An expert work of aesthetic and subtlety

Rating: 8/10 (25 January 2007)

Stephen Frears is an interesting director. His work is about as varied as it gets  grand period dramas set in England (Dangerous Liaisons), romantic comedies set in Chicago (High Fidelity), and everything in between. The Queen is another interesting addition to his directorial resume, a resume filled with films that all have one thing in common: subtlety.
The Queen isn't a subtle film per se, as its core conflict - the conflict of interests between Tony Blair, connected to the people, and Queen Elizabeth II, standing firmly by the royal protocol as expected of her  is prominent and obvious. The Queen's minor transformation is featured prominently and not hidden; it is not a film wallowing in secrecy and uncertainty. But it is a film that is directed with subtlety. Frears' camera is gentle, keeping still and always with his characters. Its movements are smooth and delicate, and nothing in the movie is ever sharp, angular or askew in any way. It is all very straight and formal and clean  and what better subject matter to fit such aesthetics but the workings of the Royal family itself.
Similar to Capote last year, The Queen is a good but not extremely special film whose main performance elevates it to a great film with something unique to offer. Again, this isn't to say that The Queen is a bad film, or even an uninteresting one  But it doesn't really have much to say aside from being a portrayal of the events in question. It also doesn't have much of a story exactly, but is rather an exact and in depth portrayal of events. The unfolding of events is interesting, but not particularly engaging as it is all very matter of fact. Luckily for the audience Michael Sheen portrays Tony Blair  shy grin and casual nature  in an extremely sympathetic way so the audience connects to him as our guide through this unfolding of events. But truly, it is Helen Mirren's performance that stands out above all other aspects of this film. And what a performance it is.
The first and foremost characteristic of The Queen is her restraint; she guards her emotions behind a stone-hard face, is always polite and gentle, speaks in always homely but never revealing tones, and in all is just a façade of graciousness and good manners. That Mirren emulates these aspects of the Queen's character even in the more intimate, behind-the-scenes events involving her family and close associates is impressive enough; but what makes her performance truly stand out are her reactions to these devastating events. Mirren lets just enough emotion slip through her Queen's stoic face to let the audience know how she feels, but while still exercising the restraint the character, the real Queen, would exercise. It's a performance that is never showy but always dominant, and one worth every admiration possible to give.
What is further interesting about the performance is how the film seemingly assembles itself around it. Frears' restrained, quiet, delicate direction is no coincidence  it's a further extension of the Queen's own manners and behaviour. In the best scene in the entire film, we the audience are treated with an intimated moment with the Queen  it is the only scene in which she is alone, only the audience with her. She begins to sob: there are no other sounds, no other distractions, and even further than that  Frears has her with her back to the camera. What humbleness and modesty the Queen portrays at all moments  even hiding her feelings and intimacy when she is alone.