Combining Melodrama and Docudrama in the Film the Queen - Essay Example

? The Queen Combining Melodrama and Docudrama through Various Mise-en-Scene to Create Portraits of Queen Elizabeth and Princess Diana Course Code Instructor Date Submitted The British film, The Queen (2006) combines the genres of melodrama and docudrama to create specific portraits of Queen Elizabeth and Princess Diana. Based upon real historical events, the film explores the events leading up to, and immediately after the tragic death of Diana Spencer, former Princess of Wales, in a car accident speculated to be as a result of media interference. The focus of the film however, is not the plot of the story nor even the tragedy. Instead, the film concentrates on Queen Elizabeth’s reaction and immediate behaviour following the death of Diana. It attempts to create a very specific portrait of the Queen as both a monarch and an emotional and flawed human being. Though the character of Diana is not acted out, through real video footage, media excerpts and the opinions of many people, a portrait is also created of her, as well as the Queen. In this way, the focus is on both the character of Diana and the character of the Queen, conveyed through entirely different mediums. While the Queens portrait is represented through the actual characters judgements, behaviours, thoughts and actions, Diana is manifested through images, media files and the statements of others including the general public. The film achieves these portrayals by combining elements of both melodrama and docudrama, and through several mise-en-scene components, including dialogue, music, costume, props and lighting. Both melodrama and docudrama are generally identified as sub-categories of drama. Melodrama focuses on emotional premises and interpersonal conflict to appeal to the emotionality of the audience. As a genre it was often ridiculed by theatre critics of the 19th and early 20th centuries but has gained merit in the latter half of the 20th century and is now arguably one of the most written about Hollywood genres (Singer, 2001). It often heightens and exaggerates the plot or the natural and realistic emotional conflicts involved in a story in order to heighten and enhance this type of appeal. It typically involves a heroine and a villain and is often identified with the objective to make the viewer cry, as noted by Neale (1986), “a feature crucial to melodrama...its ability to move its spectators and in particular to make them cry”. Docudrama on the other hand, is drama based upon actual historical events. It usually attempts to re-enact actual occurrences as true to life as possible, albeit long after the event actually happened. An evolution of the documentary genre, “films based on fact raise so many questions...that for the purposes of study, it is profitable to regard them as belonging to a different species called docudrama”, (Rosenthal, 1999). As a sort of dramatised documentary, this sub-genre has often been questioned for its representation of truth and fact, however, Fraser (1999) postulates that when docudrama is done well, the audience generally understands what is fact and what is fiction. Lipkin (2002) suggests that the premise of a truth within a docudrama, serves to launch the work in a different direction than standard documentation. This film can be categorized within both of these genres, as it features significant elements of both subsets. While the film is quite obviously a docudrama, in that it tells the real story of actual historical events according to accurate dates, locations, people involved and factual events, it also portrays intimate moments which are not necessarily fact. Such scenes have been interpreted according to general knowledge and common assumptions, often with a view to making them more melodramatic and in line with the emotional conflict of the story. In this way, melodrama is also an identifying aspect of the film. For example, in scenes of Diana’s funeral, real news footage is used, accurate dates are given and even real people involved are shown. The film makes use of actual footage of members of the public mourning at the palace gates and leaving flowers and even uses real footage of Diana’s brother giving her eulogy at the funeral while hundreds of thousands listen to the broadcast. It also includes actual footage of an infamous interview with Diana, in which she disclosed personal feelings and opinions regarding her marital situation. These scenes are very direct examples of how the film combines both docudrama and melodramatic elements. For example, in showing this genuine footage, the film channels the genre of docudrama. However, within the same scene, the camera quickly cuts back and forth to the Queen viewing this footage from her bed. She looks extremely uncomfortable, fidgets and becomes exasperated at Diana’s comments and the reaction of the public. Such scenes