New film goes beneath squeaky Queen image

By Kylie Jane Wakefield
Collegian Editor
January 24, 2007

With the slightest facial expression or change in tone, Helen Mirren shows exactly what her character, Queen Elizabeth II, is thinking or feeling at any given moment in The Queen. Mirren is subtle, clever and, most of all, she gives one of the best performances of all time. She doesn’t just play the Queen. She is the Queen.

Directed by Stephen Frears, The Queen chronicles the events of a week in September 1997 following Princess Diana’s fatal car crash. The story is told from the inside perspective of the British Monarchy, and attempts to explain why they acted in an unsympathetic manner following the ex-Princess’ death. The film finally gives justice to an issue that has stuck with the British people even years after the tragedy occurred.

The Queen begins with a time of change in England, as Tony Blair (Michael Sheen) is elected Prime Minister and is expected to radically shake the country’s politics. Blair is young, revolutionary and prefers to be addressed by his first name, even by Her Majesty. In a scene where the Queen grants him the responsibility of becoming Prime Minister, her graceful traditionalism shines through when she refuses to call him Tony and speaks of her longtime experience. She demonstrates a true passion for quiet sovereignty and wants what she believes to be best for her people.

When Diana’s death is announced, the Monarchy does not show a bit of remorse, although their country is in desperate need of condolence. The members believe that the Princess damaged the crown with her controversial and publicized actions. Prince Philip (James Cromwell) scathingly remarks that Diana manages to be “more annoying dead than alive” and the British people are mad for “sleeping in the streets and pulling their hair out for someone they never knew.”

As this fateful week progresses, the press discloses that a large number of citizens would be pleased to see the rule disestablished. Blair, always in a huff, tells the Queen these alarming facts while urging her to repair her image. She claims that her citizens will promptly get over the death and deal with their mourning in private. She believes that Diana, though a “people’s princess,” was no longer a part of the Royal Family and that she does not deserve such an honor as a half-mast flag raising. The Queen was raised to not make a big deal out of everything, even if it is death.

In the climax of the film, Her Majesty sits alone on a hill, silently sobbing. Mirren turns from the camera, as if to symbolize how HM doesn’t believe in public mourning. It is at this moment that the audience can truly sympathize with the Queen and understand why the Monarchy acted so stiffly.

After this turn occurs, the Queen and her family are outside of the Palace amongst her people, admiring the flowers for Diana. True sadness emerges in her face as she realizes that she has lost touch with her people. Mirren’s emotions have no need to be displayed through dialogue.

The Queen,/i> is marked by astounding performances by Mirren, Cromwell and Sheen. It is an extremely important film that makes us question the value of life in general. When it’s not being seriously affecting, it’s witty, allowing the audience to laugh in between the moments of harsh reality on a tragic subject. The beautiful cinematography and powerful orchestral music only add to its profound impact on the viewer. It finally allows us to understand why the Monarchy acts the way it does, even if it is portrayed negatively. After The Queen is over, it requires great thought and reflection, proving to be a highly significant film that will remain prevalent for years to come.

wakefieldk1@lasalle.edu

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