‘The only photograph they take that really matters is the one they put on the ten-pound note…’
The continued and baffling infatuation with Princess Diana has intensified in recent years following her inclusion in The Crown and a slew of documentaries. Adding a dissenting voice to the hysterical (and it must be said again… baffling) love in that the people’s princess still inspires is director Pablo Larraín and his film Spencer. Rest assured, The Crown this ain’t…
Struggling with her mental health and isolated from her friends and family, Princess Diana (Kristen Stewart) has only her maid Maggie (Sally Hawkins) and the royal chef (Sean Harris) to confide in. And even then, it’s never clear whether these characters can be trusted, or even if they exist at all. Elsewhere, the Queen (Stella Gonet) and Diana’s husband Charles (Jack Farthing) flit around on the edge of Diana’s consciousness. Only occasionally appearing to belittle her. Meanwhile, Major Alistar Gregory (Timothy Spall), working as the security for the crown, seems to somehow be aware of Diana’s every move – even her most intimate thoughts.
Far from a straightforward biopic, Spencer is closer in tone to something like The Shining or Moon. And like both of those films, Spencer is driven by an inspired, claustrophobic performance. Kristen Stewart has always been an underrated actor, but she is truly phenomenal here, offering not only a pitch perfect imitation, but something much deeper. Playing in a biopic is much more than delivering an impression and Stewart’s virtuoso performance here is something of shade and nuance. It is also heart-breaking and breathes new life into a story that has become a well trodden path. Her supporting cast are less dependable with Spall a little over-the-top in a scenery chewing performance, and Hawkins too wet as Diana’s dresser and confidante. Only Harris gets anywhere close to matching Stewart’s turn in a role that gives him a rare opportunity to showcase his softer side. Even screenwriter Steven Knight (creator of Peaky Blinders) is at his most measured here – toning down his usual bombast in a script that is as close to 2013’s minor masterpiece Locke as anything else he has written since.
All in all, Stewart is a divisive film that won’t work for everyone, but taking a familiar tale and turning it into a horror film will always work for me. And so it did.