The Crown. Series 4, Episode 10: War

And so, Series 4 of The Crown comes to an end, having guided us through the period from 1977 to 1990.

We are still talking about events a very long time ago: for example, the 30th anniversary of the fall of Margaret Thatcher (on November 22nd 1990) occurred exactly a week after this series fell onto Netflix. The world of 1990 was still a world, lest we forget, where mobile phones were still largely the preserve of a few yuppies shouting into them on trains and such concepts as the internet, Netflix and the actress Gillian Anderson either didn’t exist or were entirely unknown to most people.

Despite these facts, perhaps it’s just because of my age but 1990 much more like the world we know today than 1977 did. Or perhaps I should amend that? 1990 feels much more like the world we knew up until a year ago, than 1977 did.

At any rate, this episode marks the end of an era. After two series, twenty episodes and twenty-six years of time passing on screen, this episode sees the end of Olivia Colman’s reign as the second of The Crown’s second screen Queen Elizabeths. The first, Claire Foy, made a welcome cameo at the start of Episode 8 in a 1940s flashback. Elizabeth the Third, Imelda Staunton will assume her duties taking the Queen fully into old age in Seasons 5 and 6. We leave the Queen, now a grandmother in her early sixties, with a quartet of increasingly troubled grown-up children.

Olivia Colman has been a success in the role and she has been ably supported by a cast (also presumably all destined to now be replaced) of which Tobias Menzies’ reliably crotchety Prince Philip, Erin Doherty’s sharp-witted Princess Anne and Helena Bonham Carter’s increasingly embittered and famously rude Princess Margaret have all been standouts.

This series has, of course, been dominated by both another Margaret and another Princess entirely. This episode sees Gillian Anderson’s Margaret Thatcher get her marching orders after a killer speech from supposed ‘dead sheep’ and onetime loyal if frequently bullied ally, Sir Geoffrey Howe (Paul Jesson) precipitates a fatal leadership contest from a never-seen Michael Heseltine. After a rocky road together, particularly during Episode 8’s Apartheid-themed episode, the monarch and the Iron Lady end things on fairly good terms, albeit only after a bizarre, presumably completely imagined episode in which Thatcher makes a last ditch effort to retain power by proposing a dissolution of parliament. The Queen declines and a diminished Thatcher, stunned by her loss, walks off into the political sunset. A workaholic with no interests outside politics, Margaret Thatcher never reconciled herself to her removal from power (an event which she perhaps should have recognised was always bound to occur at some point) and reportedly never lived a happy day again. Although many viewers have been reportedly troubled by the fusion of the actress’s sexual allure with the famously unsexy Thatcher, Gillian Anderson can at least walk away happily from this role. Following in the footsteps of such luminaries as Sylvia Sims, Hadyn Gwynne, Andrea Riseborough, Lindsay Duncan, Steve Nallon and Meryl Streep, her’s is undoubtedly the definitive screen Thatcher.

But the Lady’s not returning.

Of course, the other stand-out character of this series is ultimately headed for a grim fate too. Emma Corrin’s Princess Diana has also been a triumphant success, Corrin’s performance humanising a character who has become idolised to an almost magical status in many of the public’s eyes. The series leaves Charles (Josh O’Connor) and Diana’s marriage at very much a low point. With Series 5 destined to take events up to the fateful year of 1997, don’t expect things to get a lot better for them.

The Crown. Series 4, Episode 2: The Balmoral Test

Balmoral: 1981. And the holidaying Royal Family are buzzing with excitement at the news a computer-animated stag has been sighted, limping across the nearby landscape. Who amongst them will be the first to fell the wounded beast? This episode is entitled, ‘The Balmoral Test.’ It could just have easily been called, ‘Stag Party.’

The Windsors also have other prey in mind too, as the Prime Minister and her husband are set to join them for a few days of socially excruciating fun and games. Will Margaret and Denis Thatcher (Gillian Anderson and Stephen Boxer) prove up to the challenge? Will they, in short, pass ‘the Balmoral test?’

Spoiler alert: no. They don’t.

As usual, writer Peter Morgan presents a balanced view of things. On the one hand, Margaret Thatcher was clearly a workaholic, with little sense of humour and no sense of fun. In real life, she described Balmoral as “purgatory.” Here, she commits a number of social gaffes, notably turning up for a rural excursion to hunt the stag in a brilliant blue suit more appropriate for addressing the Conservative Party Conference. The woman who, in reality, spent nearly every New Year’s Eve of her eleven-year premiership in the company of Jimmy Saville, proves unable to tolerate more than a few days with the holidaying Windsors. She has better things to do: the country is in the grip of recession and her Cabinet, some of whom were in ‘Allo ‘Allo (Guy Siner – Gruber in the sitcom, Sir Francis Pym in this) are in open revolt.

