The Queen (2006)

Director:

Stephen Frears

Writer:

Peter Morgan (written by)

Release Date:

15 September 2006 (Italy)

Genre:

Biography | Drama

Tagline:

Tradition Prepared Her. Change Will Define Her.

Plot:

After the death of Princess Diana, HM Queen Elizabeth II struggles with her reaction to a sequence of events nobody could have predicted.

Plot Keywords:

Queen | Royal Family | Monarchy | Prime Minister | Speech

Awards:

Won Oscar. Another 58 wins & 51 nominations

US TV Schedule:

Sat. Feb. 20	8:00 PM	AMC
Sun. Feb. 21	3:00 PM	AMC

Cast

  (Cast overview, first billed only)

Helen Mirren	...	The Queen
James Cromwell	...	Prince Philip
Alex Jennings	...	Prince Charles
Roger Allam	...	Robin Janvrin
Sylvia Syms	...	Queen Mother
Tim McMullan	...	Stephen Lamport
Robin Soans	...	Equerry
Lola Peploe	...	Janvrin's Secretary
Douglas Reith	...	Lord Airlie
Joyce Henderson	...	Balmoral Maid
Pat Laffan	...	Head Ghillie
Amanda Hadingue	...	Queen's Dresser
John McGlynn	...	Balmoral Head Ghillie
Gray O'Brien	...	Charles' Valet
Dolina MacLennan	...	Balmoral Switchboard Operator

Also Known As:

La regina (Italy)
The Queen (France)

MPAA:

Rated PG-13 for brief strong language.

Runtime:

103 min | Turkey:94 min (TV version)

Country:

UK | France | Italy

Language:

English | German | French

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Ireland:PG | UK:12A | Switzerland:7 (canton of Vaud) | Switzerland:7 (canton of Geneva) | Finland:K-3 | Netherlands:AL | France:U | Singapore:PG | Australia:M | Germany:o.Al. | Portugal:M/12 | Hong Kong:IIA | Brazil:Livre | Argentina:Atp | Norway:A | Denmark:A | Sweden:Btl | Canada:G (British Columbia/Manitoba/Ontario/Quebec) | Canada:PG (Alberta/Nova Scotia) | South Korea:12 | Peru:PT | USA:PG-13 (certificate #42527) | Malaysia:U | Norway:10 (TV rating)

Filming Locations:

Blairquhan Castle, Blairquhan, South Ayrshire, Scotland, UK

Company:

Pathé Pictures International

Trivia:

Helen Mirren, who plays the Queen, is of Russian ancestry. In real life, it is Prince Philip who is connected to Russian royalty, being a cousin of the late final Tsarina Alexandra Romanov.

Goofs:

Anachronisms: When Blair is in his study surrounded by books using a telephone, a copy of "Carter Beats the Devil" is visible which wasn't first published in Britain until 2001. The film is set in 1997.

Quotes:

[first lines]
Reporter: After weeks of campaigning on the road, Tony Blair and his family finally strolled the few hundred yards to the polling station this election day morning. Amongst the Labour faithful up and down the country, there is an enormous sense of pride in Mr. Blair's achievements, and the confidence that he is about to become the youngest prime minister this century.

Movie Connections:

Featured in "British Film Forever: Corsets, Cleavage and Country Houses: The Story of British Costume Drama (#1.4)" (2007)

Soundtrack:

Heaven Must Be Missing an Angel

A tart, able tribute to two big Brits

Stephen Frears' The Queen, written by Peter Morgan (co-author of The Last King of Scotland) and starring Helen Mirren, is a glittering, compelling, solemnly anxious news comedy about the week in late summer, 1997, when Tony Blair, fresh in office as new-Liberal Prime Minister, "saved" the British royal family, or saved it from itself, when Lady Di died in Paris. Partly the Queen, Prince Philip, and Prince Charles, all in their own ways, loathed Diana for what she had done to them, which the public, conditioned by the mass media to adore her, could not know about. Partly the Queen wanted to shelter the boys, Diana's sons, from the noise of publicity, which would only aggravate their grief. Partly, and perhaps most of all, she was being the way she was raised, keeping things to herself, maintaining the immemorial English stiff upper lip. But also as Peter French has said about this film, the royal family "are shown to be morally and socially blinkered." Tony Blair reluctantly taught the Queen to see their absence of public response to the death, her insistence at first that it was a "private, family matte," was a disastrous policy that had to be reversed.

