I’m actually not so sure why I’m so surprised to have walked out of The Queen singing its praises. Certainly Helen Mirren qualifies as someone who could mesmerize while reading the proverbial phone book; I’ve long been a fan of Stephen Frears; and looking back, the opening night selections for the New York Film Festival have been pretty fantastic since the turn of the century. Regardless of whether they have all deserved “opening night” status, there hasn’t been a bad film in that slot since Woody thought his lechery looked better under the guise of Kenneth Branagh in Celebrity, and that was way back in 1998.
Then again, Frears strongest work was many years ago — The Grifters was 1990, and Dangerous Liaisons two years before — and although I loved High Fidelity, even that was way back in 2000. In the what-have-you-done-for-me-lately file, the only proof we have here in the states are the underwhelming Dirty Pretty Things and the flat-out blah Mrs. Henderson Presents, a film saved solely by its central performance from Judi Dench. So why expect a better experience from a film that also looks to be held together solely by a tremendous actress, and this time with a story focusing on the British monarchy’s reaction to the death of Princess Diana? I mean, I burnt out on Diana coverage years ago, so who needs two hours of examination now?
And yet, here I sit, still fascinated by what may not be the best movie of the year nor even the best selection in the festival, but is certainly one of the best put-together films I’ve seen in quite a while. A tremendous script by Peter Morgan executed exquisitely by Frears featuring an entire ensemble of actors who bring the most private of public characters to life, and at the very center of it all is Mirren who has certainly laid down the Oscar gauntlet this year. I’m not the first to say that, nor will I be the last. For most actresses, such a performance would be considered “career-defining.” For Mirren, we expect such mastery, and yet the realization she creates on screen with her Queen Elizabeth is something almost beyond description. To call her mesmerizing doesn’t do her justice just as the most fascinating examples of her greatness come at two points in the film during which she says nothing: while stranded in the mountains on her country estate waiting for a servant to come pick-up her and her damaged vehicle, and during a brief moment after giving a televised speech expressing to the world the royal family’s own sadness and sympathy (for and with the public) over Diana’s death. The latter moment is quite brief, but stayed with me long after the film was over. The Queen is forced to give this speech, one she does not want to nor thinks she should have to, but is made to recognize is necessary. The speech is not dishonest, but it also does not exactly represent the true feelings of the Royals, and once its over, Mirren manages to express every belief and emotion coursing through this very proud woman with just a look. Staring directly into the camera, not saying a word and with extreme subtlety and little movement, Mirren summarizes the entire film in one single moment, and it’s breathtaking.
There are plenty of reasons I expected to enjoy 
Out of Focus 