are an interpretation of what may have occurred-they are not factual. In conveying the Queen as so antagonistic toward Diana, the film exploits the assumed conflict between the two and expands upon the genre of melodrama in order to strengthen this conflict. Melodrama also comes into effect in many other scenes, such as when the royal family are informed of Diana’s death. These scenes are an interpretation of what may or may not have happened, and are directed with a view to enhancing the story’s melodramatic elements, particularly the conflicts between the Queen and Princess Diana. During footage of President Clinton praising Diana on the news, the Queen and her family constantly interrupt his praise of Diana’s charitable works, with inane chatter-choosing not to accept it or regard it. Then Nelson Mandela is shown, also giving her praise and offering condolences, as the family continue their chatter. This combination of real footage intercut with filmed scenes of a melodramatic nature, is one of the most fundamental ways in which the film uses elements of both genres to portray the Queen and Diana. Even during scenes of Diana’s funeral, several tools are used, such as music, in order to reduce the audience to tears, a typical feature of melodrama (Neale, 1986). Dialogue One of the main ways in which the film creates a very particular portrait of both the Queen and the Princess, is through dialogue. From the very opening sequences, the viewer is witness to the Queen, regally posing for a self-portrait, in all her royal finery and regalia. As she engages in a dialogue with the painter, her comments are immediately authoritative, snobby, extremely articulate and quite sarcastic. For example, when she asks the painter of news on the upcoming election for Prime Minister, he replies that Tony Blair has been elected. The Queen quickly and calmly retorts that he will not become Prime Minister until she gives him permission. When the painter replies “It’s your government Ma’am”, the sheer power and regality of the character is immediately conveyed through this simple dialogic exchange. Dialogue serves several purposes in film, including; “anchorage of the diegesis and characters; communication of narrative causality; enactment of narrative events; character revelation; adherence to the code of realism; and control of viewer evaluation and emotion” (Kozloff, 2000). Perhaps the most relevant purposes of dialogue in this movie is to control viewer evaluation and emotion. In the opening scene, the Queen is effectively portrayed through a simple exchange. She immediately appears haughty, powerful and witty simultaneously. In an early scene, dialogue is used further in order to convey the Queen’s authority and position, as the new Prime Minister is given strict and specific instruction about how to greet and engage with the Queen. In addition, when he is conversing with the Queen, she mentions that she has seen 10 Prime Ministers in her time, including Winston Churchill. This very early scene establishes her position as head of state in England, and reminds the audience of her power and the traditional activities associated with her, very much in the vein of docudrama as everything is historically accurate. Similarly, Diana is represented through dialogue, but in a very different way and with a different result. The film uses real footage, interspersed with acted scenes, to create an overall representation of the relevant events involved. In several scenes, the viewer is witness to Diana speaking and even being interviewed. Her comments, unlike the Queen, are quite uncomfortable, nervous, quiet and extremely honest, as she opens up to the interviewer about very personal matters such as the breakdown of her marriage and the negative way that she thinks the royal family regard her. It is commonly known that Diana said “There were three people in my marriage, it was a bit overcrowded”, and this is reinforced as it is used with effect in the film. In this way, Diana is portrayed as an emotional, honest, shy and reserved person, which lies in direct contrast to the portrayal of the Queen. The Queen’s opinion of Diana is also conveyed through simple dialogic exchanges. She often remarks negatively about the Princess, in several indirect ways. For example, when Prince Charles suggests leaving on a royal plane for Paris to see Diana in hospital before they learn of her death, the Queen proclaims that it would be too extravagant. She also is quick to remind him that Diana is technically no longer a member of the royal family and so it would be inappropriate. She appears quite cold and unemotional in this context. Even after learning of her death, a member of the royal family must cut a holiday short to return to England due to the tragedy. When the Queens husband informs her of this, he tells her that the family member said “Diana is more annoying in death than she was alive”, to