“Spencer” Film Review

By Quinn Marcus

Have you ever been so completely and utterly mesmerized by a film that you just sat through the credits, blown away and rendered speechless by such an experience? Spencer was one of my most anticipated films of the year by just the gorgeous-looking poster alone, the trailer showed promise, and not being the biggest Kristen Stewart fan, I was excited to see what she could do with such a heavy role. Everything about Spencer exceeded my expectations entirely, it’s easily my favorite of the year thus far (and we’ve had a few amazing ones), and might just work its way up my favorites of all time. It’s so breathtaking, that I’m honestly worried my review and analysis won’t even be able to do it justice for how much artistic brilliance is presented on screen. I watched like a hawk for a single fault in this movie, just one scene that faltered a little, or a line of dialogue that didn’t quite land, none of that came. Instead, I found myself absorbed by the filmmaking, acting, and atmosphere of such a powerful film.

I couldn’t ask for more out of a biopic, Diana Spencer’s story has fascinated me ever since I started watching The Crown, and it’s so beautifully done here, that I didn’t hesitate to give it a perfect score. Let’s start with a bit of a deep dive into the themes, shall we? (don’t worry, no spoilers) Crooked perfection. Clothing masking personality. Order and tradition as a replacement for individuality. Spencer doesn't just depict the trapped life of Diana Spencer like a conventional biopic, it puts you in it. I felt everything about this movie, from the claustrophobic, tension-filled atmosphere of the palace grounds, to the despair and loneliness Diana went through. In this place, people and words are currency, freedom is restrained to the absolute minimum, you're told what to do, and when to do it, you have a set path, there's no escape, and in that way, Spencer almost becomes a horror film. It’s a deconstruction of the biopic genre and an exploration of humanity in such a suppressed setting where independence becomes nearly impossible.

Diana Spencer is an example of the melancholic state of depression we as people are put through when we’re unable to express ourselves, or emotionally connect to anybody. However, Larraín smartly incorporates her releases from that pain, people to latch onto, lifeboats sustaining Diana’s happiness, her children, or her best friend Maggie. The royal family only enhances her sense of isolation, making for some greatly disturbing scenes, but the small moments of peace Diana get’s were the times when I teared up or cried the most, and I think my response was triggered by the film’s immersive balance of intimacy, heart, and darkness. Okay, now on to the review. Kristen Stewart. That’s it, that’s the review. Just kidding, but seriously, Stewart is a force of nature as Diana, she disappears into her role in such a phenomenal way that I couldn’t take my eyes off the screen, too engrossed by the groundbreaking piece of acting I was witnessing. I’m still in awe by the emotional intensity she showcases here compared to her previous performances, not all of which I liked. I’ve never loved her as an actress, but I think Spencer has changed that, and she deserves Oscar recognition, all you’ve heard about her work here is true, she’s spectacular.

By the way, it’s not just her, other standouts included Sally Hawkins, Sean Harris, and Timothy Spall, all of which were fantastic and so believable. Not a single cast member breaks character, even the smaller roles feel layered and complete, just like the film itself. The cinematography by Claire Mathon, who also shot the immaculate-looking Portrait of a Lady on Fire back in 2019, returns to create one of the best visual aesthetics I’ve ever seen captured on film. It’s shot on film, and it shows, each frame reminded me of movies I’ve seen from the time period Spencer is set in. There’s this incredible sequence where Diana remembers moments from her childhood that’s filmed so marvelously and made for one of the best scenes of the past decade in terms of craft and visual style.

Speaking of craft, Pablo Larraín directs this movie masterfully. What I loved so much about Spencer was that everything is always building to something, whether it be Diana reminiscing about times of joy, or a commentary on publicity, every aspect of Spencer reaches this crescendo of music, acting, writing, and when it really goes for it, the film explodes and suddenly becomes better than I ever thought it could be. All I was thinking whilst watching this cinematic achievement unfold was ‘this is why I watch movies, this is art.’ I’m sitting here trying to find the proper way to conclude this hopefully coherent review, but I’m suddenly at a loss for words, and yet, I still feel as though I haven’t said all that needs to be said to summarize the experience of Spencer. I guess, in an attempt to do so, I’d say that I forgot I was watching a film during Spencer, and that usually doesn’t happen. From start to finish, this movie, in a way, changed my view of cinema, just a little.