Spencer

2021

Biography / Drama

45
Rotten Tomatoes Critics - Certified Fresh 84%
Rotten Tomatoes Audience - Spilled 50%
IMDb Rating 7.2 10 9565

Synopsis


Uploaded By: FREEMAN
November 23, 2021 at 10:35 AM

Director

Cast

James Harkness as Footman Paul
Richard Sammel as Prince Philip
Elizabeth Berrington as Princess Anne
720p.WEB 1080p.WEB
1.04 GB
1204*720
English 2.0
R
24 fps
1 hr 56 min
P/S 463 / 1,495
2.15 GB
1792*1072
English 5.1
R
24 fps
1 hr 56 min
P/S 792 / 2,414

Movie Reviews

Reviewed by jboothmillard 6 / 10

Spencer

I saw the trailer for this film and recognised it was about Princess Diana, and then the name of the actress came up and I was stunned, this is described as "a fable based on a true tragedy", and one that I could not miss, directed by Pablo Larraín (Jackie). Basically, on Christmas Eve 1991, at the Her Majesty's Sandringham Estate in Norfolk, the British royal family are preparing to spend the Christmas holidays. Among the attendees is Diana, Princess of Wales (Kristen Stewart), whose marriage to Prince Charles (Poldark's Jack Farthing) has become strained following his affair with Camilla Parker-Bowles. The staff, led by the capable Major Alistair Gregory (Timothy Spall), prepare for the royals' arrival, while Diana drives through the countryside. On the verge of a breakdown, she avoids heading to Sandringham until running into Royal Head Chef Darren McGrady (Sean Harris). She recognises the long-abandoned neighbouring estate, Park House, it used to be her childhood home. Diana's sons William (Jack Nielen) and Harry (Freddie Spry) are excited to see her, but she does not attempt to socialise with the royal family, who mostly ignore her. Diana's only friend at the Estate is Royal Dresser Maggie (Sally Hawkins), who gives her encouragement and fulfil the obligations expected of her. Diana finds a book on Anne Boleyn in her assigned bedroom. She begins to have dreams about Boleyn (Amy Manson). Diana has a hallucination of her at a Christmas Eve dinner and comes to believe that Boleyn's ghost is haunting her, being a fellow abandoned royal wife. The Queen (Stella Gonet) gives Diana a few concerned stares throughout the meal. Diana tries to visit her childhood home in the middle of the night, but royal guards stop her, mistaking her for an intruder. On Christmas Day, Diana attends the service at St Mary Magdalene Church, Sandringham, where she notices Camilla (Emma Darwall-Smith) among the gathered crowd and is photographed by hundreds of intrusive journalists. She later joins the Royal Family for the traditional Christmas family portrait but finds the experience difficult. She later has an awkward conversation with Charles, as she concerned over William and Harry's participation in a pheasant shooting the next day. He rebuffs her and advises her to develop a stronger sense of separation between her public and private lives. Diana is upset after Charles has privately arranged for Maggie to be sent to London and refuses to have new Dresser Angela (Laura Benson) help her with clothing choices and dressing. Rumours are spread that Maggie planted the Boleyn book in Diana's room and made critical comments about her mental health. Diana questions McGrady about Maggie, but he denies that she had done anything wrong. Major Gregory attempts to encourage Diana to conform to the pressures of royal life, but she dismisses his advice. Diana imagines wounding herself with a pair of wire cutters given to her by McGrady. She avoids the formal Christmas Day dinner, choosing instead to run to her childhood home, accessing it with the wire cutters. While she explores the house, memories of her happier childhood flash before her, and she sees herself dancing and running in various places in several younger stages. She considers committing suicide by throwing herself down a flight of stairs, but the ghost of Boleyn stops her, she instead rips apart her pearl necklace. On Boxing Day, Diana awakes in her room to find that Maggie has been called back from London. The two take a walk to Maggie responds by admitting that she is in love with Diana. A nearby beach, where Diana talks about her mental and marital problems. After leaving the beach, Diana rushes to the pheasant shoot and walks out in front of the crowd of hunters. She tells Charles that she is leaving and taking William and Harry to London, an arrangement to which Charles hesitatingly agrees. Diana bids farewell to Maggie and McGrady; Major Gregory returns the Boleyn book to the library. As they drive away, Diana and her children sing the song "All I Need Is a Miracle" by Mike & the Mechanics. In the distance, a scarecrow that Diana had made when she was younger is seen, now wearing her royal clothes. Diana drives to London, where she begins the process of raising her children independently. They go to a KFC drive-thru for food, and she gives the name "Spencer". Diana looks over the River Thames, uncertain of her future but no longer burdened by memory or royal responsibility. Also starring Richard Sammel as Prince Philip, Elizabeth Berrington as Princess Anne, Lore Stefanek as the Queen Mother, James Harkness as Footman Paul, Niklas Kohrt as Prince Andrew, Olga Hellsing as Sarah Ferguson, and Matthias Wolkowski as Prince Edward. Stewart is a spitting image of the pop-culture icon and is compelling as the woman suffering severe depression issues and trapped by authority, Spall is interesting as the stony-faced aide, and the support of Hawkins and Harris as the household staff is good. I wasn't expecting it to be as disturbing as it was at times, Princess Diana is known to have had her issues, seeing her depicted on screen on the verge of a nervous breakdown, having bulimia and self-harming is hard to watch, and you do feel her claustrophobia. Besides Diana's emotional distress and the royal duty stuff, the food looks delicious and the preparation of it is lovely to watch, the costume design and colour is fantastic, and the score by Jonny Greenwood is fantastic, whether it is factually true and accurate or not, it is a fascinating psychological drama. Good!

