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THE QUEEN
Directed by: Stephen Frears.
Produced by: Christine Langan, Tracey Seaward, & Andy Harries.
Written by: Peter Morgan.
Director of Photography: Affonso Beato.
Edited by: Lucia Zucchetti.
Music by: Alexandre Desplat.
Released by: Miramax.
Country of Origin: UK/France/Italy. 103 min. Rated: PG-13.
With: Helen Mirren, Michael Sheen, James Cromwell, Sylvia Syms, Alex Jennings, Helen McCrory, Roger Allam, & Tim McMullan.

This autumn sees the arrivals of two queens who couldn’t be more apart. Capped with a towering grey wig, Marie Antoinette’s Kirsten Dunst is draped in silk petticoats, partying into the wee hours. But it would be unthinkable that Helen Mirren’s Elizabeth II would give up a good night’s rest, other than to watch the news. Nothing could be further from the ostentation of Versailles than the British queen’s granite-like Balmoral Castle, where she’s at home trekking through streams in her rubbers or serving cold lamb stew in Tupperware.

Director Stephen Frears’ dramatization of Queen Elizabeth is a People exposé as edited by The Economist, divulging almost everything you want to know about this real-life palace Dallas during the week after the death of Diana, Princess of Wales. While the nation relaxes its alleged stiff upper lip and becomes touchy-feely, the monarch and her immediate family remain secluded and detached from the public grief. Newly elected and politically savvy Prime Minister Tony Blair (Michael Sheen) detects the mood of the country, but his recommendations to Elizabeth fall on stubborn ears. For the first time in her long reign, she becomes the subject of heavy criticism, if not scorn, from the rabid British press and her subjects, many of whom call for the monarchy’s abolition.

The screenplay infers more than confirms many of the rumors surrounding the royal family: Elizabeth skeptically raises an eyebrow as her husband, Prince Philip (James Cromwell), lectures on how Charles should have had a mistress during his marriage to Diana, like any sensible man; and the Queen Mother (Sylvia Syms) swills a beloved cocktail while watching her daughter on television. All the major players in the behind-the-scenes intrigues are a little bit sullied. (Even Diana is momentarily criticized by Blair. However, Frears has culled from the news archives dazzling footage of the princess.) But the proceedings are never sordid – Camilla Parker Bowles is just briefly mentioned. In fact, the most strident portrayal is the gangly Cherie Blair (Helen McCrory), wife of the PM and staunch republican. Her take on the royal family: “freeloading emotionally retarded nutters.”

Mirren’s performance is only one of several subtle performances for a subtle film, which is cutting at times, yet respectful. (None of the dramatic devices are intrusive.) Despite the occasional swipes at the monarchy, the film is a great PR move, a piece of pop culture keeping the queen well within the public eye. It presents her as a human being confronting change, secluded in her austere cocoon and bewildered by the change in British society, where the celebrity culture of Hello Magazine reigns supreme. And she’s not the only one confused. Any foreigner traveling to Britain might be baffled by the continuing staying power of any of the Spice Girls or other household and tabloid-ruling names, like Anthea Turner.

And at the end of the day, Elizabeth is still on the throne and most likely will outlast Mr. Blair, her 10th prime minister. Mirren – her eyebrows raised, mouth tight, and with added nasality to her voice – is not only a dead ringer for the ruler, but she has so much wit, effortless command, and a complete lack of vanity that anyone would be flattered by her intelligent portrayal. She was nominated for the Best Supporting Actress Academy Award as the queen in The Madness of King George, a small and introverted role compared to the other characters in that film, so it’s not a matter of whether she will be awarded for The Queen; the question is how many times. Kent Turner
September 30, 2006