On the other hand, it’s easy to see why any outsider might struggle to get involved in the long established traditions of a close-knit family, particularly one as jaded and weird as the Windsors are. The Royal Family treat the Thatchers with frosty disdain, never explaining anything and assuming everyone else already knows their silly little rules. It is easy to see why Thatcher might not enjoy playing ‘Iggle Piggle’ or enjoy the delivery of Princess Anne’s (Erin Doherty) spirited animal impressions at close quarters. It also doesn’t help that two of the Royals, Princess Margaret and Prince Philip (Helena Bonham Carter and Tobias Menzies) were clearly amongst the rudest people to have ever lived.

Later, Mrs. Thatcher diminishes herself still further in the eyes of the Queen (Colman) explaining her purge of the Wets (that is, more moderate Tories, uneasy at the severe consequences of her economic policies) occurred almost entirely due to a lack of resolution on their part resulting from their privileged social background. This would have been an odd tactic to adopt when talking to the Queen, of all people, and doesn’t really do justice to the stubborn self-belief which enabled the Iron Lady to cling doggedly to such policies, even as society was devastated by mass unemployment.

Back at Balmoral, however, another new arrival – Prince Charles (Josh O’Connor) brings a new subject for the family’s scrutiny, young Lady Diana Spencer (Emma Corrin). There is a slight sense of manipulation in the way Diana wins over the Royals – for example, she tells Philip (falsely) she is essentially a country girl at heart. But this isn’t overstated. Diana soon helps the Duke kill the stag, effectively winning over all the Royals (except Margaret) in one fell swoop. She has passed the Balmoral Test with flying colours!

Next time we see her, she is Diana as most of the wider world in 1981 first saw her. A beautiful but seemingly ordinary young woman at the centre of stories about her relationship with the Prince of Wales, smiling self-consciously as she walks down the street surrounded by a growing number of snapping photographers, seemingly slightly irritated by all the attention, but also rather enjoying it at the same time.

And so, it begins…

The Crown. Series 4, Episode 1: Gold Stick

We pick up pretty much exactly where we left off.

It’s 1977 and the Queen is celebrating her Silver Jubilee. She is now around fifty (slightly older than Olivia Colman who plays her) and there is a sense the focus of the action is now shifting slightly away from her, Prince Philip (Tobias Menzies) and her drunken, unhappy, newly divorced sister, Princess Margaret (Helena Bonham Carter) to the next generation: Charles (Josh O’Connor) and his youthful romantic entanglements and to Princess Anne (Erin Doherty) who is now married and enjoying success in her show-jumping career. The Queen’s two other children, Prince Edward and the now disgraced Prince Andrew, both teenagers at this point, have not really featured yet.

In the meantime, there’s a new face in Downing Street. Despite being an enthusiastic monarchist during his three-year spell as premier, poor old Jim Callaghan, doesn’t even get a look-in here. As with Alec Douglas-Home (who admittedly only lasted twelve months), “Sunny Jim” gets missed out of The Crown’s narrative completely. Instead, we jump straight to the May 1979 election of Margaret Thatcher, Britain’s first woman PM and the only one of the Queen’s 14 First Ministers to date, to be roughly the same age as the monarch herself was at the time.

There have been a number of great dramatic portrayals of Margaret Thatcher over the years ranging from Lindsay Duncan, Patricia Hodge, Haydn Gwynne and Meryl Streep. In Peter Morgan’s 2006 film, The Queen, Sylvia Sims, who had once starred in 1991’s TV drama, Thatcher: The Final Days played The Queen Mother. Fittingly, when Meryl Streep starred in The Iron Lady, her daughter, Carol was played by Olivia Colman, who, is, of course, now The Queen in The Crown.

Margaret Thatcher is certainly not an easy role to play, partly because years of elocution lessons topped off with Saatchi and Saatchi-inspired voice exercises combined to ensure that she literally spoke like no one else who has ever lived on the planet Earth. Gillian Anderson does very well, capturing amongst other things Thatcher’s total lack of any sense of humour whatsoever. Like Thatcher herself though, it seems likely her performance will divide audiences. Philip and Margaret’s husband Denis (Stephen Boxer), meanwhile, react in similarly old school fashion to the news that Britain is now being ruled by “two menopausal women”. The Queen, in time, (like many others) found the famously headstrong, combative and stubborn woman premier difficult to like. In this first episode, however, set in 1979, the monarch seems very receptive to her.

At one point, we see the new Prime Minister doing the ironing. She is the Iron Lady.