Diana had skillfully manipulated the media to form an image of herself combining Demi Moore and Mother Teresa. And she was still associated with the royal family, and appeared as wronged by them. You don't turn your back on that. You eat humble pie and play catch-up. But a monarch isn't tutored in such strategies.

No flag flew at half mast over Buckingham Palace, because that flagpole was used only for the royal flag, to show if anyone was home, and they were all at Balmoral, being private in their grief, avoiding publicity, and protecting the boys.

The Queen as seen here and imagined with enthusiasm by Morgan is not as witty as Alan Bennett's Queen, in her last on screen recreation, in A Question of Attribution (directed by John Schlesinger, 1992), nor does the estimable Ms. Mirren (who's nonetheless very fine) have the buoyancy of Prunella Scales in Schlesinger's film. But she is witheringly cold toward Tony Blair, all foolish smiles on his first official visit to the Palace. (Blair's played by Michael Sheen, who's experienced at this game.) As Peter Bradshaw wrote in The Guardian, "Mirren's Queen meets him with the unreadable smile of a chess grandmaster, facing a nervous tyro. She begins by reminding him that she has worked with 10 prime ministers, beginning with Winston Churchill, 'sitting where you are now'. As put-downs go, that's like pulling a lever and watching a chandelier fall on your opponent's head." Fully recognizing the crucial importance of the British monarchy, this film is tartly reserved about both sides of the game. The royal family don't like "call me Tony." And Blair's wife Cherie is a bit ungainly in her blatantly anti-monarchy attitudes. But when Blair sees how Elizabeth's coldness and invisibility is angering the fans of Dady Di – the media queen, the "People's Princess" -- alienating her own subjects en masse, he steps in and persuades them to leave Balmoral and look at the thousands of flowers for Di piled in front of the Palance with their humiliating notes; then deliver a "tribute" to Di on TV. The formal grandeur of the film inherent in its subject matter – the Prime Minister and the royal family – is offset by its ironies and by the intimacy of the tennis match that develops in communications back and forth by telephone.

This movie is ultimately kind to Blair and to the Queen. It makes us feel sorry for Elizabeth, whom Blair comes to defend (against some of his cockier associates, not to mention his wife) with ardor. In Peter Morgan's second imagined interview with Blair the Queen coolly observes that he confuses "humility" with "humiliation" (he hasn't seen the nasty notes on the bunches of flowers for Diana); and she sees his kindness as merely due to seeing that what has happened to her could happen to him as quickly. As for Blair, the Brits may have little use for him now, but the filmmakers acted out of the belief that this week when he averted disaster on behalf of the monarchy was his "finest hour." Frears has had a varied career, with high points second to few, concentrated in the decade of the Eighties after he came off doing a lot of television. These finest hours include My Beautiful Laundrette, Prick Up Your Ears, Dangerous Liaisons, and The Grifters. For a while there it looked like he could do anything, then more as if he would; but he's admirably willing to try new, as well as dirty, pretty, things, The Queen is dignified, but contemporary. It's bustling and grand. Loud music and vivid performances help. Mirren's Elizabeth is more of the Queen and less of the Queen than Prulella Scales' briefer performance. Bennett's Queen was very clever. Morgan's is sad and noble. The Queen, which is dignified, but contemporary, shows where the Brits are now, and the effect of Lady Di. QEII, like QEI and Victoria before her, has had an extraordinarily long and successful reign, half a century (obviously Mirren is younger than the actual Queen.) But with these events, with this crucial week, the days of her generation essentially ended.

There's a symbolic fourteen-point stag at Balmoral the men are interested in. James Cromwell's brusque, lordly Prince Philip will do nothing but take the boys hunting, to get them outside. In the end a corporate banker kills the stag on a neighbor's property, and only Elizabeth sees it, when she's stranded in a jeep she's driven into the mud, and crying.

For all its ceremony and noise, loneliness and wit, mostly The Queen simply tells a story, the new story of English royalty at the end of the twentieth century. It was a story worth telling, and it's told well.