Diana, Princess of Wales in Russia in 1995. Photograph by Nick Parfjonov.
In “Spencer” — the third leg in a November Diana trilogy that includes Season Four of “The Crown,” now on DVD, and “Diana: The Musical,” now on Broadway — director Pablo Larrain does for the late Princess of Wales what he did for Jacqueline Kennedy Onassis in “Jackie” (2016) : He imagines a goddess at a tipping point.
Read More"Behind every great man is a great woman”: It’s an adage that’s been brought home to in our postfeminist age. Witness the apotheosis of Michelle Obama on the cover of the current Vogue and the new “Jackie,” with Natalie Portman transcendent as the tragic former first lady.
Indeed, her Jacqueline B. Kennedy and Jackie herself are better than director Pablo Larrain’s “Jackie.” For one thing, the movie’s music, no doubt intended to strike a discordant note, is merely jarring. It underscores other false notes. Why is the boy who plays John F. Kennedy Jr. a blond? And why does Peter Sarsgaard’s Robert F. Kennedy fail to speak with his distinctive broad Boston cadence, particularly when Portman’s Jackie speaks in her signature breathy New Yorkese? And why do we see her not once but twice in a red gown when she mainly favored white and pastel formal wear?
Perhaps this is quibbling. What “Jackie” and Portman’s Jackie do very well is locate her grief and then show us how she cycles through it, reinventing her husband, his presidency – and, thus, herself – in what remains in some ways a pyrrhic victory. ...
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