剧照
剧情介绍
伊丽莎白公主（克莱尔·福伊饰）与希腊王室成员菲利普（马特·史密斯饰）结婚，5年后，温斯顿·丘吉尔（约翰·利特高饰）成为英国首相，而乔治六世（杰瑞德·哈里斯饰）因病逝世，传王位于伊丽莎白二世，从面对英国王室纷繁复杂的家庭、社会琐事，以及在诸多事务中，伊丽莎白二世慢慢地从妻 子到女王的身份转变历程中成长。后来，与首相丘吉尔联手重塑大英帝国 。TUDUM全球影迷盛会: A Netflix Global Fan Event明天你是否依然爱我反叛神秘失踪1988动物爱美餐电梯男孩银河英雄传说外传：反叛者一千灵异夜之孽缘十日空中世界二战建筑师之腹黑色皮革手册武林龙虎斗应承早餐中国 第一季失踪第二季越界2021第二十二条军规明迪烦事多第三季八爪狂鲨大战梭鱼翼龙感应时速之暴走飞车神探可伦坡第一季反恐特战队之刺杀危机汉娜的睡犬你想要的一切商战蜘蛛灾2武松斗杀西门庆愚人节索命暹罗之按摩师龙岭迷窟2022迷离劫2022现代应召女郎（粤语）美人鱼之死亡湖一师亦友第八季纸牌之国拆弹部队悠哉日常大王剧场版：假期活动真爱如血第七季撞到正灭绝：丧尸屠城机器肉鸡第五季
长篇影评
1 ) 伊丽莎白S1简记
爱德华七世逊位后由弟弟乔治六世继承。乔治六世有两个女儿：长女伊丽莎白，次女玛格丽特。 E1 wolferton splash（乔治六世和菲利普打猎的地方） 伊丽莎白于1926年4月21日出生，与希腊王子菲利普于1947年结婚。
E2 海德公园角（国王去世的暗号）
伊丽莎白在父亲乔治六世病重期间替父巡访各英联邦，在肯尼亚期间，乔治六世去世，伊丽莎白匆忙回国，1952年2月6日即位，1953年6月2日加冕。
丘吉尔从1951年10月再次组阁，艾登出任副首相兼外交大臣。 玛格丽特公主喜欢乔治六世的近侍武官（皇家空军上尉彼得•汤森，有家室），乔治六世去世后接受任命为女王母亲的事务长，后与妻子离婚。 E3 温莎 在纽约的温莎公爵回到伦敦，参加国王的葬礼，顺便谈谈他的年薪。 理论上伊丽莎白继承后应改为丈夫姓氏蒙巴顿的王朝。女王后来在内阁和温莎公爵建议下决定继续为温莎王朝，并且离开克拉伦斯宫，搬去白金汉宫。这违背了菲利普亲王的两个愿望。
E4 天灾 1952年12月5日起持续性大雾，直到12月9日，一股强劲而寒冷的西风吹散了笼罩在伦敦的烟雾。
同时丘吉尔受到党内外人士的反对，想要他辞职。女王差一点在一些内阁成员的建议下向丘吉尔提出此意，幸而大雾散去。 E5 烟与镜 女王加冕礼、玛丽王太后去世
E6 重磅新闻
玛格丽特与彼得的“丑闻”
两人的恋情得到公众极大的关注热情，在各方权衡下，王室决定暂时分离他们，直到公主满25岁。
E7 知识就是力量
在与各政客交往中，女王深觉自身通识教育的严重不足，与政客交流时常常处于劣势，甚至听不懂，决定请老师重新学习。
同时，丘吉尔因病取消与美国总统艾森豪威尔的会面关于苏联氢弹问题的讨论。而外交大臣艾登也暂时在美国进行手术。丘吉尔向女王隐瞒了病情，女王得知后约谈丘吉尔，一番话令丘吉尔对她刮目相看。
E8 小骄傲和开心果（乔治六世说伊丽莎白是他的小骄傲和玛格丽特是他的开心果）
继位后女王的第一次大巡访，为展现大英帝国最完美的一面，（此时，印度、巴基斯坦、南非、伊拉克、约旦缅甸、锡兰都已独立了），1954年，巡访从百慕大开始，行程马不停蹄，开始了为期六个月的英联邦盛大之旅，其中包括58天在澳大利亚，他们访问了57个城镇。他们笑得脸都僵了，菲利普亲王一直在抱怨这疯狂的行程，连做梦都在招手了。最后一站，坚持前往反英情绪高涨的直陀罗布海峡，得到国内民众的高呼。
同时，玛格丽特在国内暂执君主职位，充满个性的讲话，大放异彩，令内阁惶恐，不被允许“将个人意志加于王权之上”，丘吉尔决定将权利推回给王太后。
E9 时间刺客
菲利普亲王常常醉酒晚归。两人矛盾激化。
女王与她的爱马和她的“青梅竹马”波尔契。
丘吉尔与回归的外交大臣的针锋相对。
丘吉尔与他的80岁大寿肖像画家。
安东尼·艾登继位为首相兼外交大臣。风流倜傥的艾登凭借其俊朗的外表和二战期间的政绩，迅速成为英国国内最受欢迎的人物，并被寄予厚望。（在出任首相一年之后，艾登走错一步断送其政治生涯——第二次中东战争）
E10 荣光女王
在绝望下，彼得代表公开发言：为王室做出牺牲，终止恋爱关系。
女王与亲王渐行渐远。
英国首相与埃及总统纳赛尔谈判持续激化。
2 ) 爱德华八世：乡关处，凉薄迷烟 |《王冠》的人物与镜头
（有剧透）“爱美人不爱江山”，这样的标签，常给我们一个多情逍遥的形象。谁曾想过，他们也背负哀愁与痛苦。也许有人放弃得潇洒，爱得热烈，但至少不是《王冠》镜头下的英王室爱德华八世。 《王冠》（ The Crown ）是 Netflix 出的一部良心历史剧，主要讲的是待机时间超长的英女王伊丽莎白二世。和之前写的《黑镜》S3E6《全民公敌》一幕高潮强过一幕的叙事节奏不同，《王冠》叙事较缓，有点像剪辑中的“问答模式”，抛出一个冲突，解决一个，又抛出下一个。娓娓道来一个又一个的故事。相较于《全民公敌》极少的人物刻画，《王冠》的人物塑造相当细腻。因此，若你心中有坑，想找一部剧填补空虚，或平息郁闷，你也许会觉得它无聊。但若你心绪宁静，这画面极美，布景华丽，台词优雅，演技一流的王室故事绝对上瘾。
爱德华八世（1894-1972）是当今女王的伯伯，即女王父亲乔治六世的哥哥。爱德华八世即位后，与辛普森夫人相爱。辛普森夫人离过婚，前夫尚在世。英国国教教义中是不允许和这样的人结婚的。在王室、内阁、教会的压力下爱德华八世选择退位，并和辛普森夫人结婚。他们在法国结婚，王室中无一人参加他们的婚礼。婚后很长一段时间定居法国。 人物 今天要介绍的是第一季第5集。这一集的主线是年轻女王加冕，副线是对爱德华八世的刻画。（开始剧透了...）这这位王叔的出场是他在巴黎的家中接受采访。在采访中我们得知，他有一个房间保留了在英国和在王室中的记忆。
他有思乡时吹的风笛，这是一个伏笔。
通过记者唐突的问题，我们还知道他在位时并没有“加冕”过。
从这些场景可以感受到他并不像想象中的“不爱江山”，他内心还是对王权贪恋。 接着，他被告知母亲病重，让他回去探望，不能带妻子。他的母亲玛丽王后（Queen Mary ) 对他比较刻薄，也反对他娶辛普森夫人。因此，怀着不情愿，他还是去了。
但是尽管嘴上恶毒，他还是温情地陪伴母亲。 接着他被告知，他的妻子不能过来参加女王的加冕仪式。女王的首席秘书、教会的大主教等过来告知他。注意这个画面的构图。
人物都放在画面的右边，中心人物在画面正中。在空旷且层高的室内，人物拍得渺小，显得疏离。一个很长的斜线（桌子）分割了人物，增加了疏离和不舒服感。 这一幕会谈他是没想到的，他本以为可以来参加加冕，看的出来他也很想参加，他试图劝说其他人。
遭到拒绝后，他又开启了尖酸吐槽模式。欣赏一下王室说话的艺术。
不能去现场，王叔就邀请了一帮人，在巴黎家中看电视直播。拜女王丈夫菲利普亲王所赐，这也是王室加冕的第一次电视直播。在直播时又是开启了活弹幕模式。 吐槽女王的马车：
然后有一个细节真是见足了编剧和导演的功力。如果让你拍一个内心尚留恋王权，被迫退位的国王，面对想亲临却被拒只能观看直播的加冕仪式，你会怎么写怎么拍呢？你一定想过他在直播时或直播后的表现，可你想过他在直播前会怎样吗？
也许是这辈子最后一次可以感受它了，这个曾经想象过无数遍的神圣时刻。这么多年过去了，原以为可以放下了，他们的不谅解，我的帝王心。在这个新旧交替的时刻，我只想，坐在殿堂里，让前尘往事淹没在这煌煌盛事中。然而，现在只有一个电视屏幕.... 通过演员一个表情（注意上图拍摄角度），通过妻子迟迟催促才下楼的一个场景，完美展现了这些...
