“She was a regular woman trapped in a very unusual context,” Larraín said. The result is an ominous chamber piece on the power of maternal instincts and the process through which a beleaguered woman cuts her own path. Larraín’s approach blends Stewart’s measured performance with the precision of “Locke” writer Steven Knight’s screenplay and Johnny Greenwood’s frantic score. Set at a Christmas gathering of the Royals at their vacation home in Sandringham House in Norfolk circa 1991, “Spencer” presents an imaginative vision of Diana as her grip on reality grows murkier and her frustrations with Royal traditions threaten to crush her resolve.
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Instead, like much of Larraín’s work, the movie operates as an immersive and enigmatic character study built around the fierce determination of a character fighting to transcend her claustrophobic surroundings. Which is not to say that “Spencer” aims for any firm conclusions. “Then I wondered why Diana had created such a level of empathy. “Somehow, despite the enormous distances between these women, I always felt that my mother was very interested in this story, and was somehow influenced by her - like millions of people around the world,” Larraín said. The impulse arose as was looking at a photo of his mother when she was the same age as Diana at the height of her fame in the mid-‘90s. “Basically, I wanted to make a movie that Mom could like,” the filmmaker said, just a few days after locking picture ahead of the Venice premiere. However, Larraín said the catalyst for his new project came from a more personal place. “We’re fictionalizing most of it based on what we think could have happened.”Īt first blush, that puts “Spencer” in the same league as Larraín’s Jacqueline Kennedy Onassis portrait “Jackie,” another tense and somber drama about a famous woman married into a powerful family who must chart her own path. “We aren’t trying to explain who she was or answer questions on the larger scale of her life,” Larraín said in a phone interview from his native Santiago. Yet “Spencer” avoids the many familiar paths to Diana’s legacy by taking serious liberties with her story and making no apologies for it. 'French Dispatch' and 'Last Night in Soho' Start to Lift Stagnant Specialty Box Office 'Cowboy Bebop': Everything You Need to Know About the Live-Action Netflix Adaptation
Oscar Contender Steven Knight Reveals the Truth and Fiction Behind 'Spencer,' the Ultimate Nightmare Before Christmas Kristen Stewart Isn't Concerned About 'Spencer' Awards Buzz: 'Oscars Are Such a Funny Thing' There are many reasons why Diana, otherwise known as Diana Spencer, continues to fascinate the public nearly 25 years after her death: The late member of the Royal family projected a powerful individualism at odds with the buttoned-up image of the regal world she married into and then rejected in public her death is a tragic embodiment of the perils of modern-day fame and she was ahead of the curve in light of more recent backlash to the Royal family’s oppressive regime. Yet Larraín’s film adopts a radical new approach to the ubiquitous character by reinventing her story - and giving her the last laugh, no matter what the history books say. In “ Spencer,” Chilean director Pablo Larraín follows a transformative Kristen Stewart as the troubled princess on the weekend she decides to separate from Prince Charles. The most recent season of “The Crown” tackled the Princess Diana saga with Emma Corrin in the central role, but it should come as no surprise that it’s not the only recent effort to grapple with her legacy.
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