| Issue #29, October 13, 2006 |
Guy de Fraumeni’s Hollywood in The Hamptons
In entertainment industries dominated by “muscle” (the movies ruled by testosterone and television by Viagra), I would like to bow deeply to one of the gutsiest actors in the business, the brilliantly persuasive Helen Mirren. She is so strong, she’s managed to draw out an enormous emanation of life from behind the pastel-veiled Elizabeth II in her latest film The Queen. We wisenheimers were sure there never was life in the maturing matriarch. We are proven wrong by an unblinking script for The Queen by Peter Morgan and glaringly incisive direction by Stephen Frears (Dangerous Liaisons), but it is the supremely singular, subtle performance by Ms. Mirren (Dame Helen, invested by Prince Charles in 2003) that befits a crown. This year, she earned an Emmy as Elizabeth I in HBO’s miniseries.
Elizabeth II’s crown has taken a number of hits. However, the Crown never really showed a tilt, let alone a dent or a precious stone out of place. It was Diana, Princess of Wales, who crashed many times into the decorous silver and diamond armor of the Queen’s stoic dislike for her. Finally, the tragic car smash-up in 1997 was an unsettling coup de grace for Elizabeth. The Queen was dead; long live the deceased Princess Diana, the new ruler of the realm. This troubled time is the basis of The Queen. The tremendous popularity of Diana, now brought to a head by the heart wrenching news, had put the Queen teetering between a gutter-step down to being a despot and six steps up to the guillotine.
Tony Blair utilized his own popularity, as the newly-elected Prime Minister, with the grace of a ballerina. His soft pumps squeaked only a bit on the cold palace floors as he spun, in gentle pirouettes, apt reasons to convince the Queen to “come out” and participate in a national mourning for the Peoples’ Princess. This ritual dance provides the center of Mr. Frears’ sympathetic satire that pictures The Queen’s inbred complacency and reluctance to accede to the public and press who’s having a great old time with the Royals vs. the People. What will Diana’s funeral bring about? Will the Queen give up the sanctuary of Windsor and Balmoral Castles? It is within these walls that the quiet conflicts take place, as the cast of characters in turn, converse with Elizabeth. They include Blair, acted by Michael Sheen; “Mr. Queen” Prince Phillip, a wonderfully vacant James Cromwell; the sly Queen Mother, Sylvia Syms; and Prince Charles, surprisingly understanding and likeable as played by Alex Jennings. Their encounters with the Queen, as she stands steadfast, whether in regal attire, a bathrobe or in tweed accompanying her Corgis on a walk, approaches near melodrama. It is inexplicable. So masterful is the presentation of the theatrics. Of course, it helps to have the inclusion of the wild card of Diana’s death–the crushing demise of the headline dominating carefree divorcee killed in a speeding car with her Egyptian lover. This is dramatic stuff, but you will see that the engrossing drama is that of the Queen’s.
All right, I know you die-hard wiseacre-wisenheimers are still thinking this is fare for TV’s afternoon Lifetime cable. Give this a break! Actor Mirren may not be your favorite Martin Scorcese star, but given the opportunity, she could be. This role, for Mirren, is more challenging than Robert De Niro doing a Scorcese movie. For her, this is a real stretch. In her younger days, she supported the anti-monarchist Workers’ Party. When she accepted the role she knew you-know-what would hit the fan, but she is gallant. A terrific actor takes risks.
In this age of Hollywood “Royalty” few are “kings” or “queens,” though they must have script approval and the role must be them. There are a few other performers who’ve played crowned heads and deserve to wear one, notably Cate Blanchett. However, Helen Mirren has done the time. Shakespeare on stage in her 20s and dubbed, “The sex queen of Stratford.” She’s about 60 now and in her 7th year as detective Jane Tennison in the cutting TV series Prime Suspect, and in the past has starred, pubescently swell and swollen in a sarong, in 1969’s Age of Consent, 1979’s Caligula, Playboy’s soft porn and Oscar-nominated 1994’s Madness of King George and Gosford Park in 2001, which she received an Oscar nod for Supporting Actress. She’s doing just fine, thank you, in spite of a few roles that might have stalled other’s careers. Bobby De Niro’s done the same and they’re still worthy of wearing ermine–if they want to.
Guy-Jean de Fraumeni is the producer/writer/director of award-winning European and American feature films. He has been a judge at major film and TV award competitions, including the Oscars, the Emmys and various film festivals. Sarah Halsey assists him.
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