In "Spencer", Pablo Larrain chooses to show Princess Diana as few did before.The film is available on the Amazon Prime Video platform.
Cinema - "A fable taken from a real tragedy", the introduction of the biopic on Lady Di sets the tone.Spencer, produced by Pablo Larrain, and available since Monday, January 17 on Amazon Prime Video, recounts the life of Princess Diana, on the days of December 24, 25 and 26, 1991.And as for the film that the director devoted to Jackie Kennedy-Onassis, this biopic does not look like any other.In Spencer Pablo Larrain has decided to show a particularly dark phase of Lady Di's life, almost transforming her story into a thriller.
Diana, played by Kristen Stewart, married Prince Charles (Jack Farthing) in 1981, but the relationship between the two spouses was ventilated in the 1990s, when the infidelity of the heir to the throne became unbearable for Diana Spencer -Her young girl name, editor's note.The separation between the two spouses then becomes imminent and the princess is plagued by doubts and anxieties.Helped by the weight of the protocol, and the freezing atmosphere that reigns at the Palais de Sandringham, these three days of holidays take on the appearance of a nightmare for Lady Di.
A horrifying biopic
Spencer begins in the kitchens of the castle as a war scene.The cooks open large trunks, intended to carry weapons on the front, which contain food reserves for the Christmas weekend.The metaphor is almost too obvious: these foods are for Diana the weapons which condemn it every day a little more.The princess of Wales is bulimic, a food disorder that obviously echoes hell she lives in the royal family: she can no longer support anything, she vomits everything.
La Suite Après Cette PublicitéIn parallel, the staging of the biopic plays with the codes of the horror film.The colors are dark, the atmosphere is freezing and freezing (literally).Filmed in traveling and Diana Spencer sequence plans walks long and wide the huge corridors of the Palais de Sandringham.And as in Shining, this chilling castle, with agonizing corridors, seems to close on it.
This heavy atmosphere is accentuated by the noisy silence of the characters.The Queen (Stella Gonet) and Charles stand out for their absence.Almost relayed to roles of figurations, in two hours of film, the two protagonists blow only two sentences, sharp.Each of their words illustrates the pressure that Diana undergoes, and how much she is trapped in this present made of traditions of the past.
All the oppress.The princess is infantilized, we choose for her her outfits and her meals, which she almost immediately returns to the toilet bowl.The pearl necklace offered to him by Prince Charles, the same he offered his mistress, Camilla Shand, suffocates him as long as she even tries to tear her down.The curtains of her room are meticulously sewn so that she cannot open them: it is thus deprived of the window and the exterior, which symbolize her breath.
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Throughout the film, nothing of distress and the oppression that Diana feels is spared from the spectator, thus participating in the singularity of this biopic."We did not try to reproduce a replica of Diana," says Pablo Larrain.We wanted to use cinematographic tools such as time, space and silence to create a world that recreates the balance between the mystery and the fragility of the character.»
A certain point of view on Diana's life
In Spencer, Diana is lost, literally. Dès les premières minutes du film elle s’étonne: “Où suis-je, putain?», alors qu’elle s’égare sur le chemin pour rejoindre le palais de Sandringham.To accentuate this feeling, Pablo Larrain draws his hallucinations on the screen, which lose as much the spectator as Diana.She imagines herself to be Anne Boleyn, the wife of Henri VIII, beheaded on her husband's order after being accused of adultery.
“Dans l’imaginaire collectif, les familles royales sont assimilées à des contes de fées: ils vécurent heureux et eurent beaucoup d’enfants… Mais ça ne marche pas avec l’histoire de Diana: quelque chose s’est cassé, car elle était brisée, tout le monde a eu de la peine pour elle», explique Pablo Larrain.
La Suite Après Cette PublicitéThis interpretation of Lady Di is a bias of the director.Diana has not suffered from hallucinations, nothing indicates that her doubts and anxieties have expressed themselves with so much violence.Spencer depicts a different, harsher, Diana image of Diana.Where in The Crown series, Diana is puny, in the biopic of Pablo Larrain she is combative."This is the story of a princess who decided not to become a queen but has chosen to build her own identity herself. C’est un conte de fée à l’envers», raconte le réalisateur.
Pablo Larrain does not show the Diana known by the public: loving, endearing, discreet and generous, and chose to stage a darker facet that touches the limits of the supportable and madness.A malaise such that the director leaves doubt to the end on a rewriting of history and a possible act.The princess will end up deploying her wings but in a much more literal way.
“I wanted to explore the Diana process, how she oscillates between doubt and determination, ultimately choosing freedom, not for her but for her children, specifies Pablo Larrain. C’était une décision qui définit son héritage: celui de l’honnêteté et de l’humanité, qui reste unique».
La Suite Après Cette PublicitéSee also on the HuffPost: Harry and William inaugurate a statue of Lady Diana in London
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