The Queen - La regina

Frears brilliantly recreates that royal events surrounding the tragic and sudden death of the people of England's beloved princess. The focus is on the royal family, particularly Queen Elizabeth and what may have gone in her mind during this ordeal. Frears attempts to give an impartial view of the event and sticks to the main point. He cleverly uses live footage of the late princess and combines it within the film. The cinematography and quick cuts are very effective. Helen Mirren and Michael Sheen give standout performances. No doubt it must have been difficult to play both parts but the two actors pull it off without hassle. Even as Queen Elizabeth (one of the most unsexiest queen), Mirren looks sexy and not in a way that distracts the viewer from the character. It's remarkable how she so accurately displays the nuances of the title character. I'm glad that Michael Sheen finally got a role to display his wonderful acting abilities. James Cromwell and Sylvia Sims are equally good in their roles respectively as the Queen's husband and mother. Helen McCrory makes Cherie Blair look pretty. My only small complaint is that, the film, at times, moves at a very slow pace but otherwise this is a well made movie that gives a glimpse of how the tragic event might have affected the royal family.

On the 1st of September 1997, the world saw tragedy. In the turmoil that followed, Princess Diana's death was blamed on the Media, the driver, and an entire array of others, before the upset and ill-meant malaise of the public was turned sneeringly to the Royal Family. In this film, we get a glimpse of what life was like inside Buckingham Palace, and whether The Queen (played here by Helen Mirren) was being cold and uncaring, or, if she was the one who was suffering most of all.

Director Stephen Frears recreates one week in 1997 with intelligent, deft strokes. The presentation of Princess Diana is artfully done in news snippets and archive footage, which brilliantly demonstrates the high impact her being had on people. The design of The Queen's home and her surroundings are convincing without being overly showy, and the Alexandre Desplat score is by turns dark, sad, and grand, perfectly summarizing the mindset of those involved.

But the film belongs to Helen Mirren, who takes on of her most challenging roles and showing us that behind the Queen lay a person, and one with feelings. In her role as the reigning lady, she is the epitome of suppressed disappointment and hurt. The Queen chose not to make a parade of her feelings in response to Diana's death, and, though the nation hated her for it, we learn here that it is not because she did not care, but because she honestly thought it the right thing to do.

As a young and newly elected Tony Blair with big aspirations and an even bigger grin, Michael Sheen is freakishly good as the Prime Minister. His performance shows a likable side of the prime minister in his refusal to side with the public over the denouncement of The Queen for her actions, and his attempts to make The Queen limit the damage that she has made is the basis for a very insightful story.

Other delights in this film come in some high-brow one-liners and some other good performances, but the best thing about it is how it manages to make you think, and even empathise with a group of people that you never saw yourself giving a toss about. At under 100 minutes, The Queen is funny, pointed and highly intelligent, showing that, as always, there are two sides to every story.

At the time of Princess Diana's funeral I remember thinking that, instead of rewriting "Candle in the Wind", Elton John should simply have performed a song from "Evita"- the one that asks the questions "Why all this howling hysterical sorrow? What kind of goddess has lived among us? How will we ever get by without her?" Tim Rice's lyrics were, of course, originally written about Eva Peron, but they could equally well have been written about the British public's over-reaction to Diana's death.

Those sentiments were not popular ones in September 1997, but they should not be taken as implying that I have any particular axe to grind against either the Monarchy in general or Diana in particular. Republicanism is simply another manifestation of our regrettable tendency to jump on American bandwagons (in this particular case two hundred years too late), and I have always thought that King Charles III and Queen Diana might have made a formidable Royal couple. Charles the Head, with his intellectual interests in spirituality and the environment, and Diana the Heart, with her spontaneous human warmth and touch of sex appeal, could both have brought qualities to the Monarchy which it has sometimes lacked in the past. Unfortunately, their wildly contrasting characters, which could have made them such a great Royal team had they been able to avoid washing their dirty linen in public, made it impossible for them to live together as a married couple. The woman we buried on that September morning nine years ago was no longer Our Future Queen but rather the dead mistress of a millionaire Egyptian playboy.