which neither the Queen nor her husband flinch at. The fact that they have no emotional reaction to such a disrespectful and severe statement, reflects the fact that the royal family have a poor opinion of the Princess, and that they are comparatively cold, unfeeling and unsympathetic. This use of dialogue is also used quite freely in conveying the public opinion of the Queen’s relationship with Diana. An example of this is when Cherie Blair asks her husband, “Are you surprised? She [the Queen] hated [Diana’s] guts”. Music Music is used throughout the film to further portray and enhance the representations of both the Queen and Princess Diana. Music is often used within film to elicit emotion or other reactions from the audience (Eschrich et al. 2008). From the opening scene music is used to create meaning in the representation of Queen Elizabeth as she sits for her portrait. We hear the royal marching band play outside the palace gates, echoing in the background of her dialogue with the painter. This immediately sets a tone of royalty and respect in relation to her character. Furthermore, the music used in scenes with the Queen, is entirely orchestral. The music is constantly quite classical, sophisticated and without lyric. In several scenes where the Queen is out walking on the hills or through scenic forest with her dogs, the music, though still orchestral, takes on a more whimsical, fun tone and always a faster pace. This effectively works to highlight the Queens more personable and relaxed side to her character. It emphasis the fun she has leisurely walking her dogs and contrasts quite starkly with the scenes and music used when she is in the palace conducting business in the presence of government officials and palace personnel. During these leisurely walks and picnics, the camera sweeps over the majestic hills, mountains and scenery of the landscape giving panoramic views, and here the music takes on a much louder sound and reaches a crescendo, which creates an impact of the beauty of the countryside, emphasising the pride that the Queen has in the natural beauty of her country, of which she has dedicated her life. In one particular scene, music is used as a tool in order to create symbolic and subliminal meaning very effectively, which offers insight into the Queens character. We see the Queen driving alone in her car through isolated countryside. As she drives, the music becomes fast paced and begins to get noticeably faster and louder. This suggests that something is about to happen, and it does, when the Queen attempts to drive through a pool of water but gets stuck. The music very abruptly stops simultaneously with the stopping of the car engine. When she exits the car and is standing in the water, music is entirely absent and we are left with the sounds of running water, animal noises and all manner of natural countryside sounds. As the Queen waits in silence, the sounds of nature vibrate and echo through the scene and promote a very soothing and relaxing atmosphere, evident on the facial expression of the Queen. Contrasting dramatically with the hectic environment and loud busy noises within the palace scenes, this serves to offer an alternative environment within which to view the Queen - that of a mere human being who is in desperate need of relaxation and silence after such a distressing week of events. The Queen is entirely out of context here, and the noises reflect this very well. As she closes her eyes, takes off her head scarf and listens to the peacefulness of nature, she appears not as a monarch but as a vulnerable elderly woman, without fine jewels or clothing. It is in this moment of reflection that the Queen cries for the first time in the film. As a majestic stag appears behind her, the music slowly begins again, very majestically and almost dream-like, in a very haunting sequence which is supported by the use of music. As the Queen stares at the stag, the music reflects its beauty and majesty and the awe the Queen feels as she looks upon it. When we hear a gun fire, the music abruptly stops again, reflecting the fact that the gunshot has taken the Queen out of her trance, and is brought with abruptness back to reality. This quite melodramatic use of music is also evident in the scene where Prince Charles goes to Paris to see Diana’s body. As we see him walk through glass panelled doors to where her body lies, the camera remains outside as if we are people looking in on a very private and intimate moment. We are not allowed in the room but we can see it from outside. The music which had been playing, fades immediately upon the door closing, and all is silent. We cannot hear what the priest is saying and very faint bells can be heard in the background. This use of music, in that it stops when Charles enters the room, effectively works to bring a sense of sadness and solemnity to the scene and encourages a reflective and