It was the morning after the night before. The snow had fallen, myself gazing at the sky in admiration for finally delivering what I had wanted for months. Despite no snow day taking place, most of it freezing or mysteriously vanishing overnight, it was a pleasure to witness it, smile away at what nature can bring. Furthermore, I had already planned my own snow day, of sorts.
With only one lesson last Wednesday – all politics classes cancelled due to a trip across the pond – I decided to go on my own adventure to the nearby cinema. My attendance there is hardly one of a devoted film viewer, but I thought it would be nice, with all the extra free time and recent flashcards made, to engage in a visual cultural medium. Apparently, it is regarded as odd to attend a film alone, yet, as someone who enjoys his own company and solitude (in moderation) that was not something that troubled me. With the choice of films that fitted my desired timings limited, ‘The Favourite’ presented itself in, why, my favourite slot. Though I try not to read reviews of cultural activities before I’ve partaken in them, I had seen a mixed showing of opinion. All I knew was that it starred Olivia Colman – surely the Queen of acting - as Queen Anne. A perfect educational outing! That was enough to pull me along that frosty morning, where I, and exactly three other individuals, sat to indulge in the period piece. From the very first shot, it was evident the production team hadn’t been half-hearted. Styles of dress, shelves, carpets, mirrors, chandeliers, gaping windows, jewellery, awe of the riches and wealth permeated the screen. The volume of glamour fit for a King was so huge that ordinary folk would only see a fraction of the stuff at some National Trust property. It looked simply wonderful, transporting me straight back to the 18th century era of aristocracy based on class division. I read later that internal filming took place at Hatfield House in Hertfordshire and Hampton Court Palace in Surrey. Indeed, the vast majority of the production took place inside, as we explored the differing parts of the palace – from the dining rooms, scullery areas and bedrooms – all of which had a clear relevance. The limitation of locations helped to show that the monarchy, with far more powers 300 years ago, can be a physically isolating role. Individuals, like the Prime Minister Sidney Godolphin (James Smith) executed the tasks they are commanded to do, not the Queen. The action took place within the context of a war against France, though the specific reasons, targets, justification and future aspirations were only slightly hinted at. I’m going to avoid making any analogy to Brexit, but it was clear battle with France, especially the means of raising funds, dominates all of the Queen’s attention. However, there’s only one slight hitch. Queen Anne is presented as unbelievably lazy, distracted, incoherent, indecisive and woefully unfit for the role. How accurate this is to the real Anne I know not, but Colman creates this caricature of someone who would rather be elsewhere, though favours the lavish wealth the crown brings. Anne is prone to frequent outbursts at harmless servants who have the audacity to, shock horror, look at her Majesty, which Colman hilariously portrays. These characteristics are only disadvantageous for an individual so powerful. Hence a need for a special adviser, a puppet master controlling all from the side lines. Enter Sarah Churchill (Rachel Weisz). It is not made clear how she and the Queen met, but their relationship seems fused together, controlling the nation as one. Often, Churchill will speak on behalf of her Maj when the latter’s legs are a barrier to discussion on planned tactics to defeat the French. Weisz crafts an incredibly strong woman, a phrase I normally try not to use, because I believe all humans are inherently strong, particularly in fields of intellect, compassion and loyalty. But in such a patriarchal setting, Churchill takes no nonsense, regularly overriding upcoming Leader of the Opposition Robert Harley (Nicholas Hoult) who seeks peace with France. From the determined manner in which Weisz portrays her, I imagine, were she born 200 years later, Churchill would act as a key member of the suffragettes, for her priority is to Queen Anne above all else. It all sounds rather a happy state of affairs – apart from those fighting, including Churchill’s husband John (Mark Gatiss) – for the monarchy. Until Abigail Hill (Emma Stone), cousin of Sarah Churchill, turns up on Anne’s doorstep, having been quite literally booted out of a horse and carriage, seeking employment of any sorts. Presumably used to riches, she is instead made a servant, responsible for mundane tasks like sweeping floors. Stone cleverly portrays Hill as a person quite innocent, one the audience should elicit sympathy for, given her poor social standing. This empathy turns to admiration as Hill altruistically rides into the grounds nearby, finding herbs to ease the pain in Queen Anne’s leg. It is that selfless task that gives Abigail the first step towards power she desires, and the causes the rift with Churchill that so dominates the rest of the film – who will be the Queen’s Favourite? Increasingly, I was aware how matriarchal the plot was. Anne, Churchill and Hill are all determined individuals in a male world who seek power and make men around them look pathetic. When Robert Harley congratulates the Queen for not doubling land tax a second before she proposes to announce such an increase, Anne simply faints, not suffering the humiliation of going against what she had been congratulated for. Prime Minister Godolphin is regularly derided as incompetent before his prompt removal. The eventual husband of Hill, once she becomes an official maid to Churchill, Samuel Masham (Joe Alwyn) cedes control to Abigail, allowing her to ‘wear the trousers’ and dominate their activities. As an audience, we gain only delight in seeing these influential figures exposed for the bumbling fools they really are. However, these women do not need the stupidity of their fellow males to reveal their lust for opportunity and control. Hill wedges herself between Queen Anne and Churchill, as the latter’s efforts are more focused on the war effort, complimenting her Maj on her gracious appearance and almost replacing Churchill hegemonic dominance. Rather, it reminded me of a contemporary three-part drama on the BBC called ‘The Replacement’ all based around a position of employment while a mother goes on maternity leave. Queen Anne seems to appreciate this gratification, with handsome rewards. It later becomes apparent that Hill will do anything to retain this control… I was made aware of the graphic nature of the film, thanks to the reviews, ‘15’ rating and explicit warning before the film commenced by the classification team. Both Churchill and Hill become that way inclined with the Queen, Olivia Colman highlighting the Queen’s appreciation for some proper love. Initially, the love is presented as quite comical, Hill lurking within the bedroom, at the upper library section, as the action starts to take place. Later, as Abigail places more herbs onto Anne's legs, we can all tell precisely what is going to happen next! The film encapsulates something that is far more than just the rollicking of an 18th century monarchy, unlike The Favourite’s Wikipedia page, which defines its genre as a period comedy-drama. Colman, through sheer brilliance, manages to present elements of deep emotion and vulnerability in a character clearly exhausted and stressed about the reach of their power. The most poignant part was learning each of Anne’s 17 rabbits, who she dearly dotted upon, represented a lost child of hers. Personally, the decision of choosing between Churchill and Hill rocks Queen Anne’s world, the two associates of her Majesty like chalk and cheese when placed together. You may think these features dampen the entertaining, debauchery atmosphere. Instead, those crucial elements only highlight the film’s true themes: the conflict of human nature, the means to pursue power and the eternal dilemma of love.
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