Wilson was the first Labour Prime Minister to take office during the Queen’s reign and as in Peter Morgan’s earlier play, The Audience, the two are shown approaching each other somewhat warily after Wilson wins power in 1964.
The Queen (now played by Olivia Colman) is wary of the new socialist PM, having been tipped off by Prince Philip (Tobias Menzies) that he might be a Soviet agent. In reality, this was definitely untrue although this was certainly a prevalent rumour in right-wing circles at the time and to some extent still is. So it’s quite likely the Queen would have heard such rumours if not from Philip, then someone else.
Wilson is initially presented as being slightly chippy and with a social inferiority complex about meeting the monarch.
A special relationship: In time, however, this initial mutual caution transforms into something approaching a warm friendship. It is generally thought Wilson was one of the Queen’s favourite Prime Ministers and this is reflected in the series. She certainly never warms to the stubborn stuffy Edward Heath (Michael Maloney) whose unhappy spell in Downing Street interrupts Wilson’s period in office and is sorry to see Wilson go when he finally retires for good. For his own part, he essentially becomes a royalist, keeping republican elements within his own cabinet such as Barbara Castle and Anthony Wedgewood-Benn in check.
Although not physically very like Wilson, Jason Watkins brilliant captures Wilson’s distinctive voice (think Michael Parkinson) and mannerisms. A man who smokes a pipe in public, but who prefers a cigar in private, Wilson is acutely aware of the growing importance of image in the TV age and advises the slightly younger monarch accordingly. He has transformed himself from a highly intelligent but dry numbers man into a charismatic and witty, dynamic working-class hero for the 1960s in order to win power. On screen, he evolves from the greying 1960s Wilson into the snowy-haired Wilson of the 1970s very effectively.
Coup warning?: A slightly paranoid Wilson is shown phoning the Queen during her world tour to warn her that Lord Mountbatten (Charles Dance) might be becoming involved in a plot to mount a right-wing coup against him. This isn’t far off the mark: Mountbatten was approached by plotters in the late 1960s and the Queen may or may not have discussed it with Wilson: we do not know. This did not coincide with her tour though.
Resignation reasons: The political world was stunned by Wilson’s sudden seemingly inexplicable resignation in 1976. It is now widely acknowledged Wilson who had a famously good memory in his heyday, probably retired when he did as he sensed he was beginning to suffer from what would turn out to be Alzheimer’s. He was already increasingly paranoid and the effects of alcoholism (not really suggested here) were dimming his abilities further. In The Crown, Wilson is shown very specifically citing Alzheimer’s as the reason for his resignation.
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.
With so many matters of historical import being dealt with, it is no surprise The Crown has often come under scrutiny as to whether it is factually accurate. Broadly speaking, as with any historical drama, be it Wolf Hall, I, Claudius or anything else, it is fair to say, some dramatic licence has often been deployed.
For example, nobody really knows what the Queen talks about with her Prime Ministers in their weekly audiences, other than the Queen and the surviving ministers themselves (insofar as they would remember). The writers can speculate, however, based on our knowledge of the times and the personalities involved.
Events have sometimes been moved slightly in time or changed slightly. Princess Diana wasn’t in costume when she first met Prince Charles. Mark Thatcher’s disappearance in 1982 did not overlap with the start of the Falklands Crisis. However, the broad narrative sweep of The Crown is largely accurate. It is also interesting to note that many sources claiming to list things The Crown “got dead wrong about history” not only often misrepresent what actually happened in the series but are pretty free in their own speculation about historic events themselves.
This episode deals with an incident which seems so far fetched that it seems woefully implausible but yet did actually happen. In 1982, an unemployed painter and decorator, Michael Fagan (played here by Tom Brooke) did scale the 14 foot parameter wall of Buckingham Palace, shinnied up a drain pipe, climbed through an unlocked window and ultimately entered the Queen’s bedroom, briefly spending some time in the company of the understandably rattled monarch, before the alarm was raised.
Incredibly, this not only happened, but occurred only weeks after Fagan had breached Palace security before. On that first occasion, the Queen wasn’t present. Fagan had fled after being spotted in the Palace, having stolen and drunk what turned out to be a fairly cheap bottle of wine. Amazingly, although the Palace was fully aware of the incident, security was not tightened up enabling Fagan to do the same thing again soon afterwards, this time encountering the Queen, waking her up while she was in bed.
As unstable figure as he was, it is actually surprising Fagan even managed to locate the Queen. It is fortunate she was not attacked or even assassinated. Fagan had mental health issues and was institutionalised for three months. He is still alive today, aged 70, and has been critical of the programme.
In The Crown, Fagan uses his time with the Queen (Colman) to vent some of his frustrations with the political situation at the time. In reality, it is unlikely Fagan was as articulate about these issues during his brief audience with the Queen, but the episode takes advantage of the incident to highlight the vast gap between the Queen’s life and that of many of her subjects at that point.
In what is generally a much grittier episode than usual, we get to see many aspects of Fagan’s unhappy poverty-stricken life as he proves unable to find work or gain access to his children.