Reviewed by Quinoa1984 10 / 10

Sandwich cringing times. Stewart is brilliant and Pablo Larrain captures a suffocating atmosphere

It would appear Pablo Larrain has done it again, following up on Jackie, another story of a woman depicted in an environment and film stock of despair with a film that is related to that while standing on its own as a story that lays bare a public figure to the gaping heart that's buried underneath years of speculation - where the image of someone like Diana has to be stripped away, and where the clothes themselves become like a prison of everyday life.

This was at times (a phrase I don't throw around lightly) downright Kubrickian in the equal sense of cinematographic grandeur and surreality/absurdity (here more the former than the latter), where there is so much space to take in and close-up faces of restraint and yet everything is heightened and even horrific. This is a film that isn't without nuance, but Lsrrain knows full well as Kubrick did to get at a deeper truth you got to make some bold decisions in directing a performance or making a shot so distinctly from our protagonist's pov that itself is a comment on the psychological spaces.

And this is by an easy mark Stewart's most successful, soulful, heartbreaking performance where the little tics she sometimes (arguably many times) has serves this character 1000%. Adding to this everyone around Diana - save for Hawkins' Maggie - is trying to maintain the status quo, and Spall is a particular stand out as well.

And you cringe because so much of this is about behavior, that for all of her mental and psychosomatic fragility this Diana is far more recognizable as a human being than any of these glowering royals - keeping the place cold as can be of course - and there is humor that has almost no choice at points but to come out from the cringe, but also just cringe at the sense of a human being caught in all of the hard rock places. I'm not being hyperbolic when I say there isn't a more torturous and uncomfortable dinner scene in modern cinema as from the POV of one character as here (those pearls falling down oy).

Another point of comparison in what I hope is a complimentary sense and it may be because of watching it so recently, but Dune came to mind; how a filmmaker can with this brooding yet delicate and consuming precision give you a total sense of how it FEELS to be a figure with all the pressure on them and st a moment where change MUST happen or all is lost.

Of course there are some differences as to how and where the hero and heroine of these respective movies go to break into what they gave to become - but I'm struck by in particular with Larrain he emphasizes the ghost figure, with Anne Boylen coming in like a figure out of Gothic tradition, that what she tells her sons at one point about Tense - past, present, future - is what it's all about. Spencer is a staggering portrait of order and disorder, of a figure in a place where everything has to be presented and be Just So, and all one can think is... someone really could use a friggin' hug!

Reviewed by CinemaSerf 6 / 10

Stewart is good, but the narrative is way tot one-dimensional.

Kristin Stewart could certainly not be accused of being half-hearted here. She immerses herself completely in this depiction of a rather unstable woman dealing with the pressures of her fame and her family. The extent of any authenticity as to the feelings and experiences by the real life Princess is anyone's guess, so though I did appreciate her effort, I felt the rest of the film took a rather uncompromising view on other people who are either dead, or unable to retaliate against this somewhat one-sided portrayal of a scenario that all concerned have subsequently admitted was way more nuanced and complex than presented in this overly-simplistic depiction. It doesn't help that the opening scenes purport to be Queen Elizabeth's Sandringham estate in Norfolk, but look nothing remotely like that distinctive building - and from there on in, the story speculates wildly on real life events in a fashion that I just found irritating, implausible - hysterical, even. Her ability to randomly roam the countryside (with or without her children) without any security beggars belief somewhat, and the somewhat curious references to "currency" alluding to the double edged swords of a privileged no pain no gain existence is all just too contrived. This portrayal of an emotionally struggling lady is to be commended, but it has little to do with reality and as a man who lived in the UK throughout the rise and fall of this flawed individual, much of this comes across as little more than a clumsy attempt to capitalise on a tragic story with scant regard to anyone else who actually had to endure at that time - or, indeed, to fact.

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