女王加冕使用了暖色调，和王叔家中的直播形成了鲜明的冷暖色调对比。
在最神圣的受膏时刻（开头有交代，指主教在新王身上抹圣油，这代表了王彻底转变，与神相连），直播切掉了这个画面。现场有人不解，王叔说
王之落寞啊！ 我又要提编剧圣经《故事》了。它说，好的人物描写需要给到层层压力，揭示人物内心的欲望。对王叔的刻画里，从保留王室盒子的贪恋，到被告知不能参加加冕时，表面的不屑和傲骨，到观看直播的尖酸刻薄，到王之落寞。人物压力层层推进，笔力精到。 镜头 《王冠》的镜头有个特色是它用到比较多的运动镜头。不像《黑镜》，描述的是一个结构简单的事件，有强烈的事件线索。《王冠》的一集就记叙了许多的历史事件，事件间的时空线索没有《黑镜》那么连贯。因而导演运用运动镜头来进行事件（场景）间的转场，使时空的衔接更自然些。 例如菲利普亲王对女王的加冕计划演讲镜头转到直播 idea 的展现。 原本对他就是一个微微仰拍，然后再一个自上而下的摇镜转场。【豆瓣放不了动图，可以去我公号看,下同><...】
再如从女王和亲王看剧转到王叔家中的采访，也是一个自上而下的摇镜。
除了转场，还用来表现人物。 第7集里表现女王生气，是一个面向女王的推轨镜头，且通过摄影机速度快于女王来呈现。（注意推轨速度先慢后快）
以及在这一集的最后的一个相当有表现力的画面。在直播结束后，是王叔背对着镜头在吹风笛。镜头后退，同时上升，这同时从距离和高度上远离了人物，显得那么疏离。
但镜头拉到最后，给了一个正面大特写，是泪流满面又使劲吹风笛的他。一个强烈的对比。
等不来的谅解，回不去的盛世。我心羁绊，而无人顾盼。像王维诗里写的，回瞻旧乡国，淼漫连云霞。 王权早逝，乡关何处？ 走不出的他乡里， 回首，只有凉薄迷烟。 剧会说话出品，转载请注明出处。
3 ) “神”的代言人还是仆人？也许只是个会喜怒哀乐的凡人
Philsumy Netflix的新剧王冠刚刚上线（11.4），我用了不到两天就追完了10集。如果是别的电视剧，我或许会打个“剧透”提示；可是这部剧好像打不打都无所谓，毕竟"历史"已经书写完毕，我们欣赏的只是“故事”。 历史剧的好处之一就是它的连续性，以及背景的真实性，毕竟，“历史”。就像莎士比亚的经典四部曲一样：理查二世，亨利四世，亨利五世上、下；王冠也有前传，如果看过《国王的演讲》的各位，根本就不需要做什么多余的背景介绍：为了美人放弃天下的爱德华八世；为了责任接任王位乔治六世；还有伊丽莎白·鲍斯-莱昂，乔治六世的王后，伊丽莎白二世之母，以及爱德华夫妇口中的“Scottich cook”“苏格兰厨子”；当然还有两位主角，或者说，主角与准主角，女王夫妇。如此的人物放在一起所展现的剧情张力是巨大的，让人身临其境，感受他们之间的故事。 （当然这部剧还没有续集，因为。。。女王还在“超长待机”。） 如果说“历史”更着重于光辉的、伟大的一面，那么"故事"则更喜欢聚焦于那些光明背后的阴影、脆弱。 比如说王夫：菲利普亲王，爱丁堡公爵。 很多人喜欢他的高大帅气，与女王的完美爱情。这部剧里则更多聚焦与他的“脆弱”。 很多人知道他是希腊王子，可很多人都没注意到希腊是个“共和国”。 他的父亲，安德鲁王子（安德烈阿斯王子）是希腊国王乔治一世的第四子，很显然，继承顺位靠后。 1922年，希腊在与土耳其的战争遭遇惨败，安德鲁王子与政府大臣、军队指挥被关入大牢，等待枪决，最后英国派军舰前去协商，安德鲁一家才得以获释，而当时1岁的菲利普亲王是躲在橘子箱里，离开了他的“故土”。安德鲁亲王对菲利普亲王也不怎么关心，喜欢花天酒地。菲利普亲王更多的时候是与舅舅蒙巴顿勋爵在一起，当然，最后，他也把自己的姓氏改成了”蒙巴顿“ 所以当故事进行到公主大婚前夕，他放弃希腊国籍与王位继承权，改姓“蒙巴顿”，英王乔治六世赐予他那一连串头衔的时候，剧中的表现出他的轻松以及他感觉仪式的繁复，忙于应付。我想现实中的菲利普亲王放弃的很轻松，因为他的那些希腊头衔就真的只是“头衔”而已。他是一个没有家，没有故土的“孤儿”。 女王陛下： 在故事开始的时候，女王其实很小女人，与在皇家海军服役的丈夫在一起，拿着摄影机拍着自己的丈夫，带着“迷妹"的小眼神，我想女王与其他"迷妹"不同的是，她真的与"男神"在一起了。 在乔治六世去世的时候，在丈夫的要求下，她正在给她的父亲写信，请求与丈夫一起回到马耳他，殊不知早已天人永隔。 到了决定女王尊名的时候，也正是预告片里所展现： “我的名字就是“伊丽莎白”，我们就别在这搞得过于繁复了” 私人秘书站起身，对她说道： “女王万岁” 从此，她不再是丈夫的迷妹，不再是众人宠爱的公主，而是女王陛下。 就像我之前提到的，这部剧展现的是历史之外的“脆弱”，也正是人的部分。 理论上大权在握，其实什么也做不了，总想发表意见，然后又不能发表。 “一事无成是最难的事” 作为英国国教会的领袖，请大家不要忘记是亨利八世为了离婚而创建的，不仅不能用这个头衔去要求别人，反而经常被人限制。连“爱情”都无法做主。 爱德华八世为了“爱情”放弃了王位，玛格丽特公主一心想跟父亲的秘书在一起，最后。。。 女王即位之前，跟工作人员说，我能不能把王冠借走，回家练练，工作人员一脸懵逼，“这本来就是您的”。 女王把5磅的王冠戴在头上，看着镜子中的父亲，那个准备加冕礼的父亲，两个人就这样看着彼此。 我认为一个非常重要的配角就是先王爱德华八世，温莎公爵。 公爵为了“爱情”放弃王位的故事，已经众人皆知。这部剧里的公爵经常出现，回到伦敦，回到痛恨他的家庭身边，要求妻子的尊号，要求妻子能够与自己一起参加典礼，要钱；而我们的先王的要求总是被拒绝，然后他曾经的仆人们开始跟他提条件，先王勃然大怒，说你们这些奴仆敢跟我蹬鼻子上脸。。。然后想想自己的处境，只好作罢，说，好吧，由我去劝女王，那个钱，你们赶紧汇给我。 剧中的公爵，有一只风笛，公爵夫人还特意向记者介绍，公爵只在思乡时吹奏。 终于，到了女王的加冕礼，公爵义务给身在法国的众人解说。众人说，这典礼把女王变成了神，你是怎么会放弃成神的机会呢？公爵答道，我拥有了最伟大的东西“爱情”。公爵表面上对王位不屑一顾，对爱情崇拜至上。 可公爵真如他所说的那么伟大吗？他真的把爱情放在祖国，家庭，王位之前吗？ 我想公爵肯定也会后悔，也会流泪，也会思乡，因为他跟我们一样，也只是个凡人。 也正如我最喜欢的镜头之一，公爵一个人，在法国，在别墅的外面，吹奏着风笛，泪流满面。 剧中的王族待着无限的光环，可其实啊，他们也只是凡人罢了。
4 ) 这部BBC范儿的美剧迷倒老司机，豆瓣9.2都嫌低！
作者：蜘蛛约影（来自豆瓣）
来源：//www.douban.com/note/593642011/
最近好多人跟美剧叔安利一部美剧，美剧叔看完第一集就和他们翻脸了——“能不能专业点？”叙事像呼吸般平稳有力，史料和虚构如水乳交融，最重要的是，那股浓浓的英伦味道，装不了。“这一看就是正宗BBC出品好吗？”
结果被打脸了。Netflix剧集《王冠》，连乔治六世都是美国人演的。
网飞的老规矩，第一季十集，全部放出。一口气看到第九集，不禁脱口而出一个字：爽！
好在，网飞继续土豪上身，投资1亿英镑， 后面还有5季。据说，要换三个女演员，演出不同时代的女王。这，才叫史诗大制作。
口碑已经爆裂，豆瓣评分9.2，高过一票美剧。
IMDb9.1分。烂番茄的新鲜度91%。
整部剧集，就是一部讲述超长待机女王事迹的英伦王室正传。
有一定阅片量的人应该知道，这种为活人做传的剧集，简直是九死一生。拍得太主旋律，观众受不了。人为修改历史制造戏剧冲突，当事人受不了。总之，几乎就是个不可能完成的任务。
但是这个不可能完成的任务，被《王冠》完美完成了。有一种历史剧，看的是历史，虐的是人心，因为——唯真实最打动人心。
