Spoilers ahead! We do not yet see the titular madness, which first appears about twenty minutes of screen time later, and which precipitates the film’s central political crisis: the 1788-1789 battle between the King’s supporters and those who demand a regency under the Prince of Wales.Īt about the halfway point, George is forcibly placed under the treatment of stern Dr.
It is 1788, only five years after America’s independence, a loss that weighs heavily on George. The six-minute opening credits sequence concisely establishes most of the film’s important elements: the colorful regal setting (combining actual locations and Ken Adam’s Academy Award-winning set design) the splendor of majesty (conveyed cleverly through the awestruck points of view of both a newcomer and a child) the grandiose Handel soundtrack the major supporting players (unpleasant Prince of Wales, faithful Edward Thurlow, efficient William Pitt, and antagonistic Charles Fox) and, of course, King George (portrayed with bravura throughout by Nigel Hawthorne). Although King George is the central character, Charlotte is the stable force: authority figure for her children, promoter of the royal image (“It’s what you’re paid for: smile and wave!”), and steadfast supporter of her beleaguered husband. Characteristically, she is attending to family. In light of the connection between tonight’s screening and the Yale Center for British Art’s exhibition, it is fitting that the film opens on Queen Charlotte (Helen Mirren)-brightly lit, and framed prominently by a partly-opened doorway.
Starring Nigel Hawthorne, Helen Mirren, Rupert Everett, and Ian Holm Written by Alan Bennett based on his play Introduction and Film Notes by Michael Kerbelĭirected by Nicholas Hytner (1994) 104 mins
Co-presented with the Yale Center for British Art in conjunction with their exhibition Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World
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