sombre tone. Music also works to create a portrait of Diana’s character, even though her presence in the film is posthumous and entirely through media excerpts and opinions. When Diana is shown through real video footage, it is frequently in a montage where random shots and images of her are mixed together in sequence. This is very often accompanied by quite solemn, slow and low-toned orchestral music, reflecting the tragic circumstances of her life and death. This works very well within the melodramatic aspects of the film, as this aims to appeal to the audience’s emotions and highlight the concept of tragedy. Indeed, in scenes where her body has been transported, her funeral scenes, and scenes when people are in mourning outside of the palace, the music again echoes the sombre and sad tone by exaggerating it with very depressing and haunting orchestral music, within the typical vein of melodrama. During the funeral sequences in particular, a very loud operatic solo is played, which is extremely melodramatic and tonally depressing, reflecting the mournful atmosphere of the funeral. There is one scene where music is used in quite a different way, but nonetheless effectively, in representing the character of Diana. After showing a (real) interview with Diana being watched on the TV by the Queen and her husband in their bedroom, a montage is then shown of Diana in which images of her, highlighting her fun-loving nature, grace and natural beauty are displayed. This is accompanied by a song - the first and only used within the entire film (other than the operatic number at the funeral) - which is not only modern and fast-paced but has very meaningful lyrics. The song repeats the line “Heaven must be missing an angel”, reflecting the popular opinion of Diana as the “people’s princess”. This moniker distresses the Queen and she is confused by it, as she is still adamant in upholding old-fashioned and traditional royal behaviour and is reluctant to modernise in any way. The song used here not only highlights Diana’s public image, but serves to act as a stressor for the Queen which again, highlights her opinion of Diana. The modernity and use of lyric within the song also serves to contrast with the music associated with the Queen, that of orchestral classical themes. The song also adds to the melodrama again, in that it further elaborated on the tragic circumstances of Diana’s death as it appeals to the audience’s emotions through emphasising her positive attributes. This is also evident when Blair gives a public speech regarding the death of Diana. The music begins as a very delicate and sad tinkling of strings, and becomes slowly louder and more sweeping as his statements become more sentimental - a very melodramatic element. When he finally utters the phrase “the people’s princess” the music reaches a climax and bursts into an orchestral rendition of a very moving and emotional score, while all else is silent. Other generalities to the use of music within the film to convey meaning, is the use of media and news clips. Throughout the film, and in particular palace scenes with the royal family, music is quite subtle and silence often prevails. When music does play, it is of a slow, orchestral nature, reflecting the regal and traditional values of the Queens family and institution. However, when news and media TV excerpts are dispersed within this, they are naturally conveyed as modern, busy, loud and accompanied by music and noises which contrast severely with the sombre sounds associated with the Royal family. Music also creates a sense of pace frequently throughout the film. Much like the scene where the Queen is driving her car into a pool of water and the music becomes faster, one particular scene involving the character of Tony Blair involves music as a narrative device. We see Blair in his office, after having a very uncomfortable conversation with the Queen. He stands, alone and thinking for quite a few seconds in silence. The audience is ignorant to what is happening, until music suddenly begins. It becomes faster and faster and ranges from high to low notes, very suggestive of Blair’s thoughts evolving and of a plan forming in his mind. As he walks with great assertion down the hall, the music reflects his confidence and suggests to the audience that something meaningful is about to happen. This is similar to another scene in which Diana’s last moments are re-enacted and music is used to convey the impending danger and result. The scene involves a car, assumedly containing Diana, being followed by a large number of other cars down a long street. Though it does not show any scenes of carnage or impact, nor does it feature any dialogue, the impending danger is sensed through the music. It becomes extremely fast, reminiscent of typical chase scenes from dramatic films, and provides an ominous sense of doom. The scene is intercut with very quick shots of Diana