his down-to-earth office. The landscape of the royal estate is cool and crisp, and full of classic colors and costumes, whereas Blair's surroundings are warmer, less formal, more open and inviting. All of this, as part of the art direction, serves to underscore the film well. The film also used archival footage from Diana's last days, and subsequent news footage, mixed with footage also made to look like news footage. At first I balked at seeing it, feeling like it cheapened the story being told, but after some thought, I can see that the tactic was very aware of itself. The events in the film were so colored by the British press, notorious for their tabloid paparazzi, especially in Diana's case, so that sort of meta-awareness of the press is most important in telling the story. The technique also served to draw a distinct line between what might have been going on in the private worlds and minds of these people, versus what the general public was seeing and being told. While I watched the film, I found myself thinking a great deal about the Faustian bargain that having any sort of power, especially on this scale, seems to be. Those that you lead can never know the whole story, and will never understand your perspective completely. Leadership of this type can be a very tricky thing. I think that this was more clearly reflected in Tony Blair's story. He is apprehensive about dealing with The Queen at first, but then grows to have an affection for her, and sees the royal family as an important part of British life, much to the chagrin of his wife. It was never quite clear to me, however, what prompted this change of heart. I can make leaps about his sudden awareness of what the media does and how it spins things, but why he suddenly felt the need to protect the institution of the monarchy is a bit of a mystery to me. In the end, we're left with the sense that Tony and Elizabeth have come to some sort of understanding, even if under duress, about their power, and opposing politics, and will be able to lead their country better because of the ordeal. The Queen dir. By Stephen Frears Distributed by Miramax Seen Monday, October 23, 2006 @ AMC River East 21, Chicago —Hannah Dallman is the director of the film, A Whirling Tango, an Official Selection of the 2005 Chicago International Film Festival. NOT YET A SUBSCRIBER TO POLYSEMY? Make the choice to become one today — click here for POLYSEMY Print, or here for POLYSEMY Digital. ©2006 Polysemy. All rights reserved. |
