By design, Ed Perkins’ The Princess keeps a healthy, mediated distance from its subject, the late Princess of Wales. After all, the news is the first draft of history, and the film restricts its view to what we knew at the time. In doing so Perkins orchestrates a film that demystifies the lore and media obsession with Princess Diana, in essence pointing its gaze inward—towards the media covering the adoring fans in the moment. They sometimes turn against the media, defending the People’s Princess in shouting matches on talk shows and sometimes in the streets, yet the economic incentives for rabid paparazzi persist.
Diana was, by all means, an influencer when such terms didn’t exist and in a time when a narrative could not be controlled by Instagram. Later in life she went where the cameras would do the most good, calling attention to a wide range...
Diana was, by all means, an influencer when such terms didn’t exist and in a time when a narrative could not be controlled by Instagram. Later in life she went where the cameras would do the most good, calling attention to a wide range...
- 1/21/2022
- by John Fink
- The Film Stage
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