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.
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.’
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.
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.