Britain was at a low ebb in 1982: unemployment had more than doubled in the previous three years. Despite this Margaret Thatcher (Gillian Anderson) is accurately portrayed as being at the peak of her political rebirth, following her victory in the South Atlantic.
So far, most of the episodes in this series can be easily divided into ‘Princess Diana’ episodes or ‘Margaret Thatcher’ episodes. At one point, in this one, we see Princess Diana (Emma Corrin) struggling through her pregnancy with the future Prince William as her husband, Prince Charles (Josh O’Connor) shouts at her through a door.
But otherwise, this is a Margaret Thatcher episode.
It’s 1982 and when we first see her in this episode, Mrs T (Gillian Anderson)is up in arms, not because of mass unemployment or the recession but because her son Mark (Freddie Fox) has got lost in the Sahara desert while taking part in the Sahara-Dakar Rally. Mark is soon recovered safe and well, but the Queen is surprised to see a more vulnerable side to the Iron Lady in the meantime. She is also surprised by the Prime Minister’s undisguised favouritism for her son Mark over his twin sister Carol (Rebecca Humphries in a role played by Olivia Colman herself in the 2011 film, The Iron Lady). Here, as in reality, Mark is spoilt rotten by his mother, becoming brash and overconfident, despite ultimately being pretty thick. Though genuinely intelligent, Carol, in contrast, comparatively ignored by her headstrong and domineering mother, has low self-esteem, only proving a success later in life as Mark proves a failure.
With some dramatic licence, the Mark Thatcher Sahara story here slightly overlaps with the start of the Falklands War. This wasn’t the case: there was in fact several months’ distance between the two events. It is thus unlikely Thatcher was venting feelings about her son when she reacted to the news of developments in the South Atlantic, as is suggested here.
Thatcher’s favouritism does prompt a teasing suggestion to the Queen from Prince Philip (Tobias Menzies) that all parents have their own favourite amongst their own children. Philip here is upfront in admitting his own favourite is Princess Anne, a prejudice many viewers will doubtless share largely thanks to Erin Doherty’s winning performance.
But who is the Queen’s favourite? Her Royal Highness (played by Olivia Colman who won an Oscar for her portrayal of Queen Anne in the film, The Favourite) arranges a meeting with each of her four children. She is briefed about each of them first, just to ensure she is up to date.
The Queen finds her daughter as dry and grounded as ever. And yet she is clearly miserable: annoyed by how she is portrayed in the media (particularly when contrasted with the newcomer, Diana) and, crucially, unhappily married.
Charles is unhappily married too and turning into a world class bore. The Queen reprimands him for his poor treatment of Diana and for continuing to see Camilla on the side.
For the first time we also get to meet the teenaged Prince Edward (Angus Imrie), who seems arrogant and is bullied at school. Despite being keen to go the Falklands, Prince Andrew (Tom Byrne) also already seems to be developing unsavoury attitudes and is clearly utterly fixated on his own chopper (his helicopter, I mean).
Little wonder as the Queen here concludes: Mark Thatcher may be the one to have gone missing. But it is her own children who seem lost.
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.” 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, leaves after only a few days with the 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) are 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 (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.
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.
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…
In July 1969, man finally walked on the Moon. It was an astonishing achievement, the summit of human accomplishment. Even today, many of the world’s stupidest people still struggle to comprehend that it actually really happened.
The Apollo 11 landings had many consequences. One important one, often overlooked, is that they seem to have caused the Duke of Edinburgh to have a mid-life crisis. At least, that’s what The Crown says anyway.
From the outset, Prince Philip (Tobias Menzies) is mesmerised by the media coverage of the Apollo mission. This is portrayed as coinciding with a loss of faith he was experiencing. At one point, during a journey in a private plane, he terrifies his co-pilot by taking the controls and flying to a dangerously high altitude. It as if he is intent on launching an impossible mission to go to the Moon himself, his own life having been eclipsed by the Queen’s.
On another occasion, he is rude to a bunch of vicars, (one of whom, is incidentally, played by the great comic actor, Kevin Eldon, in a rare straight role). Later, he meets the three astronauts who have now returned from space. He meets Neil Armstrong and Buzz Aldrin anyway: Michael Collins is made to wait in the car outside (only joking). Although he is awe of their achievement, Philip is disappointed by their conversation, apparently regarding them as mediocre. “I don’t know what I was thinking,” he reflects. “I was expecting them to be giants, gods. In the end they were just three little men. Pale-faced, with colds.”
To the viewer, of course, it is only Philip who seems like the dull one. It is unclear why he is so annoyed that the spacemen have colds (as they apparently really did have, when he met them in 1969), for example, as this is a perfectly human and unavoidable anyway. In a not always believable episode, however, the characterisation of Philip as a frequently rude and ill-tempered man is, however, only too plausible.
In the end, the Duke befriends Dean Robin Woods (Tim McMullan) and finds the courage to ask for help in his quest to find his own personal sea of tranquillity.
One giant leap for the Duke? Perhaps not. But it’s certainly one small step for the man.
It has long been accepted that just because someone holds the title Prince of Wales, it does not mean that they are necessarily Welsh or have much to do with Wales.
