Lady Diana Spencer’s life has been one of the most adapted to TV/film from documentaries, movies, and, most recently, the fourth season of The Crown. Now add in, Pablo Larraín’s Spencer. A haunting, melancholy triumph that remarkably captures Diana’s story in a fresh and insightful light.
Labeled from its start as a “fable from a true tragedy,” Spencer takes place over Christmas Eve, Christmas Day, and Boxing Day. Diana’s days are full of orchestrated activities during that weekend, including wardrobe changes, photography sessions, ceremonies, and dinners. Artificial and fake, its backdrop captures the cage Diana is living in as her marriage to Charles and relationship with the royals is on the rocks.
Director Pablo Larraín is familiar with examining historical female figures as 2016’s Jackie remains one of the most cerebral and compelling looks at Jacqueline Kennedy ever captured on film. Like Jackie, Larraín’s direction is impeccable as he incorporates a Kubrick-like gothic horror atmosphere to the movie where the true horror is not ghouls and goblins. It’s people labeled as “family.”
One of Larraín and screenwriter Steven Knights’s most effective tools was incorporating Diana’s bond with her children, William and Harry, exceptionally portrayed by Jack Nielen and Freddie Spry. While Diana lives in fear of the unyielding royal institution, Diana finds solace in her boys. From Diana’s first glimpse of Harry in an overly-size coat to a touching Christmas Eve game, the embodiment of Diana is her love for her boys.
Cinematographer Claire Mathon continues to impress, and her work in Spencer is one of the best of the year. Mathon’s lens is undeniable, following her masterful work in 2019’s Portrait of a Lady on Fire. From the overhead of the Queen’s Sandringham estate to Diana running in the fog, to Mathon’s focus on Diana’s face in her most uncomfortable moments, Mathon forces us never to lose focus on the examination of the Princess of Wales.
Jonny Greenwood continues his impressive 2021. Spencer may be Greenwood’s best score in a year where The Power of Dog’s score exists. Similar to Jackie, the score of the film is crucial in capturing Diana’s state of mind and how trapped she feels. It’s hard to imagine a world where both Greenwood and Mathon’s names are not called on Oscar nomination morning.
Speaking of Oscar nomination morning, Kristen Stewart’s portrayal transcends the essence of Diana and is Stewart’s best performance of her career. Instead, it may be one of my favorite performances since the turn of the century. Stewart captures the sensitivity of Diana while effectively incorporating her desire to rebel from the monarchy.
Stewart’s sincere and persuasive demeanor and mannerisms aid in this tour de force role as you still attain a proper understanding of her emotions and desires even in moments of silence. Stewart is nothing short of perfection in Spencer and it should ultimately lead her to the Oscar stage to receive her first Academy Award.
Timothy Spall, Sean Harris, and Sally Hawkins all shine in their supporting roles. Harris’ Darren (Royal Head Chef) and Hawkins’ Maggie (Royal Dresser) offer Diana someone to vent to in her time of need. While Diana fails to trust her family, Darren and Maggie provide a support system that aids in Diana’s maneuvering through the weekend’s events. While Spall’s Equerry Major Alistair Gregory is a loyal subject, he understands Diana’s torment.
Spencer ultimately is not just a tragedy of a trapped princess but a downright satirical examination of the monarchy; one that is dependent on propping up an illusion of perfection to the masses. Larraín’s film will leave cinephiles praising Kristen Stewart and wondering why this royal order continues to exist.
