Saturday, November 5, 2016

Like the queen of England has become the best character of the series 2016 – Les Inrocks

The Crown is the new stroke of madness Netflix, which has spent $ 100 million for the first ten episodes of the series classified now as one of the most expensive in history. This saga royal follows the path of Elizabeth II, sovereign since 1952, and begins just before the marriage of Elizabeth Windsor with Philip Mountbatten, when her father George VI reign again.

beyond The multiple twists and scandals related to the royal family, the creation of Peter Morgan proves to be delicious in the details, silences, and the evolution of the character of "Lilibeth". At least twenty-five years of age at the beginning of the story, it must protect ” the Crown “, a metonymy of the State. And far from cumbersome usual related to pensums historical, and the episodes reveal a heroine more complex and intriguing than the idea that we were made sovereign of the four-twenty-ten-years-looking well-behaved.

An icon of pop culture

The media coverage in the newspapers of the marriage of Elizabeth and Philip, and then the live transmission on television of the coronation in 1953 (a historic first) had already propelled to the rank of global icon, close to the people and at the same time completely mysterious. The series makes the switch a little more to the status of icon of pop culture, but also a figure of romance by giving him a private life.

In her lifetime, the queen becomes so familiar figure on which viewers project all the fantasies related to the royal family. in The Crown in play, we relive the scenes of the making of images to worship, as the staging of the famous photograph where she is wearing a ball gown white and takes the blue scarf symbol of royalty – episode 10. The discovery of the private life of the young woman at the beginning of his reign, his disputes with his mother, and down, the distance that is required between the two sisters, the disdain of her husband, not to splash out never the picture of the queen. in The Crown borders on hagiography, but it provides flesh to a mythical figure, much more modern than what one could imagine.

A heroine modern vintage

like Downton Abbey (including The Crown provides a form of inheritance in our hearts) and his heroines post-first world war still incredibly modern, The Crown, recording a queen whom we feel close. The series revisits through Elizabeth of the issues that are eternal, and personal : decide to put his family or his work first, understand the education received from his parents and get rid of it, to find its place in a family. The diners amazing and the wardrobe alluring of the roaring twenties Lady Mary are replaced here by a certain austerity. But Elizabeth is no less a heroine embodied and desiring. Fairly subtle, the doubts that trailing in the young queen are reflected in the way his body moves. Glued to it, staging the shows in all his statements.

In the early episodes,"Lilibeth" looks like a she-wolf stalked in the face of Churchill who do not comply with, a little girl who grinds his hands in front of the tutor she hired. His head carriage is still awkward in the face of the staff.The weight of the monarchy is embodied in its symbol, the crown of several pounds that Elizabeth must learn to wear. But he reveals himself also, after his coronation, in the corsetage of the body of the queen through clothing that seem to oppress, while her sister, princess Margaret, twirling in her dresses while she starts an affair with the former squire of his father.

While it offers him an immense power while depriving it of a part of his freedom, the queen is fighting to find its way. It achieves this at the cost of some decisions violent, as the opposition to the marriage of his sister. At the end of the season, she seems determined to become a lioness more frightening than the imposing Churchill, then Prime minister. A lioness who is no longer afraid of the power.

A character surprisingly feminist

A priori, the queen of England did not personify not feminism. But the creator and writer of the series, Peter Morgan (The Queen, The Last King of Scotland), highlights the exciting ascension of her heroine learns in the course of the episodes to say no to men to become independent and be respected. Elizabeth was fully aware that his gender is seen as a weakness. After a conversation with Churchill, she makes a clear request : "Please weigh your response in the light of the respect that my rank and my position deserve, and not a function of my age and gender". The queen perceives the ‘perfect storm’ that may lead to a matriarchy in the social imaginary. Elizabeth does not fight for other women, but she fights for a woman to be respected by all countries.

The emancipation of Elizabeth is first his posture is physical and that of his entourage. As the season progresses, the more Elizabeth is standing right in his vestments of a queen then that Churchill, himself, seems to literally bend in two, his declining health breaking her back. Her husband, Philip, initially refuses to kneel in front of his wife, but as shown in the scene of the coronation in episode five, he is forced to do so since it is also his queen. In the last episode, he notices that his wife has changed. It seems to him more. He then suggested that to get at its height, it should mount on stilts. But it also has another idea : to turn, she goes to her knees. Elizabeth smiled, magnanimous.

The Crown on Netflix from November 4


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