《王冠》不是纪录片，里面有大量与史诗不符的细节变化，但正是这种修改，令剧集反倒更加接近历史的真实。
“欲戴王冠，必承其重”
第一季的故事，就是以伊丽莎白二世为首的英国王室的真实生活。
伊丽莎白在代替父亲去非洲考察的途中，惊闻父亲去世，连王冠都不知道怎么戴才好，就这样成为了伊丽莎白二世。
历史，比任何虚构的剧情都更加惊心动魄，还原历史，主要基于其场景的逼真，以及顶级摄影、服装、道具带来的视听盛宴。
被完美还原的历史感、精美无比的王冠、令每个人焦灼无比的历史氛围……没有一处不靠谱，为了让历史靠谱，满眼都是钱。
但是，绚丽的场景只是为剧集本身服务，《王冠》的角色塑造，也几乎是一本影视剧教科书。尽管它的选角，处处是争议：几乎所有观众都说，这是他见过最高的丘吉尔和最丑的菲利普亲王。丘吉尔的扮演者约翰·利特高，身高1.93米，丘吉尔的真实身高1.6米。
历史上的菲利普亲王，是有名的美男子，他的扮演者马特·史密斯，因为出演第11任《神秘博士》被人熟知，颜值还算有，但是和顶级美男子，差距有点大。
公认塑造最好的角色，一代名相丘吉尔。第一集公主结婚时，老谋深算，最后一个到场。伴随着音乐、掌声和女王的注视，缓缓进入教堂，尽显身份的与众不同。
第九集，全剧评分最高集，那个骄傲的丘吉尔，却在一幅画像面前终于承认了自己的衰老。希特勒和纳粹都打不败的铁相，终于还是败给了时间，历史的沧桑感，尽在演员惊心动魄的演技里。
是的，惊心动魄！当丘吉尔画像最终在火焰中被燃尽，连火焰也成为了表演的一部分。
同样奉献出伟大表演的，还有乔治六世。一直到死，他都在想着怎样履行英王的职责，想着怎样让女儿顺利接过王位，同时，幸福地活下去。他对菲利普亲王说的那句“你的工作就是给她幸福”，所有的父亲，听到都会泪奔。
国王与父亲，王权与人性，身体孱弱与灵魂坚强，几场戏而已，演得比汗牛充栋的历史文献更加清晰，也更加动人。
当然，还有第一季女王的主演克莱尔·芙伊。长得一点不像女王，但是从无忧无虑的公主到身负重任的女王，她每一刻的表演都足够让观众相信，这就是历史中的伊丽莎白二世。
这样一群演员，就这样在历史和虚构的反复交错间，在安逸和危难的反复切换间，用强烈的真实感狠狠揪住了观众的心。
“王权必须胜利，必须永远胜利”
这么厉害的剧集，编导团队怂不了。
编剧，是《女王》的编剧彼得·摩根，一部活的伊丽莎白二世及王室的字典。
第一二集由史蒂芬·戴德利执导，他的代表作你一定看过，《朗读者》、《时时刻刻》。
最打动人心的第9集，导演是《成为简·奥斯汀》的导演朱利安·杰拉德。收官的第10集，导演是《霍金传》的导演菲利普·马丁。
这些导演风格虽然各有不同，但有一个共同的特质：故事扎实、角色丰满、影像的历史感精准到毫厘。
在统一的艺术把握下，整部剧集，如同出自一人之手。如果是历史是任人打扮的小姑娘，那么《王冠》显然给了历史一副淑女的模样。
重要的不是场景 “真实到窒息”，而是角色、氛围和历史感“真实到窒息”。剧集不是纪录片，因为每个人心里，都有一个伊丽莎白二世。可是在正史和野史，事实和虚构之间，编导却最大程度地接近了那段历史。
剧集不是为英伦王室歌功颂德，而是像刻刀一样，近乎残酷地表现出历史的无情，这样才能让观众直观感受到，这些传奇人物，到底失去的是什么？
没有刻意煽情，也没有神话的高大上，每个普通人都能感受到菲利普亲王内心的不甘，伊丽莎白女王面对妹妹爱上有妇之夫时在王权和亲情间的无奈，还有，丘吉尔离开唐宁街时的落寞与无奈。
无论史诗还是传奇，能够为后人所理解的，都在人性。英伦王室真正的高贵，不是在历史中一尘不染，而是经历过人性的深渊和王权的冲突，依然保持着王室的尊严和王权的尊严。
全剧最动人的台词，来自看着三位国王走上王位的祖母，在给还是公主的伊丽莎白的信中，她说出了这样一段话：
在你悼念你父亲的同时，你也要悼念另一个人——伊丽莎白·蒙巴顿。
因为她现在已经被另一个人所代替，伊丽莎白女王。这两个伊丽莎白会经常起冲突，事实是王权必须胜利，必须永远胜利。
当她面对新上任的女王，自己的孙女，完成对女王的跪礼，所有的观众都明白了这句台词的意义。
从历史真实中还原的人性，不回避人性与王权永恒的冲突，才让人了解了英伦王室何以在现代社会屹立不倒，这才是《王冠》最动人之处。
这部BBC范儿的美剧，豆瓣9.2都嫌低！说它每一集都是一部《国王的演讲》，太夸张。可是像第9集这样的品质，说它配不上奥斯卡，说不过去。
英女王的故事，还没讲完，我知道，你们最关心的故事，比如戴安娜之死，还得等等。后面的5季，按照网飞的习惯，应该有50集——一段大英帝国的历史，60集，讲完。咱们的武则天撕逼传奇，96集。
你想看哪一种王冠，美剧叔不知道，但是对于我来说，《王冠》这么牛的剧集，再久，也值得等。
本文作者：美剧大叔
原创文章禁止转载，转载需联系微信公众号：蜘蛛网订阅号（spider201310）
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5 ) 王冠之下（关于《王冠》的一些小资料）
英国王室不像中国古代的皇室权力滔天，在君主立宪制的制度下，英国王室受到了来自议会、教会、人民的各种约束。王室不是为所欲为的代名词，而是荣誉、高贵和纯洁的象征，他们承载着国民的希望与幻想，他们必须完美无瑕。但他们也是人，也有人性，这一顶王冠更像一把镣铐禁锢着他们，这就是所谓的“欲戴王冠，必承其重”吧！就像伊丽莎白的祖母给她的信中所说的：
最亲爱的莉莉贝特：
我知道你深爱着你的父亲，
我的孩子，
我也知道你和我一样，对他突然地逝去悲痛不已，
但是你现在必须将这些情绪暂时放下，
因为你的使命（for duty calls），
丧父之痛，刻骨铭心，
你的人民需要你的坚强和领导，
我亲眼目睹了三代伟大的君王，
因不能划清私人牵绊和使命的界限而溃败，
你一定不能重蹈覆辙，
在你悼念你父亲的同时，你也要悼念另一个人，
伊丽莎白·蒙巴顿，
因为她已经被另一个人所代替，伊丽莎白女王，
这两个伊丽莎白会经常起冲突，
事实是，王权必须胜利，必须永远胜利。（The Crown must win,must always win.）
本剧的开场是乔治六世为伊丽莎白公主的未婚夫菲利普王子授勋仪式。菲利普王子是希腊国王乔治一世的孙子，也是希腊的王储之一，由于伊丽莎白公主是英国王室的准继承人，为了确保她未来继承王位后不会再继任另一个国家，所以菲利普王子必须放弃希腊王位继承权才能与伊丽莎白公主结婚，但在菲利普王子这个头衔之前他没有其他头衔，只是一名海军上尉，于是乔治六世册封他为爱丁堡公爵，以便他能迎娶伊丽莎白公主。这桩婚事除了这个波折之外也并非一帆风顺，比如菲利普不忠的流言，以及伊丽莎白祖母和父母对菲利普四个姐姐都是德国籍王妃的猜忌。
1947年11月20日，菲利普与其表妹伊丽莎白结婚，两人都是“欧洲的祖母”维多利亚女王的玄孙。在伊丽莎白继承王位后，他的头衔并不是女王的Husband而是：菲利普亲王殿下，爱丁堡公爵，梅里奥尼斯伯爵，格林威治男爵，最高贵嘉德勋章的皇家骑士，最古老和最高贵蓟花勋章骑士，大英帝国勋章的高贵主人和首席骑士，功绩勋章成员，澳大利亚勋章伴随，女王服务勋章额外伴随，天堂鸟勋章的皇家首领，加拿大武装力量奖章，女王陛下最尊敬的枢密院大臣，女王的加拿大枢密院大臣，女王陛下的私人侍从武官。很绕对不对。
第二集中公主玛格丽特和国王合唱的那首歌叫Bewitched, Bothered And Bewildered，出自1940年的音乐剧《好友乔伊》（Pal Joy），全文歌词是：
I'm wild again, beguiled again
A simpering, whimpering child again
Bewitched, bothered and bewildered am I
Hmm...
