MRS. BROWN
A film review by Mark R. Leeper
Capsule: Queen Victoria is pulled from the
depths of her mourning for his husband by her
personal attendant. This gives him some power real
and more perceived and causes a minor crisis.
Someone more versed in the nuances may find more
here than meets this Yank's eye. The film is at no
point actually emotionally involving. Muted in
style and photography. Rating: +1 (-4 to +4), 6 (0
to 10)
In 1861 Prince Albert, husband to Queen Victoria, died and the Queen went into mourning where she stayed for the rest of her life. For three years she did little but grieve. Clothes each day were set out for Albert, who fortunately never appeared to put them on. She had few responsibilities as Queen, but she ignored even them. And the public missed their view of royalty. The Times labeled her "The Great Absentee." Finally she did appear for the opening of parliament but apparently in such a depressed state that it was said that she should not have bothered.
Then a servant from Scotland, John Brown, came to Windsor to serve her there in the position of gillie, a sort of attendant. In spite of--or perhaps because of--his candor he was able to pull her out of her doldrums. He became a confidante and a friend, though at least according to the account in the film MRS. BROWN he never had much power over her other than the power of common sense. Nevertheless Victoria's unwillingness to return to the full level of her responsibilities combine with her friendship with him gave the public the opinion that he had a good deal more power than he actually had, suggesting that he was her master and she was his mistress. The crisis ended when the wisdom of Disraeli prevailed and the Queen began showing up more frequently in public and the people got their taste of royalty.
This is the story of that relationship written by Jeremy Brock and directed by John Madden for broadcast on the BBC and on PBS's MASTERPIECE THEATER. Queen Victoria is played by Judi Dench who has a long history of Shakespearean acting, but perhaps is most easily recognized as James Bond's new M from GOLDENEYE. Billy Connolly plays the beefy John Brown with full mustache and beard (the original had only the beard). As the film opens Victoria is behaving not so much like a queen as like a spoiled child who refuses to cooperate with anyone because of the monumental loss of Prince Albert. She is also angered that Albert died with the title Queen's Consort rather than King. The early part of the story is very reminiscent of the film PASSION FISH. Brown insists that the Queen needs fresh air and manipulates her into riding. In his company she regains some of her will to return to life. Brown is less than an idealist, however. He uses his friendship with the Queen for power in the Royal household. He drinks heavily and while he is willing be candid with the Queen, in any disagreement with others, he will back up the Queen's side like a yes man. This earns him enemies in high places.
Victoria has returned to the stream of life but she is willing to go only so far. She will go to Balmoral in Scotland to take in the Scottish scenery, but she does not want to return to England and her social responsibilities. Antony Sher plays young and sharp-witted Benjamin Disraeli, not yet a friend of Victoria, nor is he deserving to be. He dubs Victoria Mrs. Brown. But his wisdom prevails.
Richard Greatrex's camera keeps the style of the film physically subdued. The production is painted in large part in blacks, browns and deep reds. Much of the film takes place in half-dark rooms and often Greatrex will film a character in shadow. The film's most interesting sequence is just showing Victoria and her two daughters going swimming and seeing what modesty was common in those days for royalty as her enclosed cart backs up to the lake on a rope arrangement so that she may step down the steps into the water. Then she steps out covered from neck to foot. MRS. BROWN offers very credible look at the powerful people in England in the mid to late 1800s, but it lacks any real dramatic punch. There are no great secrets and much of the relationship between Brown and Victoria remains unknown and presumably lost with Brown's diary. The film lacks dramatic punch and when it is all over the viewer is left to wonder what was the point. I rate it a +1 on the -4 to +4 scale.
Mark R. Leeper
mleeper@lucent.com
Copyright 1997 Mark R. Leeper
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