The Madness of King George
(B or 3/4 stars)
'The Madness of King George' (directed by Nicholas Hytner & adapted by Alan Bennett from his own stage play) is an elegant historical dramedy based on the real-life events surrounding England's eccentric, tortured King George III, who struggled greatly with mental health. Opening in 1788, several years after England lost America, this film relates a dark episode in said king's reign. Bothered by increasingly painful stomach pains, King George (Nigel Hawthorne, who owned this role on stage in London & NY) starts to act both irrationally & belligerently; distressing his loyal wife, Queen Charlotte (stellar Helen Mirren), bearer of their 15 children.
Some of the King's incidents include cursing in public, forgetfulness, outbursts, delusions, forcing himself on a lady-in-waiting, antics at a concert, talking to a pig, & exhibiting wild mood swings. His archaic royal doctors - mostly a gaggle of buffoonish quacks - do next-to-nothing for him {analyzing his pulse rate, urine & stool samples}. His oldest son & heir, the Prince of Wales (cheeky Rupert Everett) is hell bent on seeing his father declared mad so that he can take over as 'Regent'. To this, Whig Party rival Charles Fox (Jim Carter) and others at parliament & in court also begin to scheme how to get the most out of the King's affliction.
The Prince of Wales then denies the Queen - his mother - access to the King; further making him 'mad'. At last, when all appears most dire, Prime Minister William Pitt (Julian Wadham) - aided by Queen Charlotte, her Mistress of the Robes, Lady Pembroke (Amanda Donohoe), and one of the king's aides, Greville (Rupert Graves, always solid) - sends for one, Dr. Francis Willis (Ian Holm), a physician with unconventional measures, bold techniques & a reputation for curing mental disorders. Through tough discipline, he restores the King's demeanor and, thusly, prevents the enemies from within the palace walls from the throne's usurping. Something tells me those enemies had a lottttt to worry about moving forward.
This is the 1st film from stage director Nicholas Hytner, who helmed Miss Saigon & the revival of Carousel and, boy, does he do a swell job. I enjoyed this classy motion picture, even if I struggled to find footing with it early on -- lots of snappy, uncompromisingly authentic period dialogue to absorb. Now, 'The Madness of King George' seems like a straightforward study of a man's descent into insanity - and yet - it also contains style & occasional satire. The characterizations feel authentic {this film is apparently quite historically accurate}. And the negotiations of the Tories & Whigs provide an elaborate political backdrop.
Medical historians believe the cause of George's 'madness' was likely porphyria; an intermittent, acute, hereditary disease. The king's symptoms, including blue-tinged urine & gastric issues, match those of porphyria, although many feel that a then-version of manic-depression was likely, as well. Nigel Hawthorne is superb as the arrogant, ailing king who is as wounding as he is lovable. You see the madness in his eyes, but so, too, is there vulnerability. And even through his antics, we also sense his suffering. Helen Mirren lends her expert thespian skills as wife, Catherine. Rupert Everett is great as the cruel, foppish Prince of Wales. And Ian Holm is wonderful as severe, unyielding Dr. Willis, whose modern psychology approach is employed to break-down George, then build him up; their battle of wills is exciting to watch. And no one holds a better hypnotic gaze then Ian Holm. Master class.
Though this movie is based on a play, director Hytner opens things up in a visually sumptuous way with widescreen photography & lavish 18th c. sets/costumes. George Fenton provides scintillating compositions of the period music. And the pacing of this film is both fluid & energetic. Alan Bennett's script is witty, intelligent & chock full of both humor & pathos. It imparts how we should be more tolerant of those who suffer mental illness. And the screenplay shows how politicians of the 1700s were, sadly, much the same as they are today. The subject matter of this film might appear stuffy & solemn {and sometimes it IS both -- a slight hindrance, for me}. But on the whole, I mightily admire 'The Madness of King George' for all it gets right.
Some of the King's incidents include cursing in public, forgetfulness, outbursts, delusions, forcing himself on a lady-in-waiting, antics at a concert, talking to a pig, & exhibiting wild mood swings. His archaic royal doctors - mostly a gaggle of buffoonish quacks - do next-to-nothing for him {analyzing his pulse rate, urine & stool samples}. His oldest son & heir, the Prince of Wales (cheeky Rupert Everett) is hell bent on seeing his father declared mad so that he can take over as 'Regent'. To this, Whig Party rival Charles Fox (Jim Carter) and others at parliament & in court also begin to scheme how to get the most out of the King's affliction.
The Prince of Wales then denies the Queen - his mother - access to the King; further making him 'mad'. At last, when all appears most dire, Prime Minister William Pitt (Julian Wadham) - aided by Queen Charlotte, her Mistress of the Robes, Lady Pembroke (Amanda Donohoe), and one of the king's aides, Greville (Rupert Graves, always solid) - sends for one, Dr. Francis Willis (Ian Holm), a physician with unconventional measures, bold techniques & a reputation for curing mental disorders. Through tough discipline, he restores the King's demeanor and, thusly, prevents the enemies from within the palace walls from the throne's usurping. Something tells me those enemies had a lottttt to worry about moving forward.
This is the 1st film from stage director Nicholas Hytner, who helmed Miss Saigon & the revival of Carousel and, boy, does he do a swell job. I enjoyed this classy motion picture, even if I struggled to find footing with it early on -- lots of snappy, uncompromisingly authentic period dialogue to absorb. Now, 'The Madness of King George' seems like a straightforward study of a man's descent into insanity - and yet - it also contains style & occasional satire. The characterizations feel authentic {this film is apparently quite historically accurate}. And the negotiations of the Tories & Whigs provide an elaborate political backdrop.
Medical historians believe the cause of George's 'madness' was likely porphyria; an intermittent, acute, hereditary disease. The king's symptoms, including blue-tinged urine & gastric issues, match those of porphyria, although many feel that a then-version of manic-depression was likely, as well. Nigel Hawthorne is superb as the arrogant, ailing king who is as wounding as he is lovable. You see the madness in his eyes, but so, too, is there vulnerability. And even through his antics, we also sense his suffering. Helen Mirren lends her expert thespian skills as wife, Catherine. Rupert Everett is great as the cruel, foppish Prince of Wales. And Ian Holm is wonderful as severe, unyielding Dr. Willis, whose modern psychology approach is employed to break-down George, then build him up; their battle of wills is exciting to watch. And no one holds a better hypnotic gaze then Ian Holm. Master class.
Though this movie is based on a play, director Hytner opens things up in a visually sumptuous way with widescreen photography & lavish 18th c. sets/costumes. George Fenton provides scintillating compositions of the period music. And the pacing of this film is both fluid & energetic. Alan Bennett's script is witty, intelligent & chock full of both humor & pathos. It imparts how we should be more tolerant of those who suffer mental illness. And the screenplay shows how politicians of the 1700s were, sadly, much the same as they are today. The subject matter of this film might appear stuffy & solemn {and sometimes it IS both -- a slight hindrance, for me}. But on the whole, I mightily admire 'The Madness of King George' for all it gets right.