Could not sleep, would not sleep
'Til love came and told me I should not sleep
Bothered and bewildered am I
Lost my heart, so what of it?
He was cold, I agree,
He can laugh and I love it
Although the laugh's on me.
I'll sing to him, each spring to him
And long for the day when
I'll cling to him, the war
Bewitched, bothered so bewildered am I
丘吉尔的悼念词写得太棒了，贴出来分享一下：
When the death of the king was announced to us yesterday morning,there struck a deep and somber note in our lives,which resounded far and wide,stilled the clatter and traffic of 20th century life,and made countless millions of human beings around the world pause and look around them.The King was greatly loved by all his peoples.The greatest shocks ever felt by this isl and fell upon us in his feign.Never,in our long history ,were we exposed to greater perils of invasion and destruction.The late King,who assumed the heavy burden of the Crown when he succeeded his brother,lived through every minute of struggle with a heart that never quavered and a spirit undaunted.In the end,death came as a friend.And after a happy day of sunshine and sport,and after a goodnight to those who loved him best,he fell asleep,as every man or woman who strives to fear God and nothing else in the world may hope to do.Now,I must leave the treasures of the past and turn to the future.Famous have been the reigns of our queens.Some of the greatest periods in our history have unfolded under their scepters.Queen Elizabeth II,like her namesake,Queen Elizabeth I,did not pass her childhood in any certain expectation of the Crown.This new Elizabethan age comes at a time when mankind stands uncertainly poised on the edge of catastrophe.I,whose youth was passed in the august,unchallenged and tranquil glories of the Victoria era,may well feel the thrill in invoking once more,the prayer and the anthem,God Save the Queen.
另外扮演丘吉尔的是美国演员约翰·利特高（John Lithgow），他还演了《星际穿越》中马修·麦康纳的岳父
关于乔治六世口吃的故事大家可以参考：国王的演讲
关于爱德华八世爱美人不爱江山的故事大家可以参考：W.E.
关于玛格丽特公主：1960年5月6日，玛格丽特在西敏寺大教堂与一位摄影师－安东尼·阿姆斯壮-琼斯成婚。据说，在玛格丽特接受了阿姆斯壮-琼斯求婚的前一日，彼得·汤森对她说：打算娶一位比利时籍女子。
本剧的配乐是鲁伯特·格雷格森·威廉斯（Rupert Gregson-Williams），原声带在这：The Crown: Season One
to be continued...
6 ) God save the Queen!
对英国宪政传统的理解，是女王钳制政客们的唯一武器。器物之学，于王室原本就是下乘，需要的时候自有人来参谋，原则和品格才是人类社会的屠龙之技。英格兰封建领主以武德为最高品格，骑马，打猎，参军，授勋等传统，在剧中处处都有体现。
女王是圣公会在英格兰的最高领袖，这一点使她无法实现她对妹妹和父亲的誓言。在一个进步主义突飞猛进的二十世纪后半叶，如何看待传统宗教婚姻也是一个颇有争议的话题。本剧并没有给出一个确定的答案，而是在将女王描述为一个在责任和家庭中分裂的形象时戛然而止，留下悬念让观众期待下一季。
剧中大量运用了象征手法，毕竟，“Who wants transparency when you can have magic?" 最突出的例子是第六集片头过后，妹妹想给姐姐打电话，透过重重转接才得以接通，非常巧妙的暗示了将要出现的姐妹之间的隔阂。
除此之外，剧中有许多精彩人物情节，其中对丘吉尔的塑造尤为成功（虽然这是我见到的身高最高的丘吉尔）。私人秘书Tommy Lascelles，国王乔治六世和他的哥哥温莎公爵，丘吉尔夫人等，都是令人印象深刻的角色。而除女王之外，我最喜欢的角色其实是老祖母，穿戴举止都是维多利亚时代的风格，在第二集结尾处的屈膝礼更是令人动容。一霎那间，仿佛19世纪逝去的荣光透过老祖母的教诲，传递给了新时代的女王。作为一个维多利亚时代的拥趸，此时我必须原文引用丘吉尔的颂词，以表达对那个时代的缅怀：
Famous have been the reigns of our queens. Some of the greatest periods in our history have unfolded under their sceptre. I, whose youth was passed in the august, unchallenged and tranquil glories of the Victorian era, may well feel a thrill in invoking once more the prayer and the anthem, "God save the Queen!"
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写一些零星的想法。
对于初看者，我推荐先看一下《国王的演讲》，可以帮助了解一些本剧的背景，包括爱德华八世（即后来的温莎公爵）的退位和乔治六世（女王的父亲）继位。
本剧据说要做六季，一亿英镑预算，每一季跨度大约是十年（那不是要演到现在了么），真是宏图大志。我对于这种做法是否会成功持保守态度，毕竟难点太多，第一，随时间跨越所有重要角色都要重新选角；第二，不可避免的要触及很多敏感话题，站队和处理不当都会导致批评，毕竟很多事情对于英国观众来说还历历在目。不过主要制作者Peter Morgan在这方面有很多经验，本季开了个好头。
配乐方面，Hans Zimmer是无可争议的大师，Rupert Gregson-Williams也不逞多让。而且剧中还多次大胆采用了古典音乐的著名片段，比如第三集使用了瓦格纳的歌剧，第四集则是莫扎特安魂曲。
最后，不妨说说我觉得处理的最好的三个片段：
1，老国王过世，伊丽莎白从飞机上下来，成为了新的女王。
2，登基仪式，温莎公爵不能在现场观看，只能看电视，心里五味陈杂，结尾处独自一人吹风笛怀念故乡。
3，年迈的丘吉尔面对自己的画像，终于承认自己老了。
同时，也说一下最期待以后会看到的情节：
1，查尔斯王子和黛安娜离婚，迎娶离过婚的卡米拉（大家都知道王室娶一个离过婚的人有多难）。
2，撒切尔夫人时代和马岛战争。
3，女王如何处理和妹妹以及丈夫菲利普亲王的关系，也是本季留下的悬念。
7 ) How accurate is The Crown? We sort fact from fiction in the royal drama, series one (Hugo Vickers)
原文链接
Series one, episode one: Wolferton Splash
The series opens with King George VI spewing blood into a lavatory pan, to indicate that he is a sick man. Before the opening credits, there is a scene in which the King invests Prince Philip, as Duke of Edinburgh. Prince Philip is described as a Prince of Greece and ‘of’ Denmark. Then the King knights him as he bestows titles on him in the wrong order, and only then gives him the Order of the Garter. There is a scene in which the King uses the ‘C’ word. We are introduced to the Prince Philip character, portrayed throughout the series as a kind of ‘Jack the Lad’, smoking a cigarette on the day before the wedding and treating it all as something of a game.
This episode introduces the various themes. We see tension between the King and Prince Philip, we meet Group Captain Peter Townsend hovering amorously around Princess Margaret, and Princess Elizabeth preparing for her future role, at work with her father.
At the 1947 royal wedding Prince Philip’s mother is depicted in a nun’s habit – in reality she was a civilian then and did not adopt the habit (which she wore at the Coronation) until 1948. But this allows Queen Elizabeth (the Queen Mother) to describe her disparagingly as ‘the hun nun’. But then she calls her daughter ‘Elizabeth’ when it was always ‘Lilibet’. There are scenes in Malta of Princess Elizabeth’s carefree life, though her son, Prince Charles, was not in Malta at that time.
The King has to have an operation, so we see Princess Margaret waiting anxiously with Queen Mary and the King with his doctors. There are gory scenes of the lung being removed and the lung is wrapped up in a copy of The Times (a story gleaned from Hugh Trevor-Roper’s letters). There is a scene where Sir John Weir, the well-known homeopathic doctor, informs the King of the gravity of his illness despite the operation. It is curious that this role was assigned to Weir. In reality he failed to give the King proper advice. He was even mistrusted by the admirable Dr Margery Blackie, the most distinguished of homeopathic doctors, who had little time for him.