Indeed, not since an early medieval example, who later became King Edward II, no Princes of Wales have been from Wales at all. No, being Prince of Wales just means is that you will probably be King some day, and even then, the odds are not great. Looking back, only about two in every three Princes of Wales have ever made it to the throne. These are much better odds than the average person faces admittedly, but still not exactly a shoe-in.
In 1969, Prince Charles was invested as Prince of Wales at a lavish ceremony at Caernarfon Castle, as a young man. Over fifty years later and Charles is a grandfather in his seventies. He is still waiting to be King. As Alan Bennett wrote in ‘The Madness of George III,’ “being Prince of Wales isn’t a position. It’s a predicament.”
As his ceremony approached, it was decided that Charles (played here by Josh O’Connor) should be taken out of Cambridge University, where he seemed to engage in constant amateur dramatics and be temporarily transferred to Aberystwyth where he could brush up on the Welsh language. This would serve him well as he would have to speak in Welsh during the ceremony.
According to The Crown, Charles had a difficult time at Aberystwyth, encountering some hostility from the burgeoning Welsh nationalist movement and enduring an initially awkward relationship with Edward “Tedi” Millward (Mark Lewis Jones), the Plaid Cymru politician, dedicated republican and tutor assigned to inculcate the future King Charles III in the ways of the Welsh tongue.
Incidentally, on a personal note, I could relate to some aspects of this as I studied at Aberystwyth myself. It was thirty years after Charles was there though, I did not study Welsh while I was there and I did not undergo an investiture ceremony to become Prince of Wales shortly afterwards.
Good though this episode is, in some ways, the later scenes are most interesting, revealing a colder, harder side to the Queen (Olivia Colman) than we have seen before.
And ‘Tywysog Cymru?’ It just means ‘Prince of Wales.’
It’s easy to forget that in the late 1960s, Britain was beset by many problems, one consequence being the devaluation of the pound in 1967. Many of these issues now seem unimportant and comparatively minor compared to some of the things we have seen since. They did, however, seem pretty important at the time.
At one point, indeed, things seemed so desperate that a cabal of powerful people including Cecil King (played here by Rupert Vansittart), head of Mirror Group Newspapers in the pre-Maxwell era, approached the ageing Lord Mountbatten of Burma to help out.
Mountbatten was, in fact, the second son of the eldest daughter of the second daughter of Queen Victoria, but what was viewed as a distinguished record of service had elevated him to the status of a high profile role in the post-war Royal Family. He was a famous and respected figure, particular admired by many of those who also happened to have right-wing tendencies.
Mountbatten was played by Greg Wise in the first two series of The Crown. He is now played by Charles Dance, an actor totally unlike Wise, yet at the same time, like Wise, very well suited to the role.
The group approach Mountbatten with a suggestion which appeals both to his patriotism and his vanity: why not depose the democratically elected Labour Government of Harold Wilson (Jason Watkins) and rule Britain yourself until you’ve got the nation back on the ‘right’ track? A very British coup, in effect.
And, yes, this is one conspiracy theory based on a conspiracy which did actually exist. Dance’s Mountbatten is sceptical about the chances of this particular game of thrones resulting in victory. But he does, at least, seem to entertain the possibility of going ahead with it.
Meanwhile, the Queen (Olivia Colman) perhaps taking her eye off the ball slightly, has gone on a tour of France and America. The tour sees the Queen indulging her love of horses at one point confiding her to her friend and colleague, Lord “Porchie” Porchester (John Hollingworth) that a life and career breeding horses is one which she might in an ideal world, have preferred to have lived, had not “the other thing” got in the way. ‘The other thing,’ of course, refers to her duty to serve the Crown, a burden she blames her uncle, the Duke of Windsor for offloading onto her late father and her.
It is an interesting idea. If she ever has thought this, the Queen is, of course, largely ignoring the fact that it is largely only down to an accident of birth (namely being a member of the aristocracy) that she was ever in a position to contemplate a career breeding horses in the first place. Many non-aristocrats have enjoyed such a career, of course. But, for most people, such a life, travelling around visiting stables and racetracks has never really been a realistic possibility.
And what of the Queen and ‘Porchie’? Travelling without Philip, the Queen often seems surprisingly intimate with her childhood friend on this tour. There is a bit of dramatic licence here: the trip did not occur at the same time as Mountbatten’s manoeuvrings. It was slightly later in 1969: a paranoid Wilson would not have called her about Mountbatten’s plotting during it. Indeed, for all we know, the two may never have ever discussed the subject. We wouldn’t know, either way.
However, the tour itself definitely did happen. The real Lord Porchester died in 2001.
But contrary to rumours about the programme, the writers of The Crown do not in any way suggest anything unseemly happened between the monarch and her fellow equestrian. The writers too, may have entertained the possibility, but at the end of the day, they are no keener on committing treason than Lord Mountbatten was.
A whole TV programme dedicated to exposing the behind the scenes lives of the British Royal family! Can you imagine such a thing ever occurring?
