"The Crown" S4: An(other) Acting Showcase
Sunday, November 15, 2020 at 10:00PM 
As a staunch antimonarchist and someone who despises Thatcher and her legacy, watching The Crown's fourth season was an oft-frustrating, sometimes fascinating, exercise. Peter Morgan and his team haven't shied away from looking at the dark side of British history and this latest series is no different. However, time constraints, an episodic structure, and attempts at historical ambivalence often result in a lackluster, superficial, occasionally rushed, experience.
Still, the production values are always immaculate, and the dramatization of the 80s features some of the best costumes the program has ever shown. Nevertheless, what always brings me back to The Crown isn't its analysis of politics, its melodrama, or pretty clothes. The show's greatest strength is its cast, with the actors excelling even when their material is lacking. When faced with some of the royal family's most tumultuous years, the performers upped their game and delivered a masterclass in screen acting…
Starting with the returning cast from season three, one must pay respect to Olivia Colman's portrayal of Elizabeth II. While her take on the character hasn't been unanimously well-received, I confess myself a fan. There's an odd dynamic going on, between an affable screen presence and a character whose main personality trait is emotional distance. This creates an abrasive pressure that vibrates throughout the whole season, even though the Queen has almost been relegated to a supporting role.
As Prince Phillip, Tobias Menzies is more marginalized than ever in terms of narrative prominence, but the actor's an excellent supporting player. He also manages to make another one of Peter Morgan's symbolic Balmoral deers have some emotional weight to it, so there's that. As for the marriage of Phillip and Elizabeth, it feels as stable as it's ever been, with Colman and Menzies establishing a comfortable banter. Their chemistry is charming, lived-in, and it often brings needed levity to any given episode. Similarly, Helena Bonham Carter steals every scene she's in from the sidelines, cutting the palatial intrigue with acerbic wit and a good dose of snobbish realism.
That being said, like in season three, Carter gets a chance to shine with one episode dedicated to her character. I confess that, unlike many, I was a bit baffled by the effusive praise the actress got f during the last Emmy season. Surprise of surprises, by the end of this ten-episode stretch, I'm ready to call Helena Bonham Carter the show's MVP. In the seventh hour, The Hereditary Principle, the actress gets to dismantle the layers of resentful despair that have calcified over the princess' soul, her good humor souring into marrow-deep anguish. When she proclaims her family's monstrosity, the words cut deep, and their impact is akin to a cannonball shot straight to the heart.
Those actors, along with Erin Doherty as Princess Anne, play the season as a continuation of their work last year. Josh O'Connor's Prince Charles is another matter altogether. If Morgan and company went to great pains to show the heir apparent's humanity before, making him a sympathetic, even pitiable, figure, this season sees an inversion of that dynamic. Charles' individualism has soured into mean-spirited resentment, a need for approval that twists him up into a repugnant monster. He's like a rabid dog, gone loony from an overdose of self-hatred, lashing out at anyone near.
Hunched over and talking as if he were holding a lemon between his lips, Josh O'Connor plays the character as a man shrinking before our eyes, his body shriveling alongside his heart. His Charles is so emotionally constipated one wonders how he doesn't keel over from all the accumulated pressure, a tension that manifests in nervous motion and brittle body language. There are still hints of the romantic royal, glimmers of light that only make the darkness feel all the more perverse. The Prince's glee at causing his wife's pain during a particularly nasty argument is a genius touch of actorly cruelty.
Speaking of his spouse, it's time we acknowledge the elephant in the room. Emma Corrin's a revelation as Diana, delivering a performance that goes beyond mimicry and reaches a spectral evocation of the historical figures' many faces. From episode to episode, she seems to be a different person, an inconsistent mutability that helps us understand how each character perceives the famous people's princess. When the episode is dedicated to her perspective, Corrin plays a wispy ghost, someone floating through life in a cloud of lead-like melancholy.