In 1948 Dermot Morrah, a respected Times writer, reported privately that the King was in danger of losing his leg: ‘One special source of anxiety is his personal physician – a homeopathic quack with a fascination for women, some of whom planted him on Edward, Prince of Wales, who bequeathed him to his successor as official medical officer. Of course they’ve called in good men as consultants, Cassidy and Learmouth especially, but this old menace is there all the time, and it was he who let the trouble go to this length before sounding the alarm.’
It was as bad in 1951, in which this episode is set. Weir accompanied the King to Balmoral for the summer. The worldly doctor enjoyed himself shooting with Scottish dukes. Only when the local doctor was called in was the gravity of the King’s illness appreciated, resulting in him being whisked down to London to have his lung removed. Following that, those who understood such things realised that the King’s life was likely to be short.
This episode depicts Churchill becoming Prime Minister again (in October 1951), and suggests that neither he nor the King are in good health, the King is forced to wear rouge (which was the case). In reality it is not certain how much the King was told about his state of health. The episode ends with Princess Elizabeth looking at the King’s boxes, and in a sense facing her destiny.
A minor mistake: Princess Elizabeth’s car has the royal coat of arms on it. This is reserved for the monarch. Lady Churchill’s GBE riband at the wedding is too red and too wide.
Series one, episode two: Hyde Park Corner
Episode 1 warned us that the King’s life was in danger. Episode 2 carries him off. It starts with Princess Elizabeth arriving in Kenya on the first leg of the proposed Commonwealth tour she is undertaking on her father’s behalf.
We see the royal limousine arriving at an event and the Royal Standard fluttering on the front of it, the inference here being that Princess Elizabeth has already become Queen, but no, it is the wrong Royal Standard. Princess Elizabeth’s would have had a label of three white points. Soon afterwards a cocky Prince Philip mocks a Kikuyu chieftain for wearing a medal to which he is apparently not entitled, in fact a VC, though this is not explained. This was in February 1952 and yet Prince Philip was wearing a 1953 Coronation medal, which, arguably, might not have mattered, but for the fact that he was chiding someone else for wearing the wrong medal.
As they arrive at Treetops for the fateful night of 5/6 February, the Prince Philip character does a Crocodile Dundee feat in seeing off a bull elephant. In reality there were no elephants there that day or night.
The scenes in which Lord Salisbury is seen plotting to get rid of Churchill have not been well received by the Cecil family due to inaccuracies. He would never have elicited the help of Lord Mountbatten, for example. Anthony Eden did not go to Sandringham to ask the King to exercise his constitutional right to remove the Prime Minister from office on account of his incapacity to run the country properly, least of all in February 1952. Churchill himself is given a fictitious secretary called Venetia Scott, so that she can play a role in Episode 4.
Following the King’s death, we see a gruesome scene in which Princess Margaret visits the body of her father during the embalming process. Churchill did not broadcast in the presence of the entire Cabinet, yet his actual words are as moving to listen to today as they surely were at the time. Tommy Lascelles, the Private Secretary, is invested with a most sinister role. He is given good lines, such as when he passes on the Queen Mother’s offer to Townsend to become her Comptroller at Clarence House: ‘I don’t expect you to accept.’
Minor mistakes: It was not Lascelles who told Churchill of the King’s death, it was Sir Edward Ford; Queen Mary was told by Lady Cynthia Colville, not by a footman; it is unlikely that Princess Elizabeth had just written to her father before hearing of his death; Queen Mary did not come to Sandringham to curtsy to the new Queen (that happened at Marlborough House); there is no evidence that Lascelles caught Princess Margaret and Townsend kissing; contemporary evidence proves that the Queen Mother did not cry hysterically when she heard of the King’s death (she was far too stoical); Martin Charteris did not disappear from royal service immediately after the King’s death (he became part of the team, though no longer the new Queen’s actual Private Secretary). Some of these things are acceptable under the heading of dramatic licence.
Series one, episode three: Windsor
Back we go to 1936, seeing Princess Elizabeth and Princess Margaret playing just before their uncle, King Edward VIII, broadcasts his Abdication speech. There is no way that Queen Mary would have come into the room to see the King to try to dissuade him from broadcasting. And Mrs Simpson was not hovering in the background as he made that speech. In reality she was in Cannes. In the real abdication speech he was announced as ‘His Royal Highness Prince Edward’ not as Duke of Windsor.
Presently there are many scenes involved with the aftermath of King George VI’s death, the young Queen wearing black and sometimes a black veil, and Tommy Lascelles becoming ever more the dominant figure in the Palace.
Two big issues are explored to show how Prince Philip no longer has any say in the running of his family. There are many scenes of the redecoration of Clarence House, and he wants the family to stay there. He insists that the Queen puts this proposal to Churchill. The other issue is the family name. It is understood that, in real life, the Queen and Prince Philip would have preferred to stay at Clarence House, which was the perfect London home for a young family, not too big, and with a well-sized garden. Buckingham Palace has always served multiple purposes: a series of state rooms, offices for members of the Household, and the King and Queen’s rooms along a long corridor on the Constitution Hill side. It must have been a bit like living in an Edwardian hotel. But Churchill insisted that the monarch must live in the Palace, and so they moved in on 5 May 1952. The Queen Mother moved into Clarence House on 18 May 1953.
The name issue was another genuine cause for Prince Philip to be upset. As seen in this episode, Lord Mountbatten, curiously dressed for dinner in his own home (Broadlands) as an Admiral, boasts, with some justification, that the House of Mountbatten now reigns in Britain. Normally the male who marries a Queen Regnant gives his name to the new house, hence Queen Victoria was the last Queen of the House of Hanover which became Saxe-Coburg when she married Prince Albert in 1840. Prince Ernst August of Hanover was at Mountbatten’s table in 1952 and did not like what he heard. He informed Queen Mary who called for Jock Colville, then Private Secretary to Winston Churchill. The Prime Minister duly informed the Queen that the Royal House must be called the House of Windsor. There is a fictional scene in which the Queen reads out this declaration to the Privy Council.
It is true that Prince Philip was livid about this though, in reality, he wanted it called the House of Edinburgh, rather than Mountbatten, the preferred choice of his ever-manipulative uncle. Harold Macmillan recorded that Prince Philip wrote a well-reasoned memorandum making his case, but the Government would not countenance the Mountbatten name being used. In opposing Prince Philip, ministers such as Macmillan were keen to send ‘a shot across his bows’, to keep the young consort in his place.
The Duke of Windsor comes over for his brother’s funeral, and the series makes much of the newly styled Queen Mother’s hostility to him. The Duke of Windsor also wants various things. There is a lot of bargaining in this episode. The Queen asks Churchill to do her a favour by informing the Cabinet about the Mountbatten name, claiming that she is keeping him in office by agreeing to a delayed Coronation. In fact the Coronation was always planned for June 1953 as it takes a long time to arrange such a ceremony.
Then Churchill asks the Duke of Windsor to help put various points to the Queen – for example to be an intermediary over the other two issues of this episode, the family name and the move to Buckingham Palace. In exchange, the Duke wants to retain the allowance King George VI promised him (which ceased at the King’s death) and again demanded an HRH for the Duchess. There is a curious scene in which three contrasting aspects of love are explored – we see a sequence with the Windsors dancing romantically, the Queen and Prince Philip at the opera (where he takes her hand), and Princess Margaret popping in to Townsend’s office to kiss him with some passion.
The Duke of Windsor then lunches with the Queen, which did not happen in real life, and puts Churchill’s two points to her. Most erroneously, we find the new young Queen turning to the Duke of Windsor for avuncular advice. He is presented as a sage and explains in the almost Shakespearean language the scriptwriters give him why she, as a monarch, must move from Clarence House to Buckingham Palace.
Alex Jennings, the actor, looks incredibly like the Duke of Windsor, but the real life Duke never delivered such Shakespearean oratory. Nor would the real Queen ever have asked for advice from a man so patently incapable of giving it.
The Duke of Windsor had been immensely tiresome ever since the Abdication in 1936, and Tommy Lascelles had seen him off on more than one occasion, most effectively in 1945. The Royal Family felt gravely let down by the Abdication, and Lascelles wrote at one point in the 1940s that any appearance in Britain by the Duke would have a grave effect on the health and peace of mind of George VI. Later on, in real life, the Queen was courteous to her uncle, and various rapprochements were made before he died, but the trouble with the Duke of Windsor was that if he was given an inch, he would take a mile.