Yet this is exactly what happened when, in 1969, Prince Philip (Tobias Menzies), determined to demonstrate that the Windsors were good value for money in the face of growing muttering from left-wing elements within the ruling Labour Government, agreed to let TV cameras have unprecedented access to their lives. The result was a special one-off documentary called ‘The Royal Family.’
As demonstrated here, from the Windsors’ point of view, this exercise didn’t really work. The Royals came across as stiff and unconvincing. At the same time, the overall effect was to shatter the air of mystique surrounding them. In one amusing scene, we see the nation’s first family being recorded watching TV together. As Princess Margaret (Helena Bonham Carter) wryly notes, they never do this in real life anyway and are now effectively in the banal position of being on TV, watching TV. To more modern eyes, it is as if the Royal Family have become The Royle Family.
Matters are complicated by unexpected mother-in-law problems for the Queen as Philip’s elderly mother, Princess Alice (Jane Lapotaire) is uprooted from her life in a Greek convent following the 1967 right-wing military coup in Greece. She finds temporary residence in the palace. Philip (who she refers to as “Bubbikins,” the episode’s title) undergoes a difficult reconciliation with her.
Meanwhile, Colin Morgan (Merlin) plays a fictional Guardian journalist who at one point, in an unconvincing scene, reads out his own scathing review of the documentary to his enthusiastic colleagues. The episode also sees the introduction of Erin Doherty as the Queen’s dry and sharp-tongued teenaged daughter, Princess Anne, a perhaps slightly flattering portrayal, which nevertheless becomes one of the best in the series.
Ultimately, the Queen (Olivia Colman) learns a few valuable lessons in media relations from the documentary experience and from her wily old Prime Minister (Jason Watkins: perfect). Wilson has gradually transformed himself from a high-achieving but uncharismatic numbers man who smokes cigars privately into a seemingly thrusting , witty and dynamic moderniser never seen without a pipe and perfect for the TV age. It is Wilson who articulates the essential paradox facing how the public view the Royal Family. They want them to be essentially normal, relatable and like them, while at the same time, fundamentally unusual and different from everyone else.
Mark Corrigan (David Mitchell) is a straight-laced sort of chap. “Socks before or after trousers, but never socks before pants, that’s the rule,” we hear him thinking in the first episode. “Makes a man look scary, like a chicken.” Later, he eats some toast: “Brown for first course, white for pudding. Brown is savoury, white’s the treat. Of course, I’m the one who’s laughing because I actually love brown toast!”
For all this sweetness, Mark can be weird and quite history-obsessed, sometimes constructing strange analogies to explain his relationships with women.”Sophie is the one. Toni is Russia: Vast, mysterious, unconquerable.,” he reasons. “Sophie is Poland: Manageable… won’t put up too much of a fight.” He is a loans manager, boring, neurotic, anal, and as the above indicates, obsessed with his work colleague, Sophie (Olivia Colman).
His flatmate, old Uni friend, Jeremy (Robert Webb) is a very different character: jobless, vain, promiscuous, irresponsible, convinced against all the evidence of his own musical genius, (he envisages a band called, “Danny Dyer’s Chocolate Homunculus). He falls ‘in love’ with any pretty girl he meets and is too much under the influence of his dubious friend, Super Hans (Matt King). “If I don’t think about it, there’s always a chance it didn’t happen,” is a typical thought.
“If it feels good, do it!” he suggests to an outraged Mark, at one point.
“If it feels good, do it?” Mark repeats incredulously. “And what is that? ‘Gaddafi’s Law?'”
Peep Show is still the longest running sitcom in Channel 4 history. Two things particularly (other than Jesse Armstrong and Sam Bain’s brilliant writing) elevate it above the usual odd couple style flat share set-up. Firstly, the unique way it is filmed, enabling us to not only see the world through Mark and Jez’s eyes but hear their (often not entirely flattering) thoughts.
The other is that as a comedy vehicle, it introduced most of the world to the world of David Mitchell and Robert Webb.
Or as Jez would put it: “This is good. This is exactly like watching a porno. Except I can’t see anything, I haven’t got a hard on and I want to cry.”
Netflix, All 4
Peep Show quotes:
Mark: Jeremy, there are many things I would do to help you. But digging a hole in the wintry earth with my bare hands so that you can bury the corpse of a dog you killed is not one of them.
Jez: Justice is done. Not actual justice, but what I wanted to happen, which is basically the same thing.
Jez: Crunchy Nut cornflakes are just Frosties for wankers.
Mark: Frosties are just cornflakes for people who can’t face reality.
Jez: No more drugs! I don’t need drugs. I mean, what great music was ever made on drugs? Bowie, obviously…The Floyd…The Prodge. Aphex, the list is endless really.
Super Hans: People? People like Coldplay and voted for the Nazis! You can’t trust people, Jez.
Mark:So what if I don’t really love her. Charles didn’t really love Diana and they were alright. Sort of.
Jez: Brilliant, Mark! My mate and your woman have just gone off to fuck each other. What are we gonna do now? Go and make a tent in the living room and eat Dairylea? Is that what you want? ‘Cos that’s what’s gonna happen!
