A Duquesa

The latest slice of period drama to grace our screens is this biopic on Georgiana, Duchess of Devonshire, who during the 1770s was patroness of the Whig party and prisoner of a marriage which made her, among other things, suffer the indignity of having her husband's mistress living under the same roof. These heritage dramas are an industry all by themselves; the armies of prop hirers, wig and costume makers, researchers, production designers, location scouts and (mostly) British actors who go to make them must find themselves in almost permanent employ. The BBC does them, the Americans have a go at them, and the public can't seem to get enough of them. The Duchess is a superior example of the genre, though nowhere in the league of Kubrick's Barry Lyndon, and combines the spectacle of Keira Knightley looking glamorous in a range of frocks and wigs, while at the same time honing her acting talents (no more those rictus grins), with the guilty pleasure of following the uncomfortable parallels between the fortunes and indiscretions of the ancestress of Lady Diana Spencer with those of the Princess of Wales herself. Lowering over the whole proceedings is the truly superb presence of Ralph Fiennes's Duke of Devonshire, Fiennes an actor who can convey polite discomfiture or threatening ire with slightest twitch of the mouth. In his hands the Duke becomes far less a melodramatic villain than a product of his time, and you almost feel sorry for him. Go and see The Duchess; only those who have had children will balk at the liberties taken with childbirth and breastfeeding. But not even that will spoil the fun.

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

After reading copious amounts of mediocre reviews for "The duchess", I wasn't expecting much from this film. However, from the first scene I was utterly absorbed.

The film isn't "just another period drama", it is an absolutely beautiful and heart-rendering tale of the tribulations faced by Georgian woman. Georgiana, Duchess of Devonshire, who although is the key character in the film (as you can probably infer from the title), represents the situation of all woman belonging to a patriarchal society, not just the aristocracy.

Keira knightly is exemplary in this role. Her facial expression tells more than a script ever could. I enjoyed her performance in "atonement" but this was in a whole new league. Ralph Fiennes was also excellent. My best advice is to ignore the critics and come to your own conclusion. My only negative criticism was the rapidity with which Georgiana bonded so intimately with Bess. However, I don't know enough about the social context of the time to really make a judgement.

All in all, a deeply moving tale that shouldn't be neglected.

This is one of my favourite films of all time. Keira Knightley is superb in this role. Although it may not be wholly accurate, this film clearly shows how badly women (even those of high birth) were treated by men and society. The costumes and settings are delicious. Love love love!

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.