La folie du roi George

THE MADNESS OF KING GEORGE shows us how mad the ruler of England became at some point in time due to an illness doctors knew little about.

How his illness is treated is at the core of this story, when King George III is assigned a doctor (IAN HOLM) to use whatever means are necessary to restore sanity. All the while, court intrigue has everyone in parliament conspiring about appointing a Regent to take over the King's duties. His son, the Prince of Wales (RUPERT EVERETT) is more then willing to replace his father on the throne.

Much of it is played for fine comic effect with many nuances and comic timing in spite of the seriousness of the central character's illness. NIGEL HAWTHORNE recreates his London stage role, playing the part of the mad king to perfection. HELEN MIRREN is highly satisfactory as his wife who wants nothing more than to see him make a complete recovery and RUPERT GRAVES is fine in one of the more low-key roles as one of the King's supportive aids.

As usual in all of these British historical pieces, the settings, costumes, photography, art direction--all are exquisite. The photography is a marvel at suggesting that only candlelight illuminates many of the scenes so that it's like watching a series of fine paintings come to life. Effective use of Handel's music provides solid support throughout.

I originally saw this on stage at the Royal National Theatre in 1992 and then I saw it in the cinema when released as a film. I read a biography of the King recently and the death of Sir Nigel Hawthorne over Christmas prompted me to have another look at this.

I'm still bowled over and this will always be one of my top ten films, Hawthorne was never better and this will stand as the best of his legacy of fine performances.

His portrayal of the King is painfully accurate and largely historically correct in a superb script by Alan Bennett. The King was well educated but not particularly bright and Hawthorne brings his preremptory manner out so well. The scene where the King cross examines the Prime Minister about a minor appointment tells you more than you need to know of the sane man in two minutes.

The descent into madness is subtle at first, and might just be eccentricty but then gets worse and the Government are appalled at how they might lose control to the Opposition if there is a regency declared. The machinations become immense as so much hangs on the King's sanity.

Meanwhile treatment goes ahead and in a superb scene Hytner parodies the Coronation service when the King is strapped to a chair and gagged to Handel's 'Zadok the Priest'. In the Coronation service this music has since 1727 been used when the monarch is ceremonially led to St Edward's chair and is enthroned at the precise moment the choir comes in on the music.

However, the King recovers, though he had separate bouts of subsequent illness before totally losing it (though by then to Alzheimers) in 1811, though he was to live until 1820.

Hawthorne was robbed of an Oscar here in my view. Scriptwriter Bennett, one of our best living playwrights, has a small part as an MP.

Already upset by the loss of America to independence, King George III of England's position is made more difficult by the onset of an illness that causes him to act wildly and babble uncontrollably. While the Prime Minister places him in the hands of Dr Willis to keep him in power, The Prince of Wales and the leader of the opposition both plan to replace the king with the prince by way of a parliamentary bill.

Based on the great little play that is historically based, this film went down very well with the awards season since it is very English and well acted. The plot is well written, I'm not sure if it is totally accurate but it is surely based on facts even if it has been coloured for artistic and entertainment reasons. The film embraces both the internal workings of the royal family and the politics of parliament really well; again, it may not be totally true but it is colourful, dissenting and enjoyably. The film is involving but yet still manages to be enjoyable and funny. It is a great story and it is lavishly brought to the big screen in this great production.

The sets and costumes are really good and establish the period and setting of the story very well, but it is the performances that really make it work. Hawthorne is wonderfully cast and delivers a great performance in the lead - both as the cruel monarch or the madman. He is totally believable all the way and never lets his performance become comical or silly even when it is amusing in delivery. Mirren and Donohoe both have less to do but make impacts in their scenes. Everett, Holm, Wadham and Graves support the film to great effect, their performances are colourful, impacting and very enjoyable.

Overall, historical films will quite often be viewed as lifeless, dull and overlong. Here this film goes against all those old clichés and is lively, colourful and enjoyable. The rich sets and costumes add value to some great performances in an engaging story that is very enjoyable.

The late Nigel Hawthorne received his only Oscar nomination for his outstanding role of King George III of England who developed a mental disorder that created chaos for the the nation's leader in the 1700s. His wife (Helen Mirren in an Oscar-nominated role) cannot cope and it turns out that no one can really help the king as the medical profession just lacked the modernism necessary to assist. Ian Holm is a genuine scene-stealer as the physician who uses some unorthodox methods to try and cure the titled character. Nigel Hawthorne, who sadly passed away recently, was one of the truly great actors of his time and this was his finest role. 4 stars out of 5.

I'm writing these comments about "The Madness of King George" because of the singular outstanding performance by Nigel Hawthorne. This is one of the most versatile roles in films in decades. It surely ranks among the very best of all time. As King George, Hawthorne covers a range of emotions, personalities and temperaments not often found in film roles. His character is a study in transition from the serious to the serene to the silly. It's a role of drama, of hilarity, of ego and stuffiness, of pathos, of sorrow and regret, and of gentleness and kindness. What an exceptional acting job.

Most often I watch a movie for the whole experience, taking in the plot, characters, acting, scenes and scenery, location, action, intrigue, comedy, tragedy, as a blend of the whole product. All of these weigh in and affect how much I enjoy the film. But half way through this film, I became aware that I was more engrossed in the lead character himself, and the great diversity and excellence of acting on display.

Others have commented that Hawthorne should have won the Best Actor Academy Award for his role in 1994. While I like Tom Hanks as an actor, I agree that his role in Forrest Gump wasn't anything exceptional. Certainly not on the order of "Mr. King" in "The Madness of King George." Indeed, Hawthorne must have had to work on his role -- even as a consummate actor, if not for the variations of mood and portrayals, at least for the vast amount of lines he had to speak in the film. By comparison, the Forrest Gump role had a very small amount of lines, and those were far less taxing to an actor. Hanks' was a role that seemed more fun and easygoing than a challenge or demand.

I'm not one to complain about Hollywood (except for the low quality and volume of attempts at humor in the past 20 years), but once in a while I think that many others who make the same observation are right on. Hollywood flops big time in its Oscar choice of an actor, actress or film once in a while. It seems to me that the California-based Academy at times doesn't look as objectively and honestly at films produced outside the U.S. Nothing else produced in 1994 even came close to the outstanding acting by Hawthorne in this first rate film.