This film is not about the life of Diana (there is a great film to be made on that subject, but it has not yet been made and probably will not be for a number of years). Nor does it attempt to analyse exactly why her death should have provoked such hysteria, including not only hysterical sorrow but also hysterical anger against the Royal Family. I suspect that the main culprit was the media which, exercising the harlot's privilege of power without responsibility, had over the years built Diana into (to borrow another phrase from "Evita") "a cross between a fantasy of the bedroom and a saint". The press found itself under criticism when the paparazzi in its employ were implicated in her death, and needed to divert the public's anger onto a new target. Given, however, the incestuous interdependence of the media world, where press barons own shares in television and film companies, film-makers are often reluctant to subject the Fourth Estate to too much scrutiny.

This is, rather, an examination of the relationship between Queen Elizabeth II and her Prime Minister Tony Blair and of the roles played by them in the events following Diana's death. The two are sharply contrasted, but the contrast is not one of ideology. The Queen is constitutionally obliged to remain politically impartial and Blair, who moved New Labour into the centre ground and away from its traditional attachment to Socialism and class-based politics, is probably less likely to harbour anti-monarchist sentiments than many earlier Labour politicians. (The Old Labour republicanism attributed to Cherie Blair in this film looks very old-fashioned). Rather, the contrast between them is that between differing temperaments and, even more, between different generations.

The Queen is the representative of the older generation, a believer in tradition, in dignity and emotional restraint. She sees no need to rush back to London from Scotland (the Royal Family traditionally spend late summer on their Balmoral estate) or to fly the Union Jack at half-mast over Buckingham Palace. (Tradition decrees that only the Royal Standard, which denotes the presence of the Monarch and is never flown at half-mast, can fly over the Palace). She is sympathetic to the Spencer family's wish that Diana should be given a private funeral. Blair, on the other hand, represents the younger generation- he is a believer in innovation and change rather than tradition and more sensitive to the public mood. His politician's instincts tell him that the Royal Family's attitude represents a public relations disaster in the making, and tries to persuade the Queen to return to London, to fly the flag and to grant Diana the official funeral for which the public are clamouring.

Michael Sheen bears a close resemblance to the Tony Blair of nine years ago, and has clearly studied him closely in order to catch his every gesture and nuance. I was not, however, particularly impressed by his performance. He seemed to have fallen into the trap of watching his subject too closely, becoming a mimic rather than an actor. I felt that I was watching an impressionist of the Mike Yarwood or Rory Bremner school impersonating Blair rather than an actor playing him in a serious drama. Some of the members of the Royal Family, such as James Cromwell's Prince Philip and Sylvia Syms's Queen Mother, seemed one-dimensional figures, based upon popular preconceptions rather than any attempt to create rounded characters. Alex Jennings's Prince Charles was rather contradictory; at times he seemed the most sympathetic of the Royals, at others weak and cowardly.

By far the best performance came from Helen Mirren as the Queen. In the past she has chosen some rather dubious vehicles for her undoubted talent (notoriously "Caligula"), but this is one of her most assured performances of recent years. Her Elizabeth II emerges as a very human and sympathetic individual as she and Blair, despite their many differences, discover a growing respect for one another's point of view. In many ways, this subject would have been more suitable for a TV drama than a cinema release. Mirren, however, always makes it worth watching. 7/10

It's 1997. Tony Blair (Michael Sheen) and the Labour Party have just won a landslide victory. Then Princess Diane is killed in a Paris tunnel. The Queen (Helen Mirren) is reluctant to change any protocol. Prince Philip (James Cromwell) dismisses the tidal wave of grief. Blair tries to advise them despite their intransigence. Eventually the pressure becomes too overwhelming and the Royals must change with the times.

There are two great performances in this. There is also an interesting personal drama within this international story. The death of a princess may not be important in the grand scheme of it all, but it provides a backdrop for a compelling personal drama. Michael Sheen seems to be the guy to play Tony Blair. He's great at it. Helen Mirren is exceptional. She brings both the stoic and the scared with such ease. She fully deserves the Oscar for best actress.

A moment that may have felt like surrender to Elizabeth II is the most moving and powerful moment in a film filled with moving and powerful moments. Helen Mirren works a miracle with her characterization. When the Queen is forced by circumstances to address her people and mourn in public Diana's death, Helen Mirren doesn't forget that her character is a seasoned public speaker but not an actress. When she delivers her speech to her subjects, the real strength is in her commitment to her duty and not the meaning of her words. It is a chilling, masterful acting stroke. Stephen Frears uses the brilliantly structured script to reveal something that's always being in front of our eyes but we've never seen. The privacy of the most public people in the world. Michael Sheen is terrific as Blair and every piece of casting is truly inspired but it's Helen Mirren's film, oh yeah, one hundred per cent.