05 Nov Spencer Review

SPENCER

dir. Pablo Larraín, starring Kristen Stewart, Timothy Spall, Sean Harris, and Sally Hawkins

Spencer, the fictionalized story of Princess Diana’s final straw leading her to divorce Prince Charles and leave the Royal Family, can be categorized as a drama, but plays more as a psychological horror at times. Set over the course of a Christmas weekend, Diana’s presence at the Queen’s Sandringham Estate in Norfolk is required, much to the chagrin of Diana, who’s relationship with Prince Charles has become estranged due to his illicit affair with Camilla Parker-Bowles. Weaving in these real life aspects within the fictional story, director Pablo Larraín manages to tell a tale of a lonely, isolated woman so withdrawn within herself that her increasingly erratic actions lead to even further withdrawal, and, eventually, a crisis of conscious. Aided by the stellar original score from composer Jonny Greenwood, Spencer’s shifts between drama and horror are seamless as Diana’s downward spiral, while fascinating to watch from an acting standpoint, stalls the film progress as Larraín imagines the possibilities of Diana’s private life.

Starring Kristen Stewart, Spencer is basically a one woman show, and Stewart manages to prove yet again that she’s only grown stronger as an actress. Transforming into the titular Diana Spencer, Stewart’s use of body language throughout the film to convey her closed off feelings to Prince Charles and the entirety of the Royal Family is her greatest asset. Opening herself to only her sons, the Royal Head Chef (played by Sean Harris in his second best role of the year), and her favorite Royal Dresser (Sally Hawkins, far too underutilized), Stewart does a masterful job of showing how isolated and removed from everyone she is. While Spencer is a fictitious accounting of a Christmas weekend set within a very real time period of tumultuousness within the Royal Family, it’s not hard to imagine the story not being far from actual events. Due in large part to Stewart’s performance (minus her breathy, 1940’s Hollywood line delivery), the audience is able to imagine the weight of responsibility and expectation placed on the heir apparent.

Directed by Pablo Larraín, who just a few years prior tackled the life of former First Lady Jacqueline Kennedy-Onassis, Spencer’s three day journey into the potential depths of despair felt by one of the most beloved women in the world is a riveting story on the surface. Larraín’s direction and keen eye for brilliantly composed shots are top notch, helping to cover the weakness of the story itself. At 111 minutes, the film’s second act suffers the most. Following a well-executed first act of introducing Diana and setting up her ability to grow more into herself and her confidence, the middle of the story may have some glancing at their watches. Diana’s depths are repeatedly touched on almost to the point of being overmined; while the phrase beating a dead horse doesn’t quite fit as a valid criticism, there does come a point where a few maybe start thinking yeah, ok, we get it. Still, after bringing his talented eye for filmmaking and an ability to immerse the audience into the worlds of his films, it leaves us to wonder who the next influential woman from modern history Larraín might turn his sights to next.

Overall, while a finely crafted film from a technical standpoint, Spencer’s laconic pace is its biggest downfall. An idea that begins to stretch thin about halfway through the film leads to a second half that, while liberating in its final moments, berates its initial point to dust. Propelled by Kristen Stewart’s performance, excellent cinematography, and stunning production design, the film is more a testament to Larraín’s ability to make a movie than tell a story. Sure to rack up a number of award nominations this year, Spencer cannot go ignored by any moviegoer who enjoys the marathon run to the Oscars. Spencer is currently in theaters.

Review by Darryl Mansel