HM nails HM

Rating: 8/10 (16 September 2006)

The single aspect of 'The Queen' that enabled it to break out of the confines of TV drama originally envisaged for it into theatrical release is Helen Mirren's performance as Her Majesty. She combines powerfully the familiar and iconic image we have of the stoic, stern-faced and incorruptible monarch with an interpretation of what might be lying below the surface of that steely exterior. She plays it brilliant both for sympathy and comic effect in equal measure. The span of the film encompasses the remarkable and traumatic week that immediately followed the death of Diana, Princess of Wales, where the Queen arguably faced the greatest 'threat' to her reign, in the form of anger and disappointment at her apparent refusal to emote with the public over the loss of a very troubled (and troublesome) ex daughter-in-law. Whereas TV drama would focus on a forensic examination of the events and motivations, 'The Queen' goes further in placing this event in the context of the Queen's entire life, her assumptions and values and suggesting it forced her to re-evaluate her understanding of what 'The British People', which appears to be the single most valued relationship in her life, expect of her. Heavy stuff, but the film motors along nicely bouyed up by some delicious comedy (The Queen Mother having the details of Diana's funeral - bastardised from her own plans relayed to her) and dramatic tension focused on the exchanges between the ageing Queen and her insufferably young Prime Minister (call me Tony) which comes as close to brinkmanship as royal protocol allows. The portrayal of Blair by Michael Sheen, who also played him for Brown/Blair drama-documentary 'The Deal' is interesting. It has now de rigeur to portray Blair as opportunistic and unprincipled, but here he is used to represent a view which is broadly supportive of the monarchy as constitutional concept, but earnestly wishes it to 'modernise'. Back in 1997, with Blair elected on a wave of poopulism there was some genuine fear that the monarchy and the Royal Family specifically were in for a taste of some very radical modernisation down the line. Events proved otherwise, despite the odd ritual humiliation of the Queen having to sing Auld Langs Syne and play to a more politically correct agenda, the Palace has been left much alone. Some of the later dialogue has been given serendipitous irony as the 'Teflon Tony' of the film's period is now experiencing first-hand the true vagaries of popularity, with factions within his party now attempting to oust him as suddenly as the Queen predicts may happen to all leaders. It is highly likely she will still be around, as Queen, to ask his immediate successor and others whether they wish to form Her government.