in photographs, coming to a climax with a picture of her raising her hand to the camera and the sudden stop of the music, suggesting something terrible has happened. Costume Costume is another mise-en-scene component used throughout the film in line with both melodramatic and docudrama elements, which help to develop the portrayal of the Queen and Diana. Primarily, and within the vein of docudrama as a historically accurate genre, costume is used to denote reality and accuracy in the representation of the royal family. The Queen is almost always shown wearing clothing appropriate to her position, age and character. She wears sophisticated, co-ordinated and relatively old-fashioned two-piece suits of skirts and jackets most of the time. They are usually of quite muted colours and always of earthy tones, never garish, colourful or casual. Her clothing looks prim and proper, clean and impeccably presented and co-ordinated with pearls and other jewellery pieces. Indeed, even when she is relaxing and enjoying leisurely activities, she still remains covered up, coordinated and totally devoid of bright colours. This is the same for other members of the royal family such as her husband and son, who are always shown in earth-toned, muted suits and clothing of highly traditional colour, texture and pattern. This effectively serves to set the royal family apart from everyone else, and conveys their personalities and positions. The use of costume in the portrayal of the Queen is also effective not just in setting the Queen apart from others, but in conveying her many dimensions as an individual. In some scenes, the news of Diana’s death scene in particular, the Queen is shown in her nightgown. She wears a think, high neck dull full length gown, without glasses or further accessories. It is almost surprising to see the character like this, as this is a context that normally remains hidden from the view of others. Seeing her character in this way, enhances the vulnerability of her personality. She seems almost fragile, elderly and relatively normal, as she clutches a hot water bottle for warmth. This effectively serves to portray her as a multi-dimensional character. She is not just the Queen of England, but a mother, grandmother, wife and ultimately, an elderly woman. In the way of contrast in costume, the representation of Diana is also enhanced in this way. In the images and clips of Diana, she is seen wearing both sophisticated clothing, and extremely leisurely attire. We see her in swimsuits relaxing on yachts, in extremely informal and everyday wear and even when she is in more formal clothing, it is always brightly coloured, modern and stylish. This helps in her representation as a woman of style and youth who is not afraid to enjoy herself and be seen as a ‘normal’ human being, unlike the Queen. Props The use of props and item placement in the film is another device which is used to support the portrayal of both characters. “Instead of just dressing the set, the director must be savvy to fathom how objects may bear significance in a deeper level, while also emphasizing themes, creating meanings, and provoking thoughts” (Moura, 2012). The Queen is almost always seen alongside certain paraphernalia which one would typically associate with someone in her position. In the palace scenes, she is almost always situated and framed within the context of props and background features. For example, there is always either a desk, window, lamp and flowers or pictures, very visually evident beside her when she is shown in the palace. She is usually placed between two items, such as between a window and a table, and takes centre stage within the shot. Many props are also used as manifestations of the Queens discomfort at times of uncomfortable discussion. For example, she is often seen with a pen in hand, fidgeting with it and twisting it between her fingers as she grows uncomfortable with whatever is being said in her presence. This prop is used most effectively, when she is seen speaking to Blair on the phone as he informs her about the negative public reaction to her behaviour. As she speaks to him, she aligns a series of pens so that they are all strictly parallel to each other, for no reason. This serves to highlight the inner conflict and disruption she feels at the public outcry regarding her lack of displayed grief. The hot water bottle she clutches to her body in bedroom scenes also serve to convey her age and vulnerability. Another important prop used is newspapers, which also serve as a narrative device. Newspapers feature in the majority of the scenes, be it as background clutter or a focal point. Not only does this convey the extraordinary media influence and role within the story, but the headlines shown actually move the story along as they inform the viewer of events and opinions. Props are also used to convey the differences between Blair and the Queen. Unlike