Elsewhere, following Lord Mountbatten’s (Charles Dance) generally bad advice to “sow his wild oats.” Prince Charles is still carrying on with his now married, old flame, Camilla Parker Bowles (Emerald Fennell, not actually in this episode) while simultaneously dating one Lady Sarah Spencer (Isobel Eadie). It is during one visit to the Spencer household, having been briefly left alone with plenty of plants to talk to, that the thirty-ish Prince first encounters Sarah’s bewitching teenaged sister, Diana (Emma Corrin). More on her later…

This episode also deals with the assassination of Lord Mountbatten and three others by an explosion caused by a bomb planted by the Provisional IRA in August 1979. The explosion is cleverly spliced between footage of the other Royals seemingly simultaneously hunting, shooting and fishing during their own separate summer holidays.

Anderson’s Thatcher (who had lost her own friend and colleague Airey Neave to a terrorist bombing only a few months earlier, although this isn’t referred to) promises vengeance to the Queen. Speaking during a private phone conversation, Anderson’s Thatcher adopts a vicious, vindictive tone, which one suspects, wasn’t what the grief-stricken monarch really needed to hear at the time.

The Crown. Season 3. Episode 10: Cri de Coeur

And so the third series of The Crown comes to an end, bringing us up to 1977, the year of the Queen’s Silver Jubilee.

At one point in this episode, the dastardly Lord Snowdon (Ben Daniels) shows the Queen (Olivia Colman) some pictures of herself and Prince Philip, presumably supposed to have been taken in the early 1960s. “Gosh! Don’t we look young!” the Queen exclaims. The pictures are not, of course, of the Royal couple as we see them in the series now, but as they were in their younger incarnations when played by Claire Foy and Matt Smith in the first two series.

It is a nice nod to the past. For all Foy and Smith’s success, Season 3 has seen Olivia Colman and Tobias Menzies make the roles their own. Colman (in reality, now 46 years old) has taken the Queen from her late thirties in 1964, just into her fifties. Season 4, which is about to be released, will take the story up to 1990. The current plan is for two final series after that starring Imelda Staunton (an actress, currently in her mid-sixties) which will take us through most of the remaining years of the Queen’s long reign.

Most of this episode deals with Princess Margaret (Helena Bonham Carter) and the wreckage of her disastrous marriage to philandering photographer, Lord Snowdon. An increasingly boozy and unhappy figure as she enters middle age, thanks to Snowdon’s womanising and general nastiness, Margaret finds solace in the arms of younger landscape gardener, Roddy Llewellyn (Harry Treadaway). After some brief and much deserved happiness, she ultimately narrowly survives a suicide attempt, provoking a genuine show of compassion from her sister. Sadly, Margaret’s ordeal does not inspire the same response from her mother (Marion Bailey) who dismisses this as a Cri de Coeur, (essentially ‘a cry for help’) rather than a serious attempt on her life. ‘Cri de Coeur’ is the title, an episode in which the Queen Mother comes across very badly.

Strangely, although Princess Anne, as played brilliantly by Erin Doherty has emerged as a major character in this series. her first marriage to Captain Mark Phillips in 1973 and her attempted kidnapping in 1974, both major events at the time, are not mentioned here at all.

We do, however, witness the departure of Prime Minister, Harold Wilson (Jason Watkins) in 1976, resigning suddenly after being returned to power in the two General Elections of 1974. Wilson here cites his Alzheimer’s diagnosis as his official reason for resigning. I’m not sure this was ever clearly stated, even in private, at the time.

As with creator Peter Morgan’s earlier play, The Audience, this series has seen the Queen and Wilson’s relationship blossom from an initially awkward one into probably the best relationship between a Prime Minister and the monarch of her entire reign. The Queen is visibly sorry to see Wilson go. Thanks to Jason Watkins’ brilliant performance, so are we.

Next up: a girl called Diana and a woman called Margaret show up as we begin The Crown Series 4…

TV review: The Crown. Season 3, Episode 2

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Prince Philip (Tobias Menzies) articulates an interesting theory in the second episode of the third season of Peter Morgan’s The Crown.

The theory states simply that just as there is a clear pattern of steady, reliable, generally boring Royals, such as Queen Victoria, George V, George VI and the Queen herself, there is equally a parallel lineage of wild, reckless and hedonistic rebels. Consider: Edward VII, George V’s brother Prince Eddy or the notorious Duke of Windsor. Just as the older Queen, played by Helen Mirren in Morgan’s 2006 film, famously held back from shooting a stag, the other bunch would probably have ended up riding it roughshod over the hills and far away.

The Royal couple here are clearly thinking about the Queen’s own naughty little sister, Margaret (Helena Bonham Carter), glamorous and popular, but also increasingly wayward as she tours the mid-1960s USA. Viewers at home will, of course, be wondering how this theory applies to Prince Harry. And Prince Andrew.

