As it finally hits theatres, we unpack K-Stew's new movie 'Spencer', which boasts perhaps her best performance yet.
Rather than spanning several years, as might be expected from a more conventional script — we’re looking at you,— the action, here, is contained to just three days, locked into the perspective of the people’s princess herself. But the timeframe is hardly the first thing that sets it apart from a cookie-cutter biopic: this film is, for all intents and purposes, abstract as fuck, and all the better for it.
A frosty landscape on, as the title card tells us, Christmas Eve. A procession of army-style vehicles -- Land Rovers, police escorts, big gas-guzzling things -- drive in inch-perfect synchronicity, down a country lane. They pull up to their destination: an expansive country manor with all the super ornate, upper-class trappings of old old money.The film’s setting, Sandringham, is one of the British monarchy’s umpteen homes-away-from-home.
Of course, she eventually rocks up in a convertible with the top down -- after a couple of detours, including one to a fish and chip restaurant, which she enters to the sound of gawking jaws hitting the floor. It’s the last moment of liberation she’ll enjoy for a while. If movie tropes are anything to go by, the first thing you do when you walk into prison is hand in your clothes. For Diana at Sandringham for, it’s taking a seat on weighing scales, a strange familial tradition for the holidays. Everything here seems like is a game of micromanagement: how much you weigh when you leave determines how much fun you had; schedules are written to the minute. Want to dress yourself? Not possible.
Undergirding the story of Diana Spencer is a history of patriarchal violence: women betrayed by hastily forgiven husbands, but whose own missteps are demonised to the hilt; by voracious, parasitic paparazzo, who will exploit anyone for a quick buck; nose-gazing in-laws with more concern for familial tradition than the wellbeing of their daughter-in-laws .
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