However, find her in a scene dominated by Charles' eyes and you get a very different picture of Diana. There's an egomaniacal sheen to her eye when looking at images of herself, a jubilant appreciation of her own charisma that's tacky, if not sickening. In a moment of vitreous stares and no self-awareness, Corrin plays the Diana her husband might have seen, the woman he married and grew to despise. Instead of pinning the historical figure down, Corrin and Morgan devised Diana as a collection of masks, a character made of a kaleidoscopic variety of images, some beautiful, others ugly. Whatever side of the argument you fall on, she'll break your heart, that's for sure.
From an impressionistic rendering of a princess long gone, we go to an expressionistic caricature of a much-hated Prime-Minister. Rather than trying to humanize Thatcher, as the text sometimes does, Gillian Anderson has decided to play the politician as performance inside a performance, commenting on the woman's odiousness while playing to the rafters. Thatcher's husky voice, a trained affectation, has been turned to eleven, with Anderson sounding like she's going through a decade-long asthma attack.
Such words may sound like a negative critique, but such conclusions would be erroneous. In fact, I adored this Gorgon-like transfiguration of Thatcher. If nothing else, the myriad of ways the actress finds to say "Your Majesty" is astounding, a technical challenge resolved with show-stopping showboating antics. Still, in the last episode, the actress takes her take on Thatcher to a whole other level, showing the artifice crumble under pressure. By this point, we've seen the tears of Maggie before, but this time around, her despair is full-bodied. As power slips away, she becomes a gargoyle with bulging eyes and a vocal cadence dancing on the precipice of panic.
I'd bet both Corrin and Anderson make an appearance at next year's Emmys, though it's difficult to tell if the other actors, apart from Colman, will follow suit. Their work certainly merits golden accolades, as do the one-episode players who make the most out of little screentime. Tom Brooke is astounding as Michael Fagan, the man who broke into the Queen's room in 1982, and Tom Burke delights as a charismatic gay seminary student and trusted confidant of Princess Margaret. Claire Foy even makes an appearance in the eighth episode, reciting a speech that bookends the hour about Thatcher's reluctance to condemn the apartheid regime. Her cameo isn't likely to result in much prize-winning, but stranger things have happened.
The Crown's fourth season is available on Netflix.
Reader Comments (17)
I was bored by Margaret in Season three. Too much of a good thing. I love Bonham-Carter, but, by the final episode I, like Philip, was sick to the teeth of Margaret. (Hopefully, that's the only thing I share with Philip.) In season four, with far less screentime, Bonham-Carter is perfection. Though, crucially, Margaret isn't.
I thought Emma Corrin was good as Diana. That hair! That voice! Claudio's right on about Corrin's Diana being mercurial. Though it's clear she's suffering, it's never clear who she is. And--the inverse of Bonham-Carter--Josh O'Connor's episodes last season were some of my favorites; this season I got so tired of the sturm und drang of the Wales marriage and of Charles's hypocrisy. There's so much of it and of him. Now, though, we do have the second season of Ryan Murphy's Feud.
Anderson is also excellent as Thatcher, though I enjoyed her performance most in nonpolitical moments. It was so weird to see Thatcher preparing dinner for her cabinet, over which they would discuss some political crisis, and then serving them. More than any other detail, I want to know whether that was real.
It’s rather poor critique to be fond of actor playing a negative caricature because you mislike the person the character is based on.
I have only watched up to the five episodes, and though I hate Othiefia and think the Queen herself is becoming more of a supporting character, her work in the 4th episode is even better than the overrated Aberfan episode.
Morgan’s scripts are becoming so ham-handed, but those digs are Andrew are a riot LMAO
The colour is so dark in these modern retellings,the 80's was bright,look at any film or TV show or documentary from that period,everything is awash with blues browns and sickly green colours.
The bashing of Thatcher as inhuman is just reductive unfair and beneath you Claudio.
Seems like no one can judge certain people without saying "I really don't like them" which is playing to the crowd,it would have been more refreshing if a balanced view was shown instead of the usual cliched picture of Mrs Thatcher.