Mark: There’s the familiar gut punch of pain and confusion. Hello, old friend…
Jez (on vaginas): She’s got one. She’s got one. She’s definitely got one… she’s pretending she hasn’t got one. But really she has..
Mark: Well, listen, I’m sorry if I didn’t do it right and I’m sorry if you assume that I eat red meat and don’t necessarily think money or Tony Blair are a bad thing, but if there isn’t room here for people who stand against everything you believe in, then what sort of a hippy free-for-all is this?
Jez: Come Mr. Taliban, tally my bananas.
Mark: The perfect combination of beauty and low self esteem.
Big Suze: My friend Otto had a very bad trip one time. He put his head on a railway track thinking it was a big steel sweatband.
Jez: Why can’t I just have everything I want? All the time? Isn’t that democracy?
Mark: I guess doing things you hate is just the price you pay to avoid loneliness.
Jez: Aren’t we supposed to be living in a multicultural democracy? And isn’t that the point? You know, the Jews, the Muslims and the racists all living together happily side by side, doing and saying whatever the hell they like?
Mark: Do a Columbo! Do a Columbo!
Super Hans: The twins! I’m always going on about me twins, am I?’ Course I have! The twins, the fucking twins. I’m always on about them! I bloody love ’em too. Hey – I’ve got them on my phone. Oh, hold on, have I…?
Mark: This was definitely a good idea. There’s no chance this wasn’t a good idea.
On October 21st 1966, after a period of heavy rain, 30,000 cubic yards of coal sludge collapsed on 19 houses and a primary school in Aberfan with predictably devastating results. Episode 3 of The Crown focuses on he disaster and its aftermath. The Queen herself reacts slowly to the tragedy, forcing her to confront her own apparent tendency to react with the traditional stoicism and reserve to such events, rather than the public show of emotion which might be expected or even needed by the watching public in the media age. The monarch would, of course, fall foul of similar issues following the death of Diana, 31 years’ later.
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.
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…
Preview, gratefully reproduced from Bingebox magazine (2016).
It is sometimes described as one great soap opera: the longest running drama in British history. So why not make a big TV drama based around the Royal family? Indeed, why not make one based in the life of Queen Elizabeth II herself, a person whose image adorns either a stamp, coin or banknote on the person of nearly everyone reading this? Well, Left Bank Pictures have produced just such a series, a ten-part epic available on Netflix since November 4th 2016. Indeed, they have big plans. The first series covers the period from the young Princess’s marriage in 1947 to the first few years of her reign following her ascension to the throne in 1952. But five more series are planned. If all goes well, in a few years’ time we should have sixty hours of drama covering the Queen’s sixty or seventy years on the throne.
REIGN OF THRONES
Dramas about the royals are, of course, nothing new – Victoria, Henry V, The Madness of King George are just three examples of historical monarchs who have seen their lives dramatised. But until Stephen Frears’ 2006 film The Queen, scripted by Peter Morgan, which focused on the potential public relations disaster which almost engulfed the monarchy following Princess Diana’s death in 1997, dramas about the current monarch were almost unheard of. The King’s Speech, which features the future Queen as a young girl, was another successful Oscar-winning stab at comparatively recent royal history. But it is Morgan – the author of The Queen as well as the play The Audience which also starred Helen Mirren as the Queen who has brought his formidable writing powers to The Crown. Stephen Daldry, famed for Billy Elliott and The Hours directs.
The Crown’s credentials are impeccable. The casting was always going to be controversial, however. Few are likely to gripe about Claire Foy in the role of HRH but as with Victoria which saw former Doctor Who companion Jenna-Louise Coleman cast in the main role, the producers have turned to the Tardis for the role of Prince Philip. Recent Doctor Who Matt Smith is not an obvious choice for the role, but then who is? James Cromwell and David Threlfall have both played the Duke of Edinburgh before but as a much older man. Smith is a fine actor and delivers a first-class performance. However, time will inevitably become an issue. Both he and Foy are in their thirties and are likely to be replaced at least once if the show is to cover the Queen’s entire reign.
The choice of American ‘Third Rock From The Sun’ actor, John Lithgow to play Churchill, the Queen’s first Prime Minister might also raise a few eyebrows in some quarters. Yet Lithgow is an accomplished actor experienced way beyond the realm of comedy and thanks in part to some due some modifications to alter his appearance (Lithgow is nearly a foot taller and slimmer than Winnie was) he is great in this. And Churchill was half-American anyway. What’s the problem?
MONARCHY IN THE UK
“I have seen three great monarchies brought down through
their failure to separate personal indulgences from duty,” says Eileen Atkins’
Queen Mary at one point, warning her granddaughter Elizabeth, “you must not
allow yourself to make similar mistakes. The Crown must win.”
Rather like Maggie Smith’s character in Downton Abbey, The Crown’s Queen Mary seems to specialise in saying controversial and sometimes prophetic things in this. Presumably, the three monarchies she means are Victoria (who arguably indulged herself by grieving over Prince Albert’s death excessively), Edward VII (who basically drank, ate and womanised his way to death) and her own son Edward VIII, who abdicated. Although as a heavy drinker and smoker, Elizabeth’s father George VI (also Mary’s son) was hardly free of personal indulgence either.