In other themes, we see Prince Philip asking Group Captain Townsend to teach him to fly, a theme followed up in the next episode. He did learn at White Waltham, near Maidenhead, but was taught by Flight Lieutenant C.R. Gordon, of Cheltenham. He received his wings from Air Chief Marshal Sir William Dickson, on 4 May 1953, having flown for 90 to 100 hours.
The film-makers also introduce the idea that Prince Philip bullied Prince Charles, which is again addressed in later episodes.
Minor mistakes: Prince Philip was a descendant of the royal houses of Greece and Denmark, but not of Norway. King Haakon of Norway (1872-1957) was a Prince of Denmark who was given the Norwegian throne in 1905.
A recurring mistake throughout the series: All the characters arrive at Buckingham Palace through the ceremonial front gates. Normally they enter via the gate to the right near Constitution Hill.
Series one, episode four: Act of God
This is a curious episode based on the great fog that descended on London between 5 and 9 December 1952. This fog caused some spontaneous burglaries and one murder. London was perfectly used to fog, so it was not treated as a particular emergency until much later when it was estimated that between 4,000 and 12,000 people died – though most of them had breathing problems or were very old. Most of this episode is fictional and did not happen. Obviously the scenes involving Churchill’s fictional secretary, Venetia Scott, were made up. She is killed when hit by a bus, but since there was no public transport, other than trains on the London Underground, due to the fog, this could not have happened.
The film-makers then involve Churchill failing to take action, the question of Clement Attlee, the Leader of the Opposition, potentially turning the situation to political advantage, and Churchill’s decision to visit a hospital during the crisis, but all this is fiction too. Interestingly the fog did not rate a mention in Martin Gilbert’s official biography of Churchill.
The other scenes involve Prince Philip learning to fly and Government annoyance at this. Queen Mary falls ill and takes to her bed, attended by Sir John Weir. The Queen walks through the fog to visit her ailing grandmother to discuss what is expected of her as a monarch.
Series one, episode five: Smoke and Mirrors
There is a flashback to 11 May, with George VI explaining the significance of anointing in the Coronation ceremony, and talking of the weight of the crown, both actual and symbolic. The action then moves forward to 1953, with the Queen trying on the same crown before her Coronation.
Queen Mary falls gravely ill, which brings the Duke of Windsor over. In this series he comes from France, though he actually came with his sister, the Princess Royal, from New York. There are lots of opportunities for him to complain to the Duchess of Windsor about his family, his mother and his treatment. The Queen is warned by the Queen Mother to be wary of the Duke – ‘like mercury, he’ll slip through the tiniest crack.’ During his visit, the Duke is summoned from Marlborough House to Lambeth Palace where he finds the Archbishop of Canterbury, Tommy Lascelles and one other, ranged against him explaining why he should not attend the Coronation and that the Duchess would not be invited. The Duke is furious, but he agrees to put out a statement explaining why he won’t be there.
While he is at Lambeth Palace, a message comes through that Queen Mary has died. In reality the Duke was not at Lambeth Palace. Her funeral is shown (with the Royal Standard on her coffin, not her personal standard).
In real life, the question of the Duke’s possible attendance preoccupied the Archbishop of Canterbury as early as November 1952 and he raised the matter with the Queen at lunch. It was agreed that his presence ‘would create a very difficult situation for everybody, and if had not the wits to see that for himself, then he ought to be told it.’ Churchill took the line that while it was understandable that the Duke would wish to be present at family funerals, it would be completely inappropriate for him to attend the Coronation of one of his successors. Tommy Lascelles wrote to the Duke’s lawyers making it clear that no summons would be forthcoming. A statement was prepared for the Duke to issue to save face, but he must have alarmed the British Government by giving an interview at Cherbourg in which he said he might well be in England at the time of the ceremony. As it happened he and the Duchess stayed in Paris and watched it on television with friends, a scene recreated in this episode. We see the Duke explaining the proceedings in the Abbey, again in Shakespearean phrases, to a group of undistinguished guests. The episode ends with him playing his bagpipes outside the house, with tears in his eyes, presumably to hint that he is regretting all that he discarded.
The other main theme in this episode is the role of Prince Philip in the preparations and also in respect of the part he intends to play in the ceremony. Here he only agrees to chair the Coronation Committee if he has total control and we see him coming out with all sorts of modern ideas for the day, such as inviting Trade Union leaders and businessmen to take part. He is told that some things cannot be changed. There is a row with the Queen and he tells her he refuses to kneel before her to do homage. In the end he is obliged to do so, but he is given credit for insisting the ceremony be televised.
Having written a book on the Coronation and delved into the Archbishop of Canterbury’s papers I can testify that these reveal the Archbishop of Canterbury, pushing Prince Philip out as much as possible. He pronounced: “There must be no association of him in any way with the process & rite of Coronation.” Yet they also show that Prince Philip was quite happy to do fealty after the Archbishop (when he could have been expected to go first) and that he presented a silver gilt wafer box to the Abbey, and a chalice and paten to Lambeth as a form of offering to respect taking his place next to the Queen during the communion.
Unlike other flaky consorts such as Prince Claus of the Netherlands and Prince Henrik of Denmark, Prince Philip was raised within the Royal House of Greece. But for the birth of the future King Constantine in 1940, he would have ended up as King of Greece in 1964, and marriage with Princess Elizabeth would have been out of the question. In real life he adapted quickly to his changed circumstances, but in The Crown, they put him in conflict at every opportunity.
The Coronation scene was a wonderful opportunity to create a scene of great visual magnificence but it fell seriously short in regard to a great number of details. Earl Mountbatten, seated in the front row of the Royal Box (he was not in the front row) appears dressed in ducal robes, and is not wearing his Garter collar. Nor is the supporting actor representing the Queen’s uncle, the Duke of Gloucester. The Marquess of Salisbury carries the Sword of State (which he did at the actual Coronation), but he crowns himself with an Earl’s coronet. The Dowager Duchess of Devonshire (Mistress of the Robes) fails to put on a coronet. The oath was not administered during the anointing but before it. There are a number of peeresses sitting where the Peers sat in reality. Thus this scene is one of the least convincing in the series.
The St Edward’s Crown with which the Queen is crowned was far too big, but this may have been intentional to demonstrate the burden the Queen was assuming.
Series one, episode six: Gelignite
The theme of this episode is the Princess Margaret – Peter Townsend love affair and their attempt to marry in 1953. The opening scene shows the Queen and Prince Philip going to the Coronation Derby, but we then see a newspaper office where an unshaven journalist has picked up what he realises is a huge scoop (hence ‘gelignite’) – Princess Margaret having been observed picking some fluff off the jacket of Group Captain Peter Townsend at the Coronation – he being by then a divorced equerry. Princess Margaret and Townsend are on the point of accompanying the Queen Mother on an official visit to Rhodesia.
The Princess invites the Queen and Prince Philip to dine with her and Townsend and they believe that they have her blessing, but they soon run up against the establishment. Tommy Lascelles invokes the Royal Marriages Act of 1772, which stated that no lineal descendant of George II could marry without the consent of the Sovereign, and so Princess Margaret is asked to wait for two years. The series suggests that the Queen deceived her sister by appearing to support her wish to marry him and then eventually forbidding it. The film-makers imply that the Princess never forgave her sister, a theme which recurs in later episodes. The essence of this episode is more or less correct, but the sequence of events is somewhat muddled. Since there are also a number of contradictory accounts left by Peter Townsend, Tommy Lascelles, and Princess Margaret to her biographer, it is hard to settle on a true version, since that true version depends on which source is trusted.
Lascelles appears at his most severe in this episode, a Satanic and menacing figure. This is an interpretation that might well have resonated with the real life Princess Margaret, not to mention the real life Peter Townsend.
There is no doubt that Princess Margaret fell in love with the Group Captain. He was the trusted equerry of the father she adored and a Battle of Britain hero. He was rather a gentle figure. However, as Lascelles made clear to him in no uncertain terms, he had been placed in a position of trust and responsibility. He was a married man with two sons and he was considerably older than the Princess. The real Lascelles said of him: ‘He has Theudas trouble’, a reference to the Acts of the Apostles: ‘For before these days rose up Theudas, boasting himself to be somebody.’ Churchill made it clear that the Queen could not sanction the marriage. So Townsend was sent away to Brussels, where he stayed for two years. By the time he returned in 1955, when the British public were agog to know whether the marriage would take place, the path of love had completely run its course. This is the main theme of Episode 10.
Minor mistakes: The costume department gave Townsend his CVO, but failed to give the actor playing Lascelles any medals or Orders (by 1953 he was entitled to a GCVO, CMG, MC and various other medals); in Rhodesia, there was a Governor-type figure in a Guards tunic with a GCB, but only bar ribbons for medals. At one point we see the telephone switchboard, which includes Highgrove House. This is the house that the Duchy of Cornwall bought for Prince Charles in 1980, so it would not have been on the switchboard in the 1950s.