At any rate, Margaret, at this point, gets an opportunity to restore Anglo-US relations which have been damaged by the new Labour Prime Minister Harold Wilson’s (admirable) refusal to join America in the disastrous quagmire of Vietnam. The princess is thus dispatched to the White House in use her charms to win over President Lyndon B. Johnson (Clancy Brown) in the hope that L.B.J. will go all the way in resolving a British balance of payments crisis.

TV review: The Crown. Season 3, Episode 1

The Crown is back. We rejoin proceedings at the dawn of a new era.

For after two glorious seasons with the marvelous Claire Foy playing the Princess and young Queen in her twenties and thirties, we now give way to the new age of Olivia Colman. The transition is neatly symbolised by a tactful discussion of a new Royal portrait for a new range of postage stamps. It is 1964 and the monarch is in her late thirties, what might normally be seen as her “middle years.”

“A great many changes. But there we are,” Her Majesty reflects philosophically. “Age is rarely kind to anyone. Nothing one can do about it. One just has to get on with it.”

Other changes are afoot too. Then, as now, a general election is in progress, resulting in the election of the first Labour Prime Minister of the Queen’s reign, Harold Wilson. Jason Watkins captures Wilson’s manner perfectly, although not yet his wit. In time, we now know Wilson would become the favourite of the Queen’s Prime Ministers. At this stage, however, both figures are wary of each other: the working-class Wilson seems socially insecure and chippy while the Queen has heard an unfounded rumour from Prince Philip (Tobias Menzies – a good likeness) that Wilson is a KGB agent.

Elsewhere, another age comes to an end as the elderly Churchill breathes his last. In a rare piece of casting continuity with the first two series, John Lithgow briefly resumes his role.

Suspicion also surrounds Surveyor of the Queen’s Pictures, Anthony Blunt. Although not exactly a dead ringer for the art historian and Soviet spy, the always excellent Samuel West is well cast as Blunt. West is a fine actor anyway, but his lineage here is impeccable. His mother, Prunella Scales played the Queen in the Alan Bennett drama, A Question of Attribution, which was about Blunt and which parts of this episode strongly resemble. Blunt then was played by James Fox, whose brother Edward, incidentally played Churchill in The Audience, the Peter Morgan play which inspired this series. West also played the Queen’s father George VI in the (not very good) film, Hyde Park on the Hudson. His wife, the future Queen Mother was played by one Olivia Colman. West’s father, Timothy, of course, famously played George VI’s grandfather, Edward VII (and also played Churchill, several times), while Colman won an Oscar for playing the Queen’s ancestor, Queen Anne in The Favourite, earlier this year.

Fellow Oscar winner, Helena Bonham Carter is, of course, now cast as the Queen’s glamorous but troubled sister, Princess Margaret, replacing the excellent Vanessa Kirby. The makers clearly feel obliged to feature Margaret frequently in this episode, presumably because of Bonham Carter’s star status, but aside from much drinking, rudeness, singing and fretting about her wayward photographer husband Armstrong-Jones (Ben Daniels), who is pictured motorbiking about a lot, she does little of interest.

The next episode promises to be much more Margaret-orientated…

The Crown

Book review: Tim Burton The Iconic Filmmaker and his Work by Ian Nathan

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This is a story about a little boy called Tim.

He was born nearly sixty years ago in California. He grew up, a bit nervous and a bit strange, and looked a little like his own later creation Edward Scissorhands except without the scissory hands. And perhaps not quite as pale.  He basically looked the same for his entire life and later had long relationships with Helena Bonham Carter, the English star of A Room With A View and Fight Club amongst other people. But this book’s not really about that sort of thing. It is about his films.

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After an unhappy spell at Disney working on boring films like The Fox and the Hound, Tim Burton made the first film Pee Wee’s Big Adventure (1985). The star, Pee Wee Herman (Paul Reubens) a children’s entertainer of the time, later got in trouble when he got caught publicly “misbehaving”  in an adult cinema. But the mass debate over this came later. Tim’s career had been launched.

Since then, he has made nearly twenty films. Most have contained a fantasy element. Some are animated (such as The Corpse Bride). Some are blockbusters (Batman, Batman Returns). Some are black and white (Ed Wood). Eight have Johnny Depp in. All but one have music provided by Danny Elfman, the man who composed the theme music for The Simpsons. Some are magical (Edward Scissorhands, Beetlejuice), some have divided opinion (Mars Attacks!) Very few are actually awful (Planet of the Apes).

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All have been interesting in some way as this attractively illustrated coffee table book reminds us. Burton’s career proves that it is possible to be both offbeat, unconventional and interesting and still be commercially successful. And live happily ever after.

Tim Burton: The Iconic Filmmaker and His Work. Unofficial and Unauthorised by Ian Nathan. Published: Aurum Press, 2016

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