MRS BROWN (Miramax - 1997) Starring Judi Dench, Billy Connolly, Geoffrey Palmer, Anthony Sher Screenplay by Jeremy Brock Produced by Sarah Curtis Directed by John Madden Running time: 103 minutes
***1/2 (out of four stars)
Alternate Rating: A-
Note: Some may consider portions of the following text to be spoilers. Be forewarned.
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The film MRS BROWN, directed by John Madden, focuses on a little-known chapter in the history of the British monarchy, and in retrospect it is somewhat surprising that it has taken so long for this story to be depicted onscreen: it has all the requsite elements -- an uplifting story arc, grandiose, larger-than-life characters, a deep friendship overcoming class boundaries, the majesty of royalty (to quote Richard Harris from UNFORGIVEN), and the fact that it is based upon obscure truth -- that would make it appear to be an eminently feasible film project.
Given the source material, it would be really difficult for Mr. Madden to make an uninteresting film out of this, and MRS BROWN does indeed work, gaining momentum particularly during the film's second half, yet his helming does not succeeed in ascending the film beyond the limitations of the material; it is somehow guarded and vaguely distant. Rather than being a great *film*, the impression is left that MRS BROWN is a polite, decent adaptation of a *great story* -- the distinction is subtle, yet noticeable.
The film's title is an interesting one, for there is no Mrs. Brown in the film in a literal sense, and yet it is "Mrs. Brown", and the connotations of this title, which truly delves into the heart of the picture. The lady in question is actually Queen Victoria, generally considered to be the greatest British monarch of the modern era, and the film is set in 1864, after the death of her beloved husband Price Albert from typhoid fever. Inconsolably grief-stricken, Her Majesty (Judi Dench) retreats from public life into a state of cyclic mourning, much to the concern of the British Court and government, particularly the Prince of Wales (David Westhead) and Prime Minister Benjamin Disraeli (Antony Sher). The popularity of the Crown is waning, and it seems that nothing can be done to resuscitate Victoria from her sorrowful stupor. In an act of desperation, Crown secretary Henry Posonby (Geoffrey Palmer) summons Scottish highlander John Brown (Billy Connolly) from the Balmoral estate, in the hopes that the spirited nature of her late husband's riding partner might revive the Queen's spirits. This he does, with a demeanour which shocks the British Court -- rather than dealing with Victoria in submissive subservience, Brown is cheerfully brash and forthright with her, never mincing words -- and so begins a relationship between the Queen and her servant which grows to be deep and fierce, scandalizing Great Britain and resulting in the more bold and brazen to mockingly refer to Her Majesty as "Mrs. Brown".
MRS BROWN shares a great deal in common with Nicholas Hytner's THE MADNESS OF KING GEORGE in that both films address the shaky status of the monarchy with the British government and the people during episodes of extreme turmoil with the monarch. With Victoria's extended withdrawal from her public duties as Queen during her mourning, liberals are clamouring for the disestablishment of the monarchy, which understandably frightens the Prince of Wales and royalist Prime Minister Disraeli. To turn the tide against increasing public apathy for the position of the Crown in society, it becomes imperative for them to goad the Queen from her lament, but when Brown is all-too-successful in the task, leaving Victoria happy to spend out her days with his companionship, away from the public eye, the Prince and the Prime Minister are forced to attack the problem from different tacts. The political schemes behind the scenes in MRS BROWN are fascinating, played out like an analytical chess match, and in particular, Mr. Sher gives a very nicely done, oily performance as the eloquent, clever Prime Minister.
While the political manoueverings in MRS BROWN provide the intrigue, the heart of the film involve the bond which forms between Victoria and Brown. The development of the relationship is a bit forced -- there is a rather noticable leap in the friendship between when the pair come to an uneasy understanding to when the Queen is confiding her innermost thoughts to her faithful servant and friend -- but the depiction of the eventual depth and warmth of the relationship is well done. Ms. Dench is marvellous as the film's lead, with an imposing screen presence which is truly evocative of royalty. Her careful, stoic performance is subtle, bringing forth the portrayal of a woman whose rigid, mannered upbringing results in the repression of a flurry of emotions stirring just under the surface. Mr. Connolly's performance is a bit one-note, and not particularly accomplished -- it really is more of an onscreen physical presence than a portrayal per se -- but is sufficiently capable for the less emotionally-strenuous scenes of his Brown character.
While MRS BROWN employs a number of clearly fictional embellishments to heighten the emotional punch of its story (which work to varying degrees), I have come to understand that it is remarkably truthful to fact. It does go without saying that Queen Victoria did return to her royal duties, and MRS BROWN includes the obligatory sequence of her triumphant return to her adoring public, but it is perhaps indicative of the success of the film in creating a strong emotional connection between its characters and the audience that these scenes are suitably stirring.
- Alex Fung
email: aw220@freenet.carleton.ca
web : http://www.ncf.carleton.ca/~aw220/
-- Alex Fung (aw220@freenet.carleton.ca) | http://www.ncf.carleton.ca/~aw220/ "Let's hurt somebody." - Aaron Eckhart, IN THE COMPANY OF MEN
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