SPENCER

UK/US/Germany/Chile, 2021, 117 minutes, Colour.

Kristen Stewart, Timothy Spall, Jack Nielen, Freddy Spry, Jack Farthing, Sean Harris, Stella Gonet, Richard Sammel, Elizabeth Barrington, Amy Manson, Sally Hawkins.

Directed by Pablo Larrain.

There has been a film about Diana, Princess of Wales, called Diana and starring Naomi Watts – with mixed reviews and responses.

Perhaps in order to avoid an initial focus on Diana, writer-director from Chile, Pablo Larrain (some striking films in Chile but also the portrait of Jacqueline Kennedy-Onassis, Jackie), this portrait emphasises Diana’s family background, the Spencers, and her memories of growing up near Sandringham Palace.

Larrain introduces his film by saying that it is a fable based on a true tragedy. This allows him to speculate, create sequences with references to sources, reportage, public information, as well as his own interpretations. And the action is confined to Christmas Eve, Christmas Day, Boxing Day, 1991, the Winsors celebration of Christmas at Sandringham.

A lot of discussion before the film was released about how appropriate it was for American Kristen Stewart to portray Diana. Judging on her performance, intense, some incorporation of Diana’s mannerisms and style, embodying Diana at this critical stage of her life and marriage, this is a very striking performance, audiences able to forget the actress and focus on the character.

At the film’s opening, she is driving to Sandringham, but is lost. And lost is a key element in this portrait. She has become lost in the Royal household, some quiet disapproval from the Queen as well as the security chief and members of the staff. She has lost her husband to his mistress, referred to in the film twice as “her” (and she is glimpsed looking at Diana at the Christmas Day service) and, to Diana’s hurt and disgust, Charles has given them both the same Christmas gift, a large string of pearls.

And Diana is lost in herself, bulimia, some suicidal thoughts, dramatised in a night excursion across the fields to her now dilapidated and decaying family home, bringing up happier memories, and reminding audiences that she was married at 19, a young and somewhat inexperienced girl, and now, at this Christmas family gathering, she is approaching 30.

This film is not going to encourage sympathy for the Royal family, their aloof manner, the centuries long protocols, everything in order and on time, stylised celebrations, the most elaborate of meals from what seems a highly over-staffed kitchen employees/servants, all fastidiously served with pomp. The film reminds us that free time for the Royals is extremely limited, everything kept under security, controlled by the servants – even to the rack of clothes for Diana, each labelled for the various occasions during the day, wearing them like a Royal command.

However, there are some moments of joy, Diana and her relationship with William and Harry, playing with them, but also William’s concern about his mother’s state. There is a highly dramatic moment when she crashes the pheasant hunt where Charles has decided that William has to learn to shoot. She holds up the proceedings, demanding her children. (And, in a final moment of freedom, they are seen enjoying KFC on a seat by the Thames.)

Timothy Spall is very strong as the head of security, some intense interactions with Diana (and the question as to whether he left the biography Anne Boleyn for her to read which leads to some strong fantasy sequences, Diana imagining Anne Boleyn who rescues her from some despair. There is also Sally Hawkins as the dresser, Maggie, completely devoted to Diana, the point of rescue and refuge.

Everybody knows how Diana’s story ended so there is an element of pathos right throughout the film. For those who do not know Diana or did not respond to her, this film portrait can serve as something of a revelation. For those who knew, admired and love Diana, much to appreciate, and sadness and regret.

1. The choice of the title? The focus on the Spencer family rather than on the name of Diana?
2. The writer-director and his coming from Chile, his sensitivity to Diana’s story, her personality, the Royal Family and the conflicts? His stating that was a fable based on a true tragedy?
3. The popularity of Diana, at the time of her wedding, as a young mother, her social campaigns and mines, photographed, sympathy and the disintegration of the marriage, her television interview, leaving the marriage, her love for her children, relationships, the fatal night and the crash? The reputation and memories? This film’s contribution?
4. Time framework for the film, Christmas Eve 1991, Christmas Day, Boxing Day? Symbolic of what was happening in the marriage? And to Diana personally?
5. The choice of Kristen Stewart to portray Diana? The effectiveness of her performance and touches of impersonation?
6. The opening, Diana, almost 30, driving herself, lost, trying to get information, people dumbfounded when they recognised her? Wanting to find the family home, Darren coming from the kitchen, helping her, the scarecrow, her father’s coat, her taking it and hanging it in the room?
7. The theme of Diana being lost, in her life, in her marriage, in her health, her place in the Royal Family? And her attempted visit to the family home, the police and security? The visit to the home, wandering it, memories, and the introduction of the theme of Anne Boleyn, her reading the book, appearances of Anne Boleyn, even Anne Boleyn saving her in her suicidal moments?
8. The picture of the Royal Family, the comment that their looks were “glowering”? The discussions about Diana being late? The glimpses of the Queen, waiting for Diana, at the meals, at church, the family photo, the gatherings? Prince Philip glimpsed behind the Queen? Prince Charles, at the meals, his expectations of Diana, the discussion of the billiard table, the two selves, the one that was photographed, a real self? At the pheasant shoot, teaching William to shoot, Diana’s intervention, asking for her children, his acceding? The relationship with Camilla Parker Bowles? The mention of her twice as “her”? And her being seen at the church on Christmas day, looking at Diana, Diana looking at her? The same gift of pearls to each? The appropriateness of her being at church on Christmas Day?
9. The introduction of Major Gregory, supervising, security, his military background, with the Queen, urging Diana, the tradition of everybody being weighed (and her parody of this at the end with the two boys)? His continued supervision, comments, the book about Anne Boleyn? His explanations to her? The discussions out in the gardens, her excursions to the family home and his comments?
10. The range of servants at Sandringham Palace, Darren and the sequences in the kitchen, the vast staff, the meticulous preparation of the meals, the military bringing in the food, the preparation, the menu, the detail, the style of being served with the servants in unison at the table? The servants, the dresses, control over Diana? And the warning that everybody gossiped and that everything was known?
11. Maggie, the bond with Diana, dressing her, her being returned to London, Diana wanting her, her coming back, the sequence of the beach, Maggie’s declaration of love, offering support and security to Diana?
12. Diana and the control of her time, minimum free time, and the dress rack with every dress labelled for every event, her trying to change this, failing?
13. The film with Diana and clothes, the huge range of wardrobe, at Christmas, but also in the flashbacks, fantasy sequences, daily meeting people, running, the photographers after church on Christmas day…?
14. The portrait of William and Harry, their age, loving their mother, the games, her being at home with them, yet William’s concern for his mother, Prince Charles’ control over William? And the shooting sequence? Harry a free spirit? William in the spirit of his father?
15. Diana, her health, the bulimia? Suicidal thoughts? Fantasies and when they occur, swallowing the pearls the table, throwing them up…? Dramatised in the visit to the Spencer home, memories, regrets, the staircase, saved?
16. Diana and the conformity, the oppression, her wanting to break free?
17. Taking the boys, going to London, KFC and the bench the bank of the Thames? Symbol of freedom?
18. Audience knowing what happened to Diana – and the atmosphere of pathos in watching this story?