The excellent Alex Jennings incidentally crops up as the Duke of Windsor, whose abdication in 1936 (as Edward VIII) ensured Elizabeth would be Queen. Jennings also played Prince Charles in the film The Queen.
As with any good drama, there is the potential for
controversy. Though the Queen no longer has the power to put people who annoy
her in the Tower, there will still be a desire not to cause offence.
If The Crown proves a success, five more series could be in the offing. The opening episode which begins in 1947, clearly lays out the framework for what is to come. The King (Jared Harris, son of the late Richard Harris and perhaps best known for his role as the token Brit in Mad Men) has a bad cough and is clearly not long for this world. His daughter Princess Elizabeth is about to marry Prince Philip and though the couple are happy, there are hints of awkwardness to come. Philip is giving up a lot for “the greatest prize on Earth” including his love of smoking and Greek nationality. “Not a single person supported the match,” warns Queen Mary.
The action then jumps forward four years to 1951 during which time, the King’s health has deteriorated further and Elizabeth and Philip’s marriage has yielded two children, Charles and Anne. There are also allusions to trouble brewing with Elizabeth’s younger sister Margaret (Vanessa Kirby), notably the strong suggestion of an affair with dashing equerry Group Captain Peter Townsend (Ben Miles), a married man. With a title sequence, reminiscent of Game of Thrones, there are also political manoeuvrings afoot. Returning Prime Minister Winston Churchill soon knows more about the true state of the King’s health than the monarch does himself. And Foreign Secretary Sir Anthony Eden (Jeremy Northam) is already assessing the great war leader’s vulnerabilities: as Tory heir apparent in effect, he is clearly eyeing up the elderly Churchill’s job.
Ultimately The Crown is essential viewing. It is as much
about how Britain has changed in the last seventy years as the monarchy has.
There is certainly plenty of material.
AND WHAT DO YOU DO…?
Three stars of The Crown…
Claire Foy as Princess Elizabeth, later Queen Elizabeth II
Foy has played royalty before and was the ill-fated mother
of the Queen’s Tudor namesake (Elizabeth I) Anne Boleyn in Wolf Hall. She sprung to fame in the title role in the
BBC’s Little Dorrit in 2008.
Matt Smith as Prince
Best known for playing the last Doctor Who but one, the
thirty-four -year-old Smith plays the young Duke of Edinburgh, a man struggling
in the traditionally feminine role of partner to the monarch.
John Lithgow as Winston Churchill
Although often associated with comedy roles such as Bigfoot
and the Hendersons and Dick in the sitcom Third Rock From The Sun, veteran US
star Lithgow is an acclaimed and prolific dramatic actor.
The first ever US Academy Awards are held. First World War-based thriller Wings wins the first ever Best Picture Oscar.
In a scene reminiscent of the early scenes of the 2001 comedy film Zoolander, comedian Will Rogers opens the Best Director envelope and says, “Come and get It Frank!” Unfortunately, there were two directors called Frank nominated in that year. Frank Capra was half way to the podium before Rogers clarified that it was Frank Lloyd, director of Cavalcade who had won, not Capra. Happily, Frank Capra later won for Mr Deeds Goes To Town in 1936. In future years, the awards are always announced in a heavily scripted way, in the hope of preventing such an embarrassing error ever happening again.
Hattie McDaniel becomes the first black woman to win an acting Oscar (Best Supporting Actress: Gone With The Wind). Having been barred from the film’s Atlanta premiere due to the state’s racial laws, she is made to sit at a segregated table during the Oscar ceremony. She is only allowed to attend at all due to the Ambassador Hotel making an exception to its usual strict ‘no blacks’ policy. Her white agent sat with her at the ceremony.
How Green Is My Valley beats Citizen Kane for Best Picture. Citizen Kane subsequently became the most critically acclaimed film of all time.
Sidney Poitier (Lillies Of The Field) becomes the first black actor to win an Oscar.
A very rare occurrence: A tie in the Best Actress category.
Barbara Streisand wins for Funny Girl. Katharine Hepburn also wins for The Lion
In Winter (her third). As most Oscars are determined by votes from several
thousand Academy members, a tie is a frequent possibility.
George C. Scott wins Best Actor for Patton. He chooses not
to attend and instead stays home and watches a ball game on the other channel.
Native American Sacheen Littlefeather surprises viewers by
attending to reject Marlon Brando’s second Oscar won for The Godfather on his
behalf. t “He very regretfully cannot accept this very generous award. And
the reasons for this being are the treatment of American Indians today by the
film industry,” she says. She is actually not a political activist herself but
a small-time actress who later appears in Playboy magazine.
In a famously impromptu remark, host David Niven comments on
a streaker who disrupts the ceremony: “Isn’t
it fascinating to think that probably the only laugh that man will ever get in
his life is by stripping off and showing his shortcomings?
Robert De Niro wins his first Oscar playing Vito Corleone in
The Godfather Part II. Marlon Brando played the same character in 1972’s The
Godfather. It is the only time two actors have won Oscars for playing the same
Tatum O’Neal becomes the youngest ever person to win a competitive
Academy Award (Best Supporting Actress – Paper Moon). She is ten (she turned
nine during filming).
