Spencer is closer to being a horror story than a fairy tale, but… – Spoiler Time

It is part of world history. I mean we all know the sad life of Diana Spencer or better known as Lady Di. End of the nineties when after a series of media scandals and a stormy divorce, the Princess Diana a died August 31, 1997 in the city of Paris.

For a long time the cinema tried to tell his intimate story. We have not reached an eschatological degree about his death because it would be too morbid to do so, especially if it is for entertainment purposes rather than clarification, because at this point, what would it do us to know the details of his accident. did not suffer much Diana Spencer in the public eye so that after her death we still want to mock her?

Paul Larrain is an expert in carrying out this type of stories, like the one about jackie kennedy with Natalie Portman or Neruda with Gael Garcia, totally moving away from the morbid eye to portray the character from another point of view, much more neutral, human and with all the nuances that imply them.

https://www.youtube.com/watch?v=WllZh9aekDg&ab_channel=NEON

spencer account only 3 days of the life of Diana (Kristen Stewart): the night before Christmas, dinner and a day after. During this short time the Princess he must survive his own demons, paranoia, and constant rejection from the royal family.

It’s amazing how Kristen Stewart embodies Diana Spencer. Not only did she get it, she set herself up as cannon fodder to play a character we know a lot about and nothing at the same time: a lot because we have the media lore that came out of her, her romances, the distant relationship with British royalty, its legitimate relationship with the people; Nothing because of his personal and intimate life the data is few. The actress probably had access to a little more information, but I don’t think much; so, starting from a much more tabloid premise, it was based on what many of us also know.

The interesting thing is that both the interpreter and the interpreter have something in common: exposure to the public eye, how cruel journalists are, the medium of fame and fashion… not to mention the monarchy. There Kristen Stewart he knew how to take a great thread to begin to understand his character.

Font: Neon

Pablo Larrain never disappoints. His eye on the character (or characters) is natural. It’s not fussy, it’s not pretentious, it’s not morbid either. He approaches it from such an amoral nature in his judgment that he manages to create an empathy for them, even when, in the case of Diana, in many scenes she is unbearable to watch. Because let’s say this: no one is gold coin to please everyone, even the Wale’s princess. His constant insubordination to royal protocols, exacerbated by the discovery of the extramarital affair of Charles with Camila Parker and the constant repudiation of Queen, without counting his obvious collapse of health due to bulimia, make Diana the non-princess of the people, must have been quite irritating and tiresome to care for, even for the monarchy. This is how you present it. Paul Larrain: yes vulnerable, yes delicate, but that makes her unbearable.

The film relies heavily on close-up framing and media as it approaches her to create a claustrophobia and awkwardness that makes the viewer want to run just like her. You tire of the character and come to understand the boredom of Charles, the repudiation of Queen and their children’s fear of their own gradual disintegration. All this framed in the midst of a delicate design of art, costumes and a great setting of the time, but also the details required to portray one of the most important monarchies in the world, if not the most.

The music ranges from subtle drama to claustrophobic terror; envelops and perfectly complements the performance of Stewart, which I must say is wonderful and very far from that young woman we criticized so much at the beginning of her film career.

But…

Something that works very against spencer is the timing. It is anticlimactic. This is the only but.

Font: Neon

In summary

spencer from Paul Larrain it is full of nuances. It has the wrapping of a fairy tale, but inside it hides one of the strongest tales of terror and emotional suffering that I have ever seen in a real life character. It’s claustrophobic, desperate and, at the end of it all, very hopeless knowing all the sad ending that the princess will eventually have.

There are no songs here Disney, there is no Prince Charming on a steed to rescue her nor fairytale creatures to support her: here the end is the end.

Font: Neon

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