by Foster Harlfinger, Contributing Writer
Spencer may be the single most fascinating “biopic” that has ever been made. The film presents an imagined account of Princess Diana’s decision to end her marriage to Prince Charles over the course of the Royal Family’s holiday getaway at the Queen’s Sandringham Estate in December, 1991. Pablo Larraín’s previous biographical film Jackie offered an authentic and vulnerable look behind closed doors into the life of Jackie Kennedy. Spencer takes this a step further by providing us with a physical (and often metaphorical) representation of Diana’s mindset in the most literal sense. It often takes an emotion that Diana is feeling in the moment and stretches it into an extended surrealist arthouse-style sequence in which the line between fact and fiction is blurred.
Kristen Stewart, as you’ve likely already heard, is fantastic in the lead role. Rather than imitating the Diana we’ve all come to know in interviews (or seen portrayed in other properties like Netflix’s The Crown), Stewart crafts a psychological portrait of Diana in which she externally characterizes Diana’s internal state of mind. As a result, Stewart’s performance never feels like an imitation in the typical biopic sense. While it may take a few scenes to get used to her portrayal of this iconic figure, it is difficult not to be blown away by the vulnerability of Stewart’s performance — not to mention her shockingly terrific accent. Stewart would be a lock for Best Actress at this year’s Academy Awards if it weren’t for Jessica Chastain’s superb performance in The Eyes of Tammy Faye. As it stands now, a win for either Stewart or Chastain would be well deserved, but what a blessing it is for us film fans to be graced with such excellent performances this year.
Beyond Stewart and the reliably excellent supporting performances from Timothy Spall, Sally Hawkins, and Sean Harris, Spencer is a technical marvel. Claire Mathon’s lush cinematography is absolutely flawless. Her impeccable work on Spencer and 2019’s Portrait of a Lady on Fire is enough to solidify her as one of the most gifted cinematographers working today. The production design and costumes likewise add to the film’s gorgeous visual aesthetic.
And for the movie score fanatics reading this review, it will come as no surprise that Jonny Greenwood’s score steals the show. The man has been working on another level this year considering he has scores for three feature length films releasing this month alone with Spencer, The Power of the Dog, and the upcoming Licorice Pizza. The melodic piano themes Greenwood crafted for Spencer are sublime, and the Shining-esque dissonant tones he employs throughout the film’s more surreal sequences are highly effective. Spencer is an undeniable technical achievement in nearly every category, and it will be sure to receive much-deserved awards attention this year.
As far as this reviewer is concerned, Spencer could have been filled with two melancholy hours of Stewart’s Diana roaming the foggy moor of the Sandringham Estate, and I would have loved every second. The fact that it contains one of the most emotionally impactful and psychologically rich stories of the year is simply a bonus. Your appreciation for this film’s glimpse into Diana’s mindset will entirely depend on what you hope to get out of a biopic. Do you want a highly accurate, meticulously researched play-by-play of the events of Diana’s life? If so, you may find yourself disappointed with Spencer. However, if you want a creative, artistic interpretation which attempts to capture the essence, rather than the facts, of Diana’s personhood, you just might fall in love with this film.
Grade: A
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