The show is as entertaining as ever (especially now that we're getting into the more juicy parts of history!), but as mentioned upthread, the writing is just... so on the nose. When Camilla says, "I don't mind sharing," I actually gagged.
Charles has always been my favorite Royal. Incredible what he endured and still endures today from the British tabloids and the press in general that transformed Diana into a Disney princess and made him a great villain. Diana emerged as a hurricane in the lives of everyone in the family and seemed to leave no stone unturned. Unfortunately she was apparently never happy and had a tragic ending. Charles and Camilla, for their part, finally had their happy ending and what intrigues me is that Charles's wife has managed to win over the whole family, including the rival's children and the mother-in-law who at first opposed the marriage. Thing the ex didn't get. This was quite an achievement!
Amory Blaine -- Maybe you're right about Carter's Princess Margaret working better as a supporting character than a more central role. I certainly enjoyed her more this season.
Chinoiserie -- I fully admit my bias at the start of the piece and don't intend to hide it. However, I am fond of performances that go big and often contradict a script and Anderson does that quite amazingly. Her turn is a dissonant note in the symphony of the show and I've read several analyses of this season that consider that to be a poor showing by the actress. I appreciate her bold choices, both for political reasons and as someone who likes atonal choices in performance.
Rama -- I too think Colman's better this season.
markgordonuk -- Since, one another thread you spoke about how the media was too harsh on Trump, I think it's fair to say we have quite diverging political views. Anyway, first and foremost, the color thing is mainly the series style - the cinematography is keeping with the same aesthetic with which the 40s, 50s, 60s, and 70s were portrayed. The costumes, though, have become much more colorful. Thatcher's blue ensemble to go hunting in Balmoral was blindingly bright, for instance.
Now, regarding my bashing of Thatcher, no it isn't beneath me, especially after we already lived through an awards season when she was continuously lauded and praised like some sort of feminist icon. The show itself does try to present a balanced vision of Thatcher, sometimes by dismissing or hiding some of her poorer choices as a governor. The miner's strike is never mentioned, her handling of the IRA's growing aggression and the Ireland issues is suggested once and never brought up again. The Falklands War, instead of being dissected in a political fashion, is seen through the prism of a mother anguished over her child, humanizing governing decisions that cost countless lives. Her last moments in the show are even celebratory, though Anderson doesn't abandon her dragtastic approach to the role, not even when the music swells in weepy abandon and she's given an exclusive honor by her sovereign.
If you're a fan of Thatcher, I think you'll still find yourself enjoying portions of this season. I certainly sympathized with the figure a couple of times, mostly in the Balmoral episode. However, if you're looking for the usual glorification and uncritical praise, sorry but this isn't for you. The Iron Lady already exists and it's probably more famous and will be better remembered than The Crown, to my great displeasure I might add.
By the way, I find it preposterous to expect an analysis of the dramatization of politics to be apolitical. If you're offended, that's unfortunate, but I won't change my mind about Thatcher's policies and foul legacy. I appreciate and respect your feedback and hope you don't take my words as combative or disrespectful. Thanks for reading my pieces, even when our views are sometimes so opposite.
Tyler -- The writing's always been bad. That deer made me want to roll my eyes and Thatcher paraphrasing wanting to make Britain great again was a hideous bit of ham-handed dialogue, even to someone like me who dislikes the former Prime-Minister of the UK. Though, I actually enjoyed Camilla this series, mostly because she felt like she had stepped out of Dynasty. That lunch with Diana was a soap-opera-ish delight for me.
Thanks Claudio,
I don't take offence,we all have different views and mine may not chime with everyone who posts or comments here but they are entitled to believe what they do as do I and I hold no ill feeling towards them.
Same with movies and actresses,I don't particularly like Jessica Chastain and ruffle at people who talk of her like she's a Meryl but I have enjoyed some of her roles but if someone thinks otherwise that's ok i'll happily discuss.
I do realise for some Thatcher is loathed I disagree that she shouldn't be given respect as a Feminist Icon,no matter what she did it at a time when it was more difficult for women she got to the UK's highest office on merit and she must be lauded for that alone.