Annie Hall beats Star Wars for Best Picture. Director and star Woody Allen begins a long tradition of not attending the Oscars (choosing to perform jazz music elsewhere on Oscar Night instead). He finally attends in 2002.
British actress Vanessa Redgrave (Best Supporting Actress: Julia) is audibly booed after she attacks opponents of her documentary film, The Palestinian as “Zionist hoodlums”. She also attacks former President Nixon.
Jane Fonda (Best Actress: Coming Home) uses sign language during her acceptance speech to highlight awareness of deafness. It is her second Oscar: she also won for Klute in 1972.
Robert De Niro wins his second Oscar for Martin Scorsese’s
Raging Bull. The timing is awkward as the new President, former actor, Ronald Reagan
has just been shot and wounded in an assassination attempt. His attempted
assassin John Hinckley was reportedly inspired by Scorsese and De Niro’s 1976
film Taxi Driver and a desire to “impress” his teenaged co-star Jodie Foster
(she is not impressed).
Katharine Hepburn wins her fourth and final Oscar for On
Golden Pond. No other actor, male or female, has ever won four Oscars. Cate
Blanchett later wins one for playing Hepburn herself in The Aviator in 2004.
Hepburn’s co-star Henry Fonda becomes easily the oldest ever
Best Actor winner at 76. Too ill to attend the ceremony, his daughter and
co-star, Jane Fonda collects the award on his behalf (he dies a few months
Screenwriter Colin Welland shouts “The British are coming!”
following the success of Chariots of Fire this year. In fact, the next decade will
prove a very lean one for British cinema, although Gandhi does win Best Picture
Sally Field wins her second Oscar for Places In My Heart. “I haven’t had an orthodox career, and I’ve wanted more than anything to have your respect,” she says. “The first time I didn’t feel it, but this time I feel it, and I can’t deny the fact that you like me, right now, you like me!” Seen my many as overly sentimental, Field’s speech is often misquoted as: “You like me, you really like me!”
Whoopi Goldberg (Ghost) becomes only the second black actress to win Best Supporting Actress.
Silence of the Lambs wins in all of the “Big Five”
categories: Best Film, Actor (Anthony Hopkins),
Actress (Jodie Foster), Director (Jonathan Demme) and Adapted
Screenplay. This is the only the third time this has ever happened (the previous
films were 1932’S It Happened One Night and 1975’s One Flew Over The Cuckoo’s
Rumours abound that Jack Palance read out the wrong name
during his announcement of the Best Supporting Actress winner Marisa Tomei (My
Cousin Vinnie) In fact, though a surprise result, Tomei undoubtedly won. That
said, Palance did seem to be in a somewhat “tired and emotional” state as he
announced the award.
Couple Tim Robbins and Susan Sarandon use the Best Film Editing category as a political opportunity urging the government to let HIV-positive Haitians being held at Guantanamo into the US.
“Oh, wow. This is the best drink of water after the longest
drought of my life.” Steven Spielberg (Best Director: Schindler’s List) finally
wins. Schindler’s List is the first black and white film to win Best Picture
since The Apartment (1960).
Tom Hanks wins two Best Actor Oscars in consecutive years for
Philadelphia and Forrest Gump, a feat not achieved since Spencer Tracey in the
1930s, He delivers highly emotional acceptance speeches both times, inadvertently
“outing” a high school teacher as gay in the first (a moment which later
inspired the Kevin Kline film In and Out) and in the second stating “I feel
like I’m standing on magic legs.”
Samuel L. Jackson (Pulp Fiction) loses the Best Supporting
Actor Oscar to Martin Landau (Ed Wood). Lipreaders can see Jackson clearly says
“shit” on hearing the announcement from 12 year old, Anna Paquin. Jackson is
unrepentant afterwards, arguing he deserved to win.
George Clooney, Nick Nolte, Ed Harris and many other actors refuse to stand or applaud Elia Kazan’s Lifetime Achievement Oscar. The On The Waterfront director testified to the notorious House Committee on Un-American Activities in 1952
Halle Berry (Monster’s Ball) becomes the first black winner of the Best Actress Oscar.
Filmmaker Michael Moore (Best Documentary: Bowling For
Columbine) provokes a mixed reaction with an attack on President George W.
Bush: “We live in the time where we have fictitious election results that
elects a fictitious President. We live in a time where we have a man sending us
to war for fictitious reasons…Shame on you, Mr. Bush, shame on you. And any
time you’ve got the Pope and the Dixie Chicks against you, your time is up.”
Adrien Brody (Best Actor: The Pianist) kisses actress Halle
Berry on receiving his award.
The Lord of the Rings: The Return of the King becomes the
third film to win eleven Oscars. The others are Ben-Hur (1959) and Titanic
(1997). All About Eve (1950) and Titanic remain the most nominated films (14
each). The Return of the King is the only fantasy film to win Best Picture (no
sci-fi film has ever won it) and only the second sequel (the first was The
Godfather Pt II in 1974).
