SPENCER : MOVIE REVIEW
A tribute to our beloved Princess Diana....
What would have been Princess Diana’s 60th birthday came and went this summer, marked by a solemn new statue in the Sunken Garden at Kensington Palace in London, showing her with three generically grateful children; this statue effectively superseded the one of Diana with Dodi Fayed in Harrods department store, which was taken down in 2018. But maybe that new bronze image will itself be superseded by the arthouse-bizarro Diana promoted in Spencer, an entertaining, if overwrought, overpraised and slightly obtuse movie, an ironised fantasy opera without music. It is about Diana having a “crack-up” over one stifling Windsor Christmas at Sandringham in 1991, with which screenwriter Steven Knight appears to have transcribed a dream he once had after eating his bodyweight in brie. The director is the Chilean film-maker Pablo Larraín, and it features an intrusive score by Jonny Greenwood, deafeningly cranking up the dysfunction.
Diana is cleverly impersonated by Kristen Stewart, who is particularly good at shoulder-shrugging convulsions of misery and protest – although this big-screen awards-season performance is not as good as Emma Corrin’s relaxed and sympathetic portrayal in TV’s The Crown.
Spencer is as precise and intricate as a luxury timepiece, each piece fitting together perfectly, no matter how small. Sally Hawkins only has a few scenes as Maggie, Diana’s trusted dresser and confidant, but exudes such warmth and good humor that we miss her as much as Diana does when she goes away. As Alistar Gregory, a former major and clear company man tasked with keeping the press away, Timothy Spall is all pursed-mouth menace. But the film is Stewart’s to carry, and she does it by going less minimalist than is her habit and by allowing an awareness of the absurdity of Diana’s situation to seep in, even as she plays the woman’s suffering entirely straight. Diana’s is such a singular dilemma, that of the tormented woman trapped in line to be queen in the 1990s, that the only person able to relate within the movie itself is Anne Boleyn, who, played by Amy Manson, shows up in visions to offer her sympathy and warnings. In some ways, the alienating plushness of her troubles is the biggest hardship of them all for Diana. She can’t help treating the staffers surrounding her as colleagues instead of people who are paid to inform on her, no matter how fond they might be, and Stewart plays the moments in which Diana blurts out her feelings as akin to the way the character runs to the bathroom after meals.