Something is lost between Carlo and Diana
[ad_1]
Preceded by the weight of being the first season after the queen’s death, and by renewed controversy over the relationship between reality and fiction, season 5 of The Crown takes us between ’91 and ’97, a dark period for the royal family.
Despite the always high quality of the visual sector and the new cast, this season something seems to have been lost. One of the main themes is still the conflict between tradition and modernity, between duties and desires, declined in the relationship between an immovable queen on the role she has inherited, and Carlo, who would like to look to the future to redeem the inadequacy that is reproached to him: the polls indicate the unpopularity of the monarchy, but the faults can be divided between old habits (the use of citizens’ taxes by royalty) and new ones (the younger ones immersed in continuous scandals). The examination of the intertwining between sentimental and institutional earthquakes, however, remains on the surface, in a repetitive parade of shipwrecked marriages (Carlo and Diana, but also those of Anna and Andrew).
Elizabeth Debicki shines with a credible and vital Diana, despite the disturbing mimesis of some poses, but she is harnessed by the script in yet another version of the “sad princess”, between the despondency of loneliness and the growing paranoia that leads her to the ominous BBC interview. Dominic West portrays the prince’s frustration and impatience surprisingly well, and there is no shortage of intense moments, such as the dialogues between the queen and Diana, and the empathic portrayal of Camilla. But it is a less subtle season: too marked parallels (the royal yacht to be scrapped like the queen, the montage between a hunting expedition and a massacre, the powder conspiracy and the interview with Lady D), a Mohamed Al-Fayed speck (protagonist of an intriguing episode only for the figure of the footman Sydney Johnson).
Insights not very meaningful, such as the episode on the Romanovs, which takes away the opportunity to better fathom Margaret, Diana or the same Lilibet / Imelda Staunton, often relegated to the background. The sixth and final season inherits gloomy omens and the need to recalibrate narrative priorities, or risks the Britannia yacht becoming a metaphor for the whole series.
The Crown 5
Peter Morgan
Netflix
[ad_2]
Source link