My Trump comment wasn't to praise the man in any way,I just like my politics to be fair and balanced,every side is heard and I don't like to follow a narrative that i'm supposed to,hating Trump has been a hing since day 1 is not something i'm going to do just because people throw unfounded accusations at me if I want a more balanced perspective,no matter if he did good for the USA in any way shape or form that would never be a narrative,just 1 great thing,he'd never get the credit,then again i don't live in America so maybe I have less right to comment.
I always enjoy your posts and I don't want to come over as an antagonist but I have to disagree but respectfully listen and understand yours and others views.
Anderson's entertaining in the role. It's nice to see her doing character work.
I do think she telegraphs contempt for the character she's playing in a way that defeats the purpose of dramatic acting. It's good for sketch comedy.
Meryl took heat for "humanizing" Thatcher but like it or not, that's the assignment. As it is when playing any villain or unlikable figure.
I love Helena Bonham Carter, but still think she’s the wrong choice for Princess Margaret (especially after the great job Vanessa Kirby did in the first 2 seasons). I’ve reached episode 5 on this 4th, Emma Corrin steals every scene (so much was said about the recreation of the wedding gown, it’s disappointing that we could only able to see a glimpse of it); Tom Brooke is absolutely fantastic as Fagan. As for Thatcher, at first I thought Gillian Anderson’s impersonation wasn’t working, it was too caricatural, but now I can say she is my favorite. Gillian is doing better than that other very famous actress who won an Oscar for that terrible motion picture.
Not sure if he goes lead or supporting, but I suspect Josh O'Connor will be around the American awards shows this season. He's great this year, and builds on the performance he gave last year. He also gets a ton of screen time which helped Matt Smith in Season 2.
I haven't seen the whole season, but Margaret feels better used this season. Last season, other than her two big episodes, she was almost always on the edges getting maybe a minute of screen time or standing at ceremonies. This year, they're using her in more interesting ways, letting her history push forward the moments in other's stories (e.g., her moment with Thatcher, her comments on the Diana and Charles match).
My take:
Season 1 is still the best so far.
Claire Foy > Olivia Colman
Vanessa Kirby > HBC
Tobias Menzies > Matt Smith
Meryl Streep > Gillian Anderson
The Aberfan episode is not overrated. Neither is the Charles-learning-Welsh one.
Josh O'Connor is amazing as Charles. Emma Corrin is amazing as Diana.
Erin Doherty as Princess Anne is the MVP in my book. Also, because Anne is the real badass of the living Royals.
The Crown is really something, Peter Morgan is genius. I still think Foy and Kirby were way more fascinating to watch than Colman and Carter ( and I do love both actresses), although Colman is better this season than the previous one and Helena can do snarky on her sleep; O'Connor and Doherty are terrific as they were last season. Anderson's Thatcher is pitch perfect (better than Streep's Thatcher) and Corrin gave me goosebumps as Diana both actresses deliver a tour de force in two very difficult roles ( just ask Streep or Naomi Watts).
Well, I've given it a lot of thought (I'm a big Royal Family fan) and I can only say that perhaps the reason why Claire Foy and company are generally more liked than Olivia Colman and company is because Foy and co. are the youngest versions, when things are simple and everything is young. I had a great deal of trouble with Olivia Colman last season. She seemed never to smile, only to fret all season. For various reasons, she's much improved, and part of that is the writing being better. I've liked both Princess Margarets for different reasons, although HBC does know how to play snarky better. Frankly, I don't know much about Margaret Thatcher so Gillian Anderson's portrayal didn't really affect me at all, except that I was relieved when she wasn't the center of the story.
Overall I credit the show's producers for giving a great show. I'm actually rationing the viewing, so I don't binge as usual and then feel slightly sick after.
So, are we thinking that Colman wins the Emmy in her second season, just as Foy did?
Tyler
That's probably the case.
Four episodes in, and I am really into Anderson's Thatcher. She's created a human monster, a three-dimensional caricature. It's absolutely what the role requires in 2020.