Series one, episode seven: Scientia Potentia Est
It is 1940 and the Princesses are with their French governess. Princess Elizabeth goes to Eton College to be instructed by the Provost, Sir Henry Marten (not Vice-Provost as stated in the series). This leads to the Queen wishing to be better educated – knowledge is power - and as the story moves on into 1953, one of the themes is that she wants a tutor to help expand her general knowledge. Martin Charteris such a figure called Professor Hodge, but he is a completely fictitious character. The Queen did not seek a tutor to help her and nor would she ever have taken advice over constitutional matters from a figure outside the Palace system.
Retirement, or rather non-retirement, is in the air. Churchill is getting old and rather desperate, but refusing to go. The Anthony Eden character is ill in Boston, rather luridly so, taking injections, the implication being that he was almost a drug addict (a theme which gets worse in subsequent episodes). Then Churchill has two strokes. Evidently the Queen is not informed and so the fictitious Hodge urges her to summon Churchill and Lord Salisbury to tick them off like recalcitrant schoolboys. The Crown plays out the two wiggings. Symbolically this is to demonstrate that the Queen is getting on top of her role as an assured constitutional monarch.
Tommy Lascelles is also about to retire. In this series, the Queen wants her former Private Secretary, Martin Charteris, to take over and even offers him the job. He and his wife (Gay in real life, but here carelessly called Mary - the name of his daughter), go to look at the Private Secretary’s new home at St James’s Palace and have a tree trimmed outside it. They even say the house will be good for ‘the girls’. (In real life they had the one daughter and two sons). Michael Adeane hears about this, is aggrieved, and complains to Lascelles, who engineers that he does succeed him and not Charteris. Once again Lascelles proves himself more dominant and the Queen’s private wishes are set aside.
This is inaccurate. It is traditional that the monarch’s serving Private Secretary stays on for a few months at the beginning of a new reign to help with the transition as did Lascelles until after the Coronation, retiring at the age of sixty-six on the last day of 1953. Michael Adeane and Martin Charteris were working as a team (along with Edward Ford, who is not portrayed in the series). Michael Adeane was always the natural successor, and there was no fuss. He took over.
In this episode, the film-makers have put a 1972 story into a 1953 context, presumably so that they could use the Lascelles figure. There was a fuss over Adeane’s successor when he retired. At that time Charteris was the natural successor but Lord Cobbold, a former Governor of the Bank of England, wanted to sweep away the Guards officer Old Etonian types who held sway in the Palace and replace them with more meritocratic types. He tried to reject Charteris in favour of Philip Moore. But Charteris went to see the Queen and asked to take over. She immediately agreed, and he proved to be an inspired Private Secretary, who succeeded perhaps better than any other Private Secretary in presenting her to the world as she really is. He served until 1977.
The message that emerges from this episode is that the Queen is conscientious, prepared to do her homework and research, with a knack for discovering the truth when it is kept from her – as, for example, with Churchill’s two strokes (though Lord Salisbury is unlikely to have been willfully withholding this information from her).
Lascelles is well played in the series, though his older daughter (now 94) has said that his hair parting is wrong and his moustache too big. By curious misfortune, the actor playing Michael Adeane looks more like the real life Martin Charteris.
Series one, episode eight: Pride and Joy
The King used to say of his two daughters: ‘Lilibet is my pride, and Margaret my joy.’ (This is something first published by me in my biography of the Queen Mother and therefore explains the title of this episode). Here there is a complete jumble of the real life facts. The episode starts with a scene where the Queen unveils a statue to King George VI in the Mall. This was in fact unveiled on 6 October 1955. But suddenly plans are being made for the Commonwealth tour of 1953 and 1954, so the story moves back in time.
There is particular discussion about Gibraltar as a place that could be dangerous. This was quite true. There were threats from the Spanish and for a visit of less than two days, there were detectives from Scotland Yard operating under cover there for several months. There are some scenes from the Commonwealth tour demonstrating the Queen’s determination to undertake it all, and the strain this put on her. At one point the press see the Queen and Prince Philip emerging from a house after a row. Rightly, they stress the success of the tour.
The film-makers decided that while the Queen was away on her Commonwealth tour, the country would be run by Princess Margaret, rather than the Queen Mother, enabling them to use her as a modernizer breaking all the rules and introducing a spontaneous and touchy-feely (quasi Diana, Princess of Wales) approach to being Head of State which, not surprisingly, upsets everyone. She rewrites a speech, suiting her wayward personality and introducing more colour into it, and delivers this at an Ambassadors’ reception (curiously British Ambassadors serving overseas, in Washington and Athens, who appear to have flown in for this occasion). She gets the guests laughing. The point they seek to make is that Princess Margaret thinks she would make a better Queen than her sister, more in tune with the changing times. The Charteris figure gets more and more worried as she chats to miners, gives spontaneous interviews to the media in which she mentions her affection for Townsend and takes a dig at the Queen. She gets ticked off by Churchill who begins to detect a crisis arising, akin to the Abdication. When the Queen comes back, Churchill alerts her to Princess Margaret’s behaviour.
None of the above happened and is ultimately tabloid invention. Nor do I subscribe to the idea that there was bitter jealousy between Princess Margaret and the Queen. Princess Margaret always supported her sister.
To achieve this, they blur the dates and have the Queen Mother out of the way, buying Barrogill Castle (later renamed the Castle of Mey) in Scotland, something which actually happened a whole year earlier, in 1952. Lascelles (who would by then have retired) tells the Queen Mother what her duties will be, but she tells him she wants to be away. The episode twists history by suggesting the Queen Mother was prepared to shirk all her responsibilities.
In reality the Queen Mother was very much in London while the Queen was away, not least looking after Prince Charles and Princess Anne, who stayed with her at Royal Lodge most weekends (when she was not away racing) and at Sandringham for a long Christmas holiday. She was the senior Counsellor of State during the Queen’s absence. Counsellors act in tandem and Princess Margaret usually assisted her. But Churchill had the same kind of audiences with the Queen Mother as he would have done with the Queen, but not so regularly. The film also has Princess Margaret being advised by Martin Charteris, when in real life, he was travelling with the Queen and Prince Philip.
As to the Castle of Mey scenes, the Queen Mother did not ride horses after the early 1930s, so to see her cantering along the beaches is somewhat strange. Nor is it likely that the castle’s funny old owner, Captain Imbert-Terry, would not have recognised her. While she stays with the Vyners, she addresses the issues of her early widowhood. As this is meant to be late 1953, and not 1952, this does not convince – even with dramatic licence.
Minor mistakes: At a fitting they dress Prince Philip in the naval uniform which he wore but once – at the Coronation, an outdated uniform with epaulettes; later, he wears a Garter riband and bar medals, which is incorrect. The Caribbean Governor in white is wearing what might be a curious interpretation of a military GBE riband along with a huge GCMG star. When Princess Margaret gives her speech, the guests are wearing Orders, but she is not.
Series one, episode nine: Assassins
In London in 1954 Jean Wallop, a private person still very much alive, arrives in a restaurant to dine with Lord Porchester (later 7th Earl of Carnarvon). He proposes to her. She accepts on one condition – that he does not still hold a torch for ‘her’ – i.e. the Queen. I have it on impeccable authority that the future Lady Carnarvon did not even know that he knew the Queen when she met him. The outcome of this scene is that he tells her that for the Queen there was only ever Prince Philip, and she (his bride to be) is the only one for him. The Porchesters were married in January 1956.
The Crown suggests that Porchester was the man many wanted the Queen to marry, and they hint that she would have been happier with him than with Prince Philip. For the record, the Queen Mother originally wanted Princess Elizabeth to marry a Grenadier Guards officer. The late Duke of Grafton springs to mind. But from very early on, she set her heart on the good looking Prince Philip. Soon after he returned from war, they were engaged. The Queen Mother told Sir Arthur Penn: ‘Won’t the Grenadier Guards be disappointed?’ They were and at first refused to have Prince Philip as their Colonel.
The episode depicts Porchester ringing the Queen late at night, with a certain number of double entendres, his wife-to-be coming through from the bathroom. The Queen’s love of racing is emphasized as is Prince Philip’s boredom with it. This theme is rather dropped as the episode goes on, though in one scene, the Queen and Prince Philip watch a mare being covered, with Lord Porchester observing from afar and with some predictably cheap lines. Afterwards Prince Philip jumps out of the Land Rover in a rage. This is followed by a scene back home with a declaration of love by the Queen for Prince Philip.
Lord Carnarvon was a close adviser to the Queen as her racing manager and she often stayed with him and his wife to visit studs in the Berkshire area. Both she and Prince Philip flew down from Balmoral to attend his funeral in 2001.