the rooms of the palace, Blair’s home is littered with clutter and messy items. When he is speaking in scenes within his home, there are always toys and children’s drawings placed either beside him or within obvious view of him and his wife. This reminds us that he is a family man, with children, who has priorities much like the rest of the public which lies in opposition to the way in which the Queens surroundings are presented. Lighting The lighting used within the film appears to be very much appropriate to the genre of docudrama. Natural lighting is used throughout each scene, and artificial lighting is almost entirely absent. In the scene in which the Queen finally visits Balmoral to publically mourn Diana’s death, the lighting is extremely grim and dull. This reflects the tone of the scene as a sad and extremely morose day. Scenes inside rooms and buildings are quite dim which reflects the real weather and lighting of the climate and season relevant to the time. Nothing appears too well-lit, too artificial as it appears in a way which is realistic and accurate. Fireplaces are always lit and framed within scenes, and in particular, lamps are in abundance in almost every single indoor scene of the film. The palace displays an array of lamps, often the Queen is seen alongside several lamps, all of which are constantly lit, even in daytime hours. This is also the case in the offices of Blair and even in his home. Natural window lighting is also used as windows feature heavily in such scenes and are often used as a character framing feature, as characters are always shown standing beside or in front of windows filled with natural light. Light can also be viewed as quite symbolic here. In the final scenes, where the Queen and Blair discuss the events of the past Summer and come to reconcile their differences, the Queen stands in front of the large windows and comments on the light, saying it seems brighter. Indeed, the scene does quite literally appear to be visually brighter than the rest of the film. As the Queen suggests they finish their meeting while walking outside in the light, the daylight lights up the screen in a way which has not happened previously in the film. This serves to symbolise the change in tone and new optimism that the Queen now has, as the brighter light can be seen as a manifestation of her lightened mood and outlook. Much lauded by critics for its accurate yet compelling portrayal (Newman, 2006), the film The Queen, combines elements of both docudrama and melodrama in order to create portraits of Queen Elizabeth and Diana Spencer. In using real news footage, media files and actual dates to accurately convey true historical events, the film displays many elements of typical docudrama. This is also supported by various mise-en-scene elements, such as dialogue, costumes, props and lighting. In using historically accurate costumes, dialogic exchanges involving real historical figures and events, props such as newspapers with accurate headlines and realistic lighting appropriate to the time and location, the film displays a high degree of accuracy and historical truth. However, such elements are combined with features of melodrama, particularly through music and dialogue. Music is used with particular effect to enhance melodramatic moments and appeal to the sentimentality and emotionality of the audience. Similarly, dialogue is used to exploit assumed tensions and conflicts within the film with a view to enhance such conflicts. References Eschrich, S., Munte, T. and Altenmuller, E. (2008) ‘Unforgettable Film Music: The Role of Emotion in Episodic Long-Term Memory for Music’, BMC Neuroscience, 9 [Internet]. Available from: http://ezproxy.fhda.edu:2069/ehost/results?sid=75dd805b-a107-4903-94b0-5c33da40e675%40sessionmgr110&vid=5&hid=110&bquery=nemko&bdata=JmRiPWFwaCZjbGkwPUZUJmNsdjA9WSZ0eXBlPTAmc2l0ZT1laG9zdC1saXZl (Accessed 17 April 2012) Fraser, G. (1999) ‘Hollywood and World History’. In: Rosenthal, A. ed. Why Docudrama?: Fact-Fiction on Film and TV. United States: SIU Press. Kozloff, S. (2000) Overhearing Film Dialogue. California: University of California Press. Liplin, S. (2002) Real Emotional Logic: Film and Television Docudrama as Persuasive Practise. United States: SIU Press. Moura, G. (2012) Mise-en-Scene. Available at http://www.elementsofcinema.com/directing/mise-en-scene.html (Accessed 17 April 2012) Neale, S. (1986) ‘Melodrama and Tears’. Screen, 27 ( 6): 6-23. Newman, K. (2006) The Queen. Available at http://www.empireonline.com/reviews/reviewcomplete.asp?DVDID=117521 (Accessed 16 April 2012) Rosenthal, A. (1999) ‘Introduction’. In: Rosenthal, A. ed. Why Docudrama?: Fact-Fiction on Film and TV. United States: SIU Press. Singer, B. (2001) Melodrama and Modernity: Early Sensational Cinema and its Contexts. New York: Columbia University Press. The Queen. (2006) Stephen Frears [DVD]. England: Granada Productions. Read More