Dhe wedding dress, this iconic explosion of silk taffeta, has a grandiose, unremarkable appearance: When the future Princess of Wales strides narrowly and alone through the monumental halls in Buckingham Palace in front of the great spectacle, sunk in the no less monumental bridal gown, the fourth treats us Season of the high-gloss royalties drama “The Crown” just a back view of the white figure who is striving towards her fate and at the same time embodies it: as the nemesis of the Windsors.
That is almost everything that is re-enacted from the marriage of the century, which is illuminated in the media down to the last corner and perfectly preserved in the collective visual memory. The rest are rehearsals for the play in St. Paul’s Cathedral, an annoyed “yes, yes” from Prinz Charles (Josh O’Connor) and Diana’s questioning glances from below in the face of this speech act. As a newcomer to the ensemble with the greatest expectations, Emma Corrin in the role of Diana Spencer is a stroke of luck. So much is clear from their first appearance as a delicate mythical creature – a crazy tree – from Shakespeare’s “Midsummer Night’s Dream”.
To the audience with the Iron Lady
And yet, series creator Peter Morgan would do well to consider the tiringly told and trivialized Diana tragedy (attention-seeking, heart-warming and emotionally unstable innocence from a noble family, dominated by his mother’s but-not-dream prince with self-esteem problems, who loves someone else) as one of To relativize three narrative strands in their meaning and to let two other women play in the political dramas of the time, beyond the fairytale imagination.
Margaret Thatcher enters the stage in the form of Gillian Anderson to enter the close-to-audiences battle with the queen, who is gravely embodied by Olivia Colman. IRA terror, Thatcherism’s social upheaval, the Falklands War, rolling heads of gray-haired gentlemen in government and a prime minister who is the first woman in office to chant “no, no”: we have all of this as an emancipatory heroine story in the cinema with Meryl Streep seen in the lead role. As a British-American actress with accent bilingualism, with skill and precisely cut facial features, Anderson seems made for the successor – and then overstimulates her game as the Iron Lady. Mimic tensions that make one think of symptoms of neurological disorders were not part of Margaret Thatcher after all, and the stress staccato chopping up sentences into words and syllables seems more like a parody of the style of the controversial conservatives than a metamorphosis.