Martin Scorsese finally wins (Director: The Departed) after years of being overlooked. “Could you double check the envelope?” he quips.
A showdown between Kathryn Bigelow’s The Hurt Locker and
James Cameron’s Avatar. The Hurt Locker wins Best Picture. Bigelow becomes the
first woman to win Best Director (she and Cameron were married between 1989 and
The Artist is the first black and white film to win Best
Picture since 1993’s Schindler’s List. Contrary to popular belief, it is not technically
a silent film. Wings, the very first Best Picture winner, remains the only
silent winner in this category.
Christopher Plummer (Best Supporting Actor: Beginners)
becomes the oldest ever performer to win a competitive actor Oscar. He is 82.
Meryl Streep wins her 17th nomination (and her third win)
for The Iron Lady joking: “When they called my name, I had this feeling I could
hear half of America going, ‘Oh no. Come on… Her, again?’ You know. But,
whatever.” No actor has ever been nominated as many times as Streep has:
Katharine Hepburn won four times but was only nominated a still impressive 12
times. In 2018, Streep received her 21st nomination for The Post. Her other two
wins were for Kramer Vs Kramer and Sophie’s Choice.
Daniel Day Lewis wins his third acting Oscar for Lincoln.
Only five other actors have achieved three Oscar wins: Katharine Hepburn (who,
as previously mentioned, won four), Meryl Streep, Jack Nicholson, Walter
Brennan and Ingrid Bergman.
John Travolta messes up his introduction to a performance
from Frozen by Idina Menzel: “Please welcome the wickedly talented, one
and only Adele Dazeem,” he says.
The Oscars are widely criticised for a lack of racial diversity in the nominations.
Leonardo DiCaprio finally wins Best Actor for The Revenant.
In an embarrassing cock up, La La Land is briefly announced
as Best Picture, instead of the actual winner, Moonlight. The mistake – which
seems to have resulted from veteran actor Warren Beatty being given the card
revealing La La Land actress Emma Stone’s Best Actress Oscar in error, and
Beatty and Faye Dunaway’s understandably confused reaction – is only corrected
after two minutes (“There’s a mistake. Moonlight, you guys won best
picture…This is not a joke. Moonlight has won best picture”) by which time the
La La Land team are midway through their acceptance speech.
Casey Affleck wins for Manchester by the Sea despite
widespread controversy over sexual harassment allegations. Actress Brie Larson,
an advocate of sexual assault victims, presents the award to Affleck, but seems
unhappy with the result.
Comedian Kevin Hart steps down as host of the Oscars after controversy emerges over a slew of allegedly homophobic tweets he sent in the past. It is decided the Oscars will not have an official host for the first time since 1989.
Review: Nobody divides popular opinion quite like former Prime Minister Margaret Thatcher. To some she is the nation’s saviour who triumphed in the Cold War and saved the country from an assorted army of lefties, Argentinians and unruly trade unionists, reversing decades of national decline. To others, her selfish and greedy policies wrecked our NHS, public services and schools and left a legacy of rising unemployment and crime from which we’ve never recovered.
Perhaps for this reason, large sections of this film, avoid politics completely, instead focusing on the octogenarian Thatcher of today as she copes with the onset of old age, senility and comes to terms with the death of her beloved Denis (Jim Broadbent). Streep is firmly in the Oscar class as the elderly Thatcher and Broadbent is great if perhaps a lot more jolly and fun-filled than one imagines the real Denis to have been.
But it’s a shame that so much time is devoted to imagined ideas about the state of Thatcher’s mind as the flashbacks when they do finally get going have so much material to include. We do, however, get a convincing sense of how Thatcher (initially Margaret Roberts, played by Alexandra Roach) rises up from her lowly Grantham origins through the snooty smoky male-dominated Westminster world, surprising everyone, including apparently herself by eventually becoming the first woman prime minister.
A few bits don’t ring true: the scenes of a happy Thatcher family home life seem somewhat idolised (although Olivia Colman is great as daughter “Cawol”) and a sequence where the Lady suddenly reveals she knows the price of Lurpak to her Cabinet seems rather bizarre.
Inevitably, as this is a Margaret Thatcher biopic most of the key events of her tenure are viewed entirely from her own perspective. We see the Falklands War and the Miner’s Strike. For some reason the strike (1984) not the war (1982) occurs first in this version, although as these are her random memories so arguably this is just misleading and needlessly confusing rather than just plain wrong.
But her opponents are never presented as being reasonable: they are either toffee-nosed wets or ugly hairy protesting lefties. Only towards the end, when Thatcher’s relentless single-mindedness on issues like the disastrous Poll Tax and her bullying of unlikely nemesis, Sir Geoffrey Howe (Anthony Head) unwittingly precipitates her downfall, does the screenplay lose sympathy with its subject. And even then it’s implied these failings could be an early manifestation of her illness.
But ultimately, while the strange perspective does effectively undermine the film, it’s hard not to be moved by Streep’s touching performance of a lioness in the winter of her life.
Overall Verdict: A flawed biopic but Meryl Streep deserves an Oscar for her performance. And at least the film doesn’t go on and on and on.