Theatrical Review of The Queen

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"The Queen", director Stephen Frears' Oscar nominated film, details the days after Princess Diana's death as billed, but it does something else: it showcases the perpetual tug-of-war between the office of the Prime Minister and the largely figurehead position of the monarchy.

The titular character, Queen Elizabeth II (Helen Mirren), is said to be in a state of shock after Diana's death. More shocking, though, to her son, the prime minister and the British people is the callous disregard toward the death. She battles different figures within her country at every turn to try and keep Diana from looming over the royal family any longer. She initially forbids Prince Charles from taking the royal plane to retrieve the body; she and Prince Philip adamantly refuse to fly a flag at half-mast at the palaces; and for the life of her, Elizabeth can't understand why the British people mourn Diana as they do.

In her eyes, the people have always been strong, dating back to World War II. The royal family, with the exception of Charles, believes the grieving process will take roughly two days, at which point the people will go back to their lives. After nearly a week of mourning and mounting pressure from all sides, a stag on the estate grounds changes her mind.

Initially, I couldn't understand the praise being heaped upon this film. Sure, Helen Mirren is as close to Hollywood royalty as you can get, but the story of Elizabeth versus Tony Blair? It sounded, honestly, boring. But something happened within the very first scene of "The Queen": I became entranced with the story on the screen. The way Mirren doesn't allow a hint of emotion to escape from any pore. She is the very definition of calm and collected, especially in the face of great adversity. Blair, initially, as well as the British people, see this emotionless monarch as being unfeeling and out of touch. That's not the case and it's terribly cruel to think Elizabeth is an emotionless being, based on this story.

According to the research done by screenwriter Peter Morgan, the queen deeply believes in what she preaches: a period of solitary, dignified grieving followed by a return to normal. In her eyes, that's what the British people want from her and, in turn, what she expects from them. So it's a revelation to her about the outpouring of grief. And in her transformation lies the very heart of the film. Not in the fact that Diana died nor in the fact that a human being was lost, but in the idea that this strong woman's convictions were changed.

As a counterpoint, Blair charts the exact opposite course. He starts by trying to change the queen's mind and, as he slowly begins to understand her, he becomes her biggest fan within the government. Notice the fire with which he defends her near the end. That would have been unimaginable during their first meeting, yet they've both come part way to meet each other in the middle. It's as much as can be expected, I believe, especially considering the thinly disguised venom spewed in Diana's direction by members of the royal family. (Philip is arguably the worst, slandering the people who would be attending Diana's funeral: homosexuals and pop stars.)

Prince Charles, Diana's ex-husband, comes off in the film as being a man who still loves this woman, despite both of their new relationships. He fights his mother, the queen, as much as he can to secure the proper burial rights for her. There's also a sadness in his eyes, as if he realizes he hasn't only lost this special woman, but the world has lost a champion.

If there is one part of the Diana tragedy the movie does overlook, it's the things that she did. Seen only in brief flashes of newsreel footage, we see Diana engaged in the charity work she was known for; it is all but lost on the royal family. They don't understand why she meant so much to so many people from all walks of life. They don't understand why Blair called her the People's Princess. They simply don't understand. The audience, drawing on their knowledge of the princess, can fill in the blanks, though they shouldn't have to. There is no reason why the script can't lay out the necessary information.

That is a minor nitpick, to be sure, in a film filled with exquisite production design and remarkable performances. "The Queen" doesn't carry the political punch of "Catch a Fire" nor does it make the audience roll with laughter like "Little Miss Sunshine". What it does, though, is give us the chance to see a woman shrouded in secrecy at a vulnerable time. The first glimpse the public had of the queen after Diana's death was on national (and international) television. Some called her stiff and unfeeling; it would be impossible to do so after learning the reasons why she maintained her veil of seriousness.

One piece of the Diana story that is missing from the film-which I expected to come into play somewhere-was Elton John's "Candle in the Wind". He is featured, along with other celebrities, at the funeral in news clips. I can't imagine why-outside of royalties-his tribute song to the princess was left out. Even a few bars would have sufficed.

"The Queen", on the scale of 1 to 10, rates an 8. This is a family friendly film with the exception of one scene, which may be too graphic for some age groups. However, they should be fast asleep by the time it comes on screen. Definitely and wholeheartedly recommended.

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