The Duchess

The Duchess - Set at the end of the eighteenth century, The Duchess is based on the life of Georgiana Cavendish (Kiera Knightley), Duchess of Devonshire. The film delves into Georgiana's passionate and doomed affair with Earl Grey, the future Prime Minister, and the complex love triangle with her husband (Ralph Fiennes) and Georgiana's best friend, Lady Bess Foster (Hayley Atwell).

Kiera Knightley again does a period piece and again looks mostly out of place. She's British alright, but a few stone away from looking like she belongs in 1770's Britain. It's augmented by the fact that her character, based on a real woman, was supposed to have gone through about 6 pregnancies, 4 of them successful. Knightley's emaciated form is just wrong. What is right though, is her performance. As a mother, as a chasismatic political presence and a woman desperate for a happy life she nails it absolutely.

I could have seen a little less focus on the love triangle and a little more on the "hows" and "whys" of this woman becoming such an important and popular cultural icon in British society. The film glosses over how this came to be, and asks us to take it as a fact after one brief scene showing the Duchess's political shrewdness. It's another case of Hollywood ignoring what's different about a film, preferring the safety of delivering what people have seen before.

Fiennes gives such a quiet performance right from the start but it grows and fills the area. It's often a mesmerizing performance because of his rigid adherence to societies expectations and rules at the cost of all else. Fiennes occupies the screen whenever he's in a scene. When he and the Duchess argue, she's like water smashing up against the unyielding cliff. Ralph Fiennes is aw-inspiringly scary in one scene without seeming in anyway over the top or demonizing of what his character represents. Ultimately his character is human and believable; purely a man of his times. His character is so down to earth and in the end simple. All he wanted from his marriage was a son and to be left alone to play with his dogs.

A mesmerizing turn from Fiennes in a likable, if familiar film, The Duchess gets a B+

a beautiful film. not great or remarkable. only beautiful. for costumes and correct acting. for the light to dark rooms of period. for the flavor of Anna Karenina. and for the atmosphere before the storm. a movie like a jewel from 18 century. more complex than a nice adaptation of a book, almost fascinating for the science of Keira Knightley and Ralph Fiennes to explore theirs roles possibilities, special for performance of Charlotte Rampling and for the air of portrait of a life. a movie like a drop of perfume. noble, seductive, charming. and a different tool for discover the past in a profound way.that is all. a beautiful film about a special universe and remarkable force of a woman to be herself .

The career of Keira Knightley has been somewhat of a mixed bag. She has had strong moments, invariably under the direction of Joe Wright, and she has had her less brilliant moments, mainly in the later "Pirates of the Caribbean" films. But, in "The Duchess", an entertaining and moving portrait of Georgiana, the Duchess of Devonshire, she truly shows signs that she is coming of age with a performance of subtlety and nuance.

The film has been marketed with not so subtle emphases on Georgiana's relative, Diana, Princess of Wales. The tagline for the film, "There were three people in her marriage", is not only, by my count, a miscalculation (a serious miscalculation if you count the dogs) but also guilty of creating a subtext which simply isn't in the film. Anybody looking for a film about Diana will be disappointed. Anyone looking for an entertaining film won't be.

The film is a moving portrait of a very tragic figure, brought to life by a career best performance from Keira Knightely. Her abilities have grown over recent years, with "Atonement" being her previous best, but here she shows great potential. She is ably supported by Ralph Fiennes, who is on fine form. His performance never descends into caricature or cartoonish villainy, but maintains a sense of humanity, no matter how selfish it is, underneath his characters various inexcusable actions. There is also a fine performance from Charlotte Rampling, though there is a weak link in the person of Dominic Cooper, who is too young for his part and struggles with it.

The witty and emotive script has a lot to recommend it and its characters are put into an engrossing and lavish world, successfully created by the director Saul Dibb. Extraordinary costumes fill the extraordinary locations, and there is a beautiful score by Rachael Portman to accompany it. The result is a fairly stylish affair.

The film's exploration of unfortunate innocence and the loss of freedom is at times poignant and adds to what is an extremely satisfying experience at the cinema and provides a great deal of promise for the future from its director and its star.

The Duchess is a superior slice of costume drama which manages to craft interesting, multi dimensional characters and an involving storyline from the well worn confines of the genre.

Keira Knightley plays a very similar role to the one she played in Pride and Prejudice, a feisty, modern woman trapped in a male dominated society. However, whereas Lizzie Bennett's heart and character inspires affection, the Duchess of Devonshire's fosters only reproach and punishment from her traditional and patriarchal husband. Her performance is a standout and demonstrates why she is so highly rated in the face of many disappointing roles in other films. She brings both strength and weakness to the character. Able to deliver withering put downs at her husband and others, whilst showing the pain of her loveless marriage etched into her face.

If Knightley is the lynchpin of the piece then it is Ralph Fiennes that elevates it above a crowded genre. Resisting the temptation to play his character as evil, instead he simply plays him as a man of his times. In Fiennes' hands the Duke feels no need to win any bouts of verbal jousting with his wife as he is secure in the knowledge that, as a husband, he is in complete control of the relationship. The Duke also clearly sees very little wrong in his treatment of his wife and acts, as he sees it, in a logic manner making the whole film feel more believable and, as a result, tragic.

In terms of the cast the only misstep is Dominic Cooper as Charles Grey, who lends the wide eyes of a political dreamer but doesn't have convincing chemistry with Knightley and plays one of the more one dimensional characters in the piece. However Hayley Atwell impresses by playing her character so well it is possible to describe her as scheming, and manipulative as well as sympathetic and loyal without it seeming a contradiction.

The film is deliberately paced so as to give characters and events time to breathe, encouraging the mood that the marriage is a car crash in slow motion, inextricably drawing all the characters further into the muddled mess of their relationships. Overall it's a fully recommended slice of real life costume drama that draws a multi layered drama full of compellingly deep characters from what could easily have been a one note story.

What rather wonderful about this story is that Georgiana Spencer (Keira Knightley) discovers a way to exult in victory over things and to get back some kind of power in a time where, really, women had very little… Being someone of great vitality and liveliness, she was very much a dreamer and an idealist, a woman who loved being the center of attention, who loved the fact at some point that her picture was in the paper, that the clothes were always talked of, that her every move was commented on…

We are immediately impressed by her presence, by her personality… She wasn't behaving quite in accordance with the way in which other 18th century women were expected to behave…

But there was something incredibly sad about this self-conscious lady… She was a victim of herself… A victim of her own innocence… A victim of people using her for their own profit… Even though she seemed to have everything, we realize that it was not that simple… And with all of her privilege came a lot of moral obligation and things were never what they really appeared to be…

The Duke (Ralph Fiennes) was a misanthropic man, rather cold, unemotional and quite cruel… He seems to like better his hunting dogs to his young wife… Of course with certain values, that he believes were absolutely right and that he strictly held to…

This sumptuous period piece also presents the Duchess of Devonshire as a political hostess… Saul Dibb's film shows us her dinner parties, her evening events, her fame and its extraordinary effect on her… It made her both desperate to please, terrified of doing anything wrong and shocked at her own celebrity and unable to figure out in her own mind why she was quite so famous… And we see the crippling effect it has on her sense of self