I ration myself to Episodes 1-3 of Series 4 of The Crown in the first instance but find it is losing its lustre a little
“I’m struggling to find any redeeming features in these people at all”
Kicking off in 1977, Series 4 of The Crown swiftly moves into my lifetime with its second scene taking place in 1979, although not quite into events that I remember, at least in these first three episodes. And with the arrival of both Diana Spencer and Margaret Thatcher on the scene, there’s quite the decade to explore.
But something has gone a little awry for me and The Crown. The sheer scope of Peter Morgan’s writing means that there’s a mahoosive ensemble at work here but the nature of his construction of episodes that drill down to intimate focus means that there’s huge gaps and terrible wastage, particularly of Helena Bonham Carter’s delicious Princess Margaret. Continue reading “TV Review: The Crown, Series 4 Episodes 1-3”
Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carters rock though
“Sometimes duty requires one to put personal feelings…
Doing little to dispel rumours that she isn’t a Time Lord, The Crown takes its cues from Doctor Who as Series 3 sees the Queen regenerate from Claire Foy to Olivia Colman. And not just that, the whole cast of main players has been replaced as this new company will take us through the next couple of series. It’s a clever move, considering the spain of history that the show takes but it is also a little sad to lose such excellent performances as Vanessa Kirby’s Princess Margaret, Victoria Hamilton’s Queen Mum, Alex Jennings and Lia Williams as Edward and Wallis and of course, Foy’s exceptional work.
Series 3 then, takes us from 1964 to 1977, featuring such notable events as the Aberfan tragedy, the moon landing and the arrival of Camilla in Charles’ life. And with its many millions and pick of the white acting talent in this country, it remains eminently watchable. That said, something has shifted for me and it just doesn’t feel as effective as the first two seasons. A large element of this is the way series creator and main writer Peter Morgan has structured the show, choosing to maintain a massive ensemble of recurring characters but keeping the focus, and turnover, of episodes relentlessly tight. Continue reading “TV Review: The Crown Series 3”
The Crown returns with Olivia Colman and Tobias Menzies at the helm, and Helena Bonham Carter stealing the show
“Everyone at the Post Office is delighted with the new profile”
Gotta get those hits…who knows how far behind I am, given I’m 9 hours ahead of the UK at the moment, but I thought I’d jot down my initial thoughts on the first three episodes of series 3 of The Crown (all written by Peter Morgan and directed by Benjamin Caron), as Netflix kindly offered them up as holiday entertainment. (And since I’m away, I’ve been a little insulated from all the Prince Andrew drama, which from over here almost feels like a random bit of guerilla marketing).
- I wonder if I have a little hangover from just how good Claire Foy was, but I’m 100% feeling Olivia Colman in the role yet. She doesn’t seem quite as subsumed into the character, in the way that Foy’s every minutely detailed movement seemed to be. That said, there’s some scorching moments when Jason Watkins’ Harold Wilson dares to suggest her response to the Aberfan tragedy is lacking.
- The excellent Tobias Menzies hasn’t really had enough screen time yet to have his Prince Philip make an impact, though I’ve every faith.
- The casting of Helena Bonham Carter as Princess Margaret is inspired, the extravagance of the character is perfectly suited to her but she’s bringing a real depth at the same time.
- And I have to say I miss Matthew Goode’s hugely erotic insouciance as Antony Armstrong-Jones, Ben Daniels’ much more wearied take hasn’t quite ticked my boxes yet.
Elsewhere, the headlong rush through the years means that we’re doomed to the smallest contributions from some excellent actors – Samuel West’s Anthony Blunt and Angus Wright’s MI5 bod were gone too soon, though I live in hope of more from Penny Downie’s Duchess of Gloucester, Aden Gillett as Richard Crossman and Sinéad Matthews as Marcia Williams (seriously, her accent is a thing of pure beauty).
And given the budget is allegedly in the many millions, it certainly looks a treat once again. From glistening palatial lushness to agonisingly destroyed villages, these are fully realised worlds no matter how short a space of time we end up spending in them. Caron’s direction also makes room for a more uncomplicated cinematic as well though, choosing iconic visual to close out each episode – the regal silhouette, juxtapositions of Margarets old and new, the children playing. This is a Crown that has lost none of its lustre.
Photo: Sophie Mutevelian
A quick whip through Series 2 of The Crown
“History is not made by those who did nothing”
Do I still love The Crown? Yes. Do I still find it a little hard to muster enthusiasm about it until I’m watching it. Absolutely. It remains lavish prestige drama that carries little excitement about it and that’s perhaps inevitable as it trundles through the decades of the second half of the twentieth century, little dramatic surprise can really be sprung.
Instead, the thrills come from the script of Peter Morgan’s fantasia into the emotional life of our monarch, and a production that looks like the multi-millions of dollars that have been spent on it. Oh, and the cream of British acting talent popping in for a scene or two at an astonishingly high rate. Continue reading “TV Review: The Crown, Series 2”
“To do nothing is the hardest job of all”
It’s taken a little time to getting round to watching all of The Crown because, in a first for me, I found it impossible to binge-watch the show. Even with Netflix kindly providing offline downloads just at the point where I had a lot of travelling to do, Peter Morgan’s drama was lots of fun to watch but rarely captured the buzzy energy that has accompanied much online programming. Because it many ways it isn’t like much of Netflix’s previous output, it really is an encroachment into BBC Sunday night and as such, I felt it worked best spread out in almost weekly installments.
That’s partly down to the nature of the subject material, we’re not likely to get many surprises in a detailed retelling of the history of the House of Windsor. But it is also due to Morgan’s writing which tends a little to the formulaic, especially in the middle part of the series, which is when my interest was most in danger of waning. The opening two episodes started brightly but once the shock of becoming monarch was over, the rhythm became very much one of someone close to the queen has an issue and she has to weigh personal desires against public duty, the latter always winning out. Continue reading “TV Review: The Crown, Series 1”
“The country needs to be led by someone strong”
You’d be hard-pressed not to know that Netflix have a new series called The Crown as a substantial portion of the £100 million plus budget has clearly been spent on blanket marketing coverage. And like a good punter brainwashed by adverts, I’ve watched the first two episodes to get a sense of what it is like.
Written by Peter Morgan and directed by Stephen Daldry, its credentials are impeccable and there is a slight sense of stepping on the BBC’s toes here, something alluded to in pre-show publicity that informed us the Beeb were less than willing to share archive footage from Buckingham Palace. But with as considerable and lavishly-spent a budget as this, the comparison isn’t quite fair as the ambitions here are most grand. Continue reading “TV Review: The Crown Episodes 1 + 2”