Spencer, 2021.
Directed by Pablo Larraín.
Starring Kristen Stewart, Timothy Spall, Sally Hawkins, Sean Harris, Jack Nielen, Freddie Spry and Jack Farthing.
SYNOPSIS:
Set over three days spent at Sandringham estate at Christmas, Diana, Princess of Wales, struggles to cope with tradition and expectations.
For fans of Pablo Larraín, the announcement that the Chilean director would be helming a biopic about Diana, Princess of Wales, was a big deal. With a strong precedent in 2016’s Jackie proving Larraín’s ability with “true stories”, the prospect was quite tantalising, and only became more so considering other names attached: Peaky Blinders creator Steven Knight penning the script, cinematography by Claire Mathon (Portrait of a Lady on Fire, Atlantics), and producers including Toni Erdmann director Maren Ade. Add in the fact that Kristen Stewart had been cast in the lead role, and on paper Spencer looked like it could be a very special project, or at the very least, an intriguing one. Thankfully, the film does not disappoint.
There are a great many positives to the film, including Mathon’s superb imagery, however it is very easy to single out the two very best things. Stewart is truly something to behold as Diana, not least because it is a character so far from the shy, introvert we usually see her play. Diana does share those characteristics, but there is something about her energy, and willingness to speak honestly, brazenly even, to anyone and everyone, which paradoxically implies her extroverted nature. This is part of what makes the character fascinating to watch, and Stewart knows exactly what she’s doing. The second joy of the film is the score, courtesy of Jonny Greenwood. Coupling short, repetitive harpsichord runs with swooning strings creates a tone equally regal and emotive; yet another contradiction that the film loves to deal in.
Of course, Diana is rarely alone, and sparks fly in the interactions. There are very satisfying exchanges between Diana and either Charles or William, both of whom seem to have reluctantly accepted the burden that Diana cannot. And there are wonderful, though not quite believable, therapy sessions with serving characters played with unsurprising brilliance by Sean Harris and Sally Hawkins, allowing Knight to stretch his creative legs to good effect. But all of this is a little undermined by the use of Timothy Spall’s man-in-the-background-cum-cartoon-villain, who somehow wields a malevolent power over Diana.
The resulting picture really is wonderfully captivating, emotive and insightful. But it does showcase a few alienating cliches of the genre, and basic structural devices – something you might expect more from Anthony McCarten (Bohemian Rhapsody, Darkest Hour), than from Knight. The script neatens things up, corrects the story so that it feels satisfying and sanitised; jarring with Larraín’s approach which is often more passionate and less tidy. As Diana speeds away into freedom, sons in tow, the song playing in the background might as well be Queen’s “I Want to Break Free” (although as it happens, the musical choice is another uninspired and heavily cringy choice). It’s an altogether Hollywood ending, in what feels like a film fighting to be an auteur’s vision.
Spencer doesn’t quite have the electricity of Larraín’s recent works; it captures neither the breath-taking attack of Ema, nor the drowning feeling of Jackie. Prioritising instead a decidedly impressive central performance, the film does restrain the director. On the few occasions Larraín’s creative instincts appear through the sewn-together curtains of what very easily could have been an unremarkable film (see 2013’s Diana for details), emotion spills over, providing a glimpse of the tumultuous storm bubbling within. It is these moments that turn Spencer from an above average biopic to something altogether more striking.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★
Dan Sareen
