Reviewed by Rama Gaind.
Director: Pablo Larraín, Apple TV.
The newest in a series of conspicuous releases featuring the late Diana, Princess of Wales, Spencer opens with “a fable based on a true tragedy” statement. Such could be argued is the case with her every portrayed story.
Repeated attempts have been made to bring to the screen the story of Diana’s journey in which she is stifled by a royal system that cannot, will not, recognise her special place in the royal pantheon. There was The Crown (and others); and now Chilean filmmaker, Pablo Larraín (Jackie, Ema, Neruda, No) turns his hand to deliver this historical fiction psychological drama that’s written by Steven Knight.
The film is inspired by Princess Diana’s decision to end her marriage to Prince Charles and leave the British royal family. Peace is declared for the festive gathering at Queen Elizabeth II’s luxurious Sandringham Estate, where the royals get together for Christmas festivities each year.
Spencer is a visualisation of what might have happened during those few fateful days. It is described as a fantasy in which Diana chooses to break away from her disastrous marriage to Charles. (Their divorce was finalised in 1996, after an ultimatum from the Queen over Christmas in 1995).
Kristen Stewart (Panic Room, Snow White and the Huntsman, The Twilight Saga film series) in the titular role shines in this Princess Diana biopic. In the midst of the breakdown of her marriage to Prince Charles (played by Jack Farthing, Blandings), they live in a world where emotions are kept to a minimum, if not entirely subdued.
Jack Nielen and Freddie Spry are both great as little Princes William and Harry.
The other royals are little more than obscure, shadowy spirits.
A surprisingly unreal tragedy, Spencer encompasses ploy, generating an imprecise environment that’s uncompromisingly and insistently improbable. There’s not a lot trying to make sense of Diana’s actual life or legacy.
It’s a haunting reimagining. Larraín’s vision is laden with illustrations of pain, dream sequence bursts, dialogue that’s chock-full of metaphors, together with Stewart’s sensational brooding episodes.
