The Young Victoria

The Young Victoria

An Apparition Films release of a GK Films production. Choreography, Jack Murphy; Cinematography, Hagan Bogdanski; Costumes, Sandy Powell; Director, Jean-Marc Vallee; Editors, Jill Bilcock, Matt Garner; Historical adviser, Alastair Bruce; Makeup, Jenny Shircore; Music, Ilan Eshkeri; Producers, Graham King, Martin Scorsese, Tim Headington, Sarah Ferguson; Production designer, Patrice Vermette; Screenplay, Julian Fellowes; Sound, Jim Greenhorn, sound design, Martin Pinsonnault. Cast: Emily Blunt, Rupert Friend, Paul Bettany, Miranda Richardson, Mark Strong, Jim Broadbent.

The enduring image of Queen Victoria, whose reign dominated the bulk of the 19th century, is of a benevolent, elderly grandmother. Though she was still in her teens when she took the throne (and held it for seven decades) the novelty of photography has etched in our minds that part of her life that could be captured realistically via the lens.

The Young Victoria is not simply an antidote to iconography. This vivid, energetic page of history is an enthralling, compelling coming-of-age saga that’s rife with passion and intrigue.

Its credibility begins with a first-rate script and a pitch perfect cast. The production values are peerless. Without lingering on its achievement, every frame is composed with exactitude. Production designer Patrice Vermette has infused the regal settings with supreme functionality that organically draws out the drama and allows the story to breathe with contemporary resonance. The ever-inspired Sandy Powell costumes the ensemble in a fashion authentic to the period with a deft link to Carnaby Street. The look is lush without a scintilla of discomfort.

The story itself begins with the teenage Victoria (Emily Blunt) confronted with being usurped of her crown by her step-father and a compliant mother (Miranda Richrdson).

They have a self-serving plan to establish a Regency Monarchy in which they would hold the reins of power and the young woman would be little more than an emblem.

But she’s been groomed for the throne and though inexperienced in life has an innate sense of her station. The fun resides in the ensuing chess game with her supporters protecting her back, while others construct the hurdles to be cleared. It’s a palpable scenario linked inexorably to political shenanigans plastered across today’s newspaper.

There’s an underlying grace in the work of cinematographer Hagan Bogdanski best likened to an exquisitely designed dance. One’s given the sense of a 360-degree panorama without its dizzying pretense. When characters actually take to the floor, the literal choreography staged by Jack Murphy is a fitting supplemental and the original score by Ilan Eshkeri segues flawlessly with the composers of the day.

Ultimately, The Young Victoria is a love story with a power struggle layered into the narrative. The new monarch will not let others dictate her emotions and when the Austro-German Albert (Rupert Friend) arrives in court, the sparks are obvious even if decorum demands tempered behavior. It’s the sort of period coyness that cannot help but raise a smile.

We’ve largely grown weary of history (and literature) stamped with the Masterpiece Theater seal. However, given intelligence and a beating heart, the past comes alive with a vibrancy that cannot be dismissed and happily registers a wholehearted embrace. Let The Young Victoria reign long and happy over this realm.