The Graham Sutherland story is well told. Sutherland was commissioned to paint Churchill’s portrait to be presented to him in Westminster Hall for his 80th birthday on 30 November 1954. Peter Morgan is on firm ground here as it is within the political domain. Intermingled with this is the theme that Churchill should stand down. There is a fictional scene where Eden visits Churchill at Chartwell and bids him to give way in a histrionic, hysterical way – presaging the recurring theme that he was some kind of junkie. As to the portrait itself, it was revealed after her death in 1977 that Lady Churchill had destroyed it. In 1957 she described Churchill’s reaction to the painting in a letter to Lord Beaverbrook: ‘it wounded him deeply that this brilliant … painter with whom he had made friends while sitting for him should see him as a gross & cruel monster.’
There is a partly fictitious version of the speech he gave in Westminster Hall in which he teases the audience that he is about to retire and that his successor, Anthony Eden, is to hand. It appears that he then promptly resigns and with the brutality of the political system, as he leaves the Palace, Eden’s car draws up. The Queen’s speech at Churchill’s farewell dinner was taken from a private letter from the Queen to Churchill after his resignation and not delivered as such on the night. As we listen to it, we see another scene – Lady Churchill presiding over the burning of the Sutherland portrait.
In reality Churchill did not resign immediately after his 80th birthday in November 1954. He hung on in office until April 1955.
Series one, episode ten: Gloriana
The episode reprises the events of December 1936. Edward VIII agrees to see his brother, the Duke of York, but not the Duchess (there is no evidence for that). Then the new King informs his daughters that their uncle has put love before duty. He tells them never to let each other down thus introducing the theme that there could be tension between them later on.
A Royal Standard is hoisted over Balmoral. It is Princess Margaret’s 25th birthday (21 August 1955) and she declares she still feels the same way about Group Captain Townsend. It seems possible that she can now marry him. But the Queen discusses the Royal Marriages Act with Michael Adeane. He invokes a different version of the situation. He mentions that both Houses of Parliament need to approve and the need to wait for 12 months. Still under the illusion that she is free to marry, Princess Margaret wants to announce it.
Another scene shows Prince Philip teaching Prince Charles to fish so that we realise that he is quite tough on the boy. The Queen Mother voices the opinion that Prince Philip is taking it out on Charles due to the frustrations of his life. The Crown likes to think that the Queen Mother is very thick with Lascelles, in his retirement. She relied on him a bit after the King’s death but Lascelles took a dim view of her philosophy of life, considering it was best summed up in the hymn: ‘the rich man in his castle, the poor man at his gate’. But it gives them the idea that Prince Philip was sent by the Queen to open the Olympic Games in Melbourne, Australia in November 1956 to get him out of the way, to get him away from bullying his son and in the hope, as expressed clearly in this episode, that he would come back ‘changed’. But this all happens in August 1955 and he did not undertake the voyage until October 1956.
The second and final round in the Princess Margaret – Peter Townsend drama is played out. We see headlines speculating as to whether or not she is going to marry the Group Captain.
Apparently Prince Philip is somewhat in league with Princess Margaret over the marriage question. Townsend returns and they run together in a passionate embrace. Then come the problems, the involvement of the Attorney-General, the threat that Lord Salisbury will resign if the marriage takes place, the Queen saying she will support her in any way she can, but then that she would be deprived of money and titles, and have to live abroad for several years as Mrs Peter Townsend. Princess Margaret claims the country is on her side. The invented words of their father about mutual support are repeated by the Queen.
Then it all gets worse, with the Cabinet advising against the marriage, the Archbishop of Canterbury and other Bishops reminding the Queen that she is Defender of the Faith and of the oath made at the Coronation, and finally the Queen seeking advice from the Duke of Windsor in France. He tells her ‘You must protect the kingdom’. And so, in this episode, the Queen’s line is that Princess Margaret cannot marry Townsend and remain part of the family.
In reality, Eden did advise the Queen at Balmoral, but there was no involvement from the Archbishop, and the Duke of Windsor was in no position to pontificate about the role as sister and Queen, and duty to the realm.
The film-makers maintain that Princess Margaret broke off from Townsend because she had been forbidden to marry him. Furthermore, she tells him she will never marry anyone else. And then Townsend makes a public statement, in fact reading much of the written statement that in reality Princess Margaret issued to the press. He then returns to Brussels.
In truth, the decision was a mutual one between Princess Margaret and the Group Captain, largely based on the fact that Lascelles’s separation plan had worked and the love between them had died.
None of the characters are happy at the end of this episode. Princess Margaret is seen depressed at parties, and Peter Townsend sitting forlornly alone in his apartment in Brussels. Prince Philip is angry at being sent away on the long tour.
The situation with Nasser in Egypt is flagged up during this episode, meetings with Eden, more pills being taken and in the end, Anthony Eden slumped in front of burning cine-film of Nasser, having just stuck a needle full of drugs into his arm – followed by an image of the Queen posing in tiara and evening dress, next to the Crown Jewels which have been brought to the Palace for effect. She is shown as an assured and confident young monarch while the ever-frustrated Prince Philip drives off down the Mall in his open care, all alone, looking distinctly fed up.
I should be grateful that it is Cecil Beaton who gets the last word in both this series and Series two, extolling the virtues of monarchy with Shakespearean lines. Nevertheless Claire Foy’s Queen looks ominously sad.
制作精良，恢弘大气，剧本抓人，演技在线，各方面均为上乘；群像鲜活生动，互相制掣表现得丝丝入扣，关乎国体政体的勾心斗角自不必多言，家庭内部的微妙情感亦定位精确；第二集感人，剪辑棒，泫然欲泣；第七集画家乃最佳配角；现实中后来他们各自成婚，誓言就是用来破灭的。
我没啥高尚的评论，只是看懂了女王的一生，也许她一直高傲，和蔼，从不低头，但是，到头来也是个女人，还有女王一生不低头，是因为，王冠会掉……这是真的……
最感动的几幕:1.国王乘着小舟跟女婿说要保护好他的女儿，戴着生日王冠饱含热泪与家人子民合唱共度圣诞。2.女王登基，伯父又傲娇又羡慕又庄重地解说着，其后对着夕阳边吹着边流泪地缅怀故乡3.女王为丘吉尔祝词，丘吉尔与画家争执到不得不承认老去到最后焚烧着画像。这才是一部史诗大剧！ @2016-11-15 11:12:05
A true epic 厚重隽永而不疏离做作 服装道具镜头美轮美奂但不及演员表演十分之一的触动人心
這部影集有只一個缺點........沒有帥哥
英国女王居然没有接受过通识教育。。。忽然觉得有点难过。之前在哪里读到过玛格丽特公主，因为这样的教育一直也没有什么爱好，不爱看书，也没有兴趣，不需要工作也没啥追求。。。就这么一辈子过去了。王室那么有钱，却不给自己的孩子 提供最好的教育，真是奇怪习俗啊。
表演、摄影、音乐完美组合展现，例如丘吉尔画像那段堪称经典，画展时丘吉尔、画家、女王的表情、场面镜头多角度的剪辑、画家说丘吉尔老而不自知那一刻的静默、酒宴与烧画的穿插及最后丘吉尔夫人痛绝的一转身，完美落幕。编剧差了点希望看到的事情。女王的六十年是英伦下坡的年代，大国走向独自。
题材本身实际平常至极，全靠一流的剧本、导演、表演、配乐、布景。这就是如何把白菜做得吃起来像是山珍海味的功力。
想说服老婆看这个剧。无法说动。后来我说：这是英国的甄嬛传，她就去看了
只是吐槽：菲利普亲王可是有名的美男子，MS真心不好看啊！九集过后，怒改10分！
才刚看完第一集，看到老国王对女婿说你的工作是爱她保护她的时候我哭了
我不得不说，丘吉尔这个角色实在是太出色。他不是巅峰时期的首相，而是日暮夕阳的老人。那种徘徊在坚持和放弃、强硬与失落之间的心理状态，被演绎得极妙。
全看完，改五星。丘吉尔那一集简直是杰作啊杰作！！！！
老国王、丘吉尔、还有爱德华八世，演得真好
难得这世上还有“精致”的存在。
一亿胖子没白花啊。
本年度看过的最棒的剧！要比HBO的西部和醉夜之奔好很多！Netflix一下子出10集就是让人看得过瘾！就用两个字来形容：精致。
哪一种荣光不是戴着镣铐跳舞？
镜头好美，故事整体叙事流畅，从第二集开始进入正题，女王的演绎非常棒，欲戴王冠必承其重说的太对了，很少有人能担得起这种重任，光看电视我都有种压力感，耐飞又一次奉上了一部好剧。
精致 补习一段历史 对人皆向往的生活和头衔 有更近一步了解还有 学习下英国人的说话方式..相比之下美国显得白话连篇...