The Duchess (2008)

Any doubts that I may have had about Keira Knightley being able to carry a film have been swiftly pushed to one side due to the remarkable work that she delivers in The Duchess.  This is the story of Georgiana, the Duchess of Devonshire, a wealthy aristocrat whose husband the Duke (played by Ralph Fiennes) was so unfaithful that it nearly destroyed their marriage.  In particular, the Duke’s liaison with Lady Bess Foster (Hayley Atwell) caused much friction in the corridors of royalty.  Bess was Georgiana’s best friend but having to live under the same roof as your husband’s lover is enough to drive anybody a bit potty.  So to her ease her pain, Georgiana starts seeing Charles Grey (Dominic Cooper), her long-time friend, in the hope that they can run away together.

      Based on Amanda Foreman’s best seller, The Duchess could become the launching board that will allow Keira Knightley to have a very fine career.  Her performance as Georgiana reveals many hidden layers of talent that have only been briefly hinted at in the past.  Hayley Atwell, a figure of contempt for much of the picture, nevertheless conducts herself quite admirably.  Dominic Cooper is a bit of a dry egg – he doesn’t tend to emote all that much.  Perhaps it would have been better to cast somebody else in his part (Colin Farrell, anyone?) 

      Director Saul Dibb has the right idea here.  Lavish period dramas are a dime a dozen on TV, so what makes The Duchess so special that you would want to watch it on the big screen?  Aside from the excellent photography, the performances are all pretty strong.  No weak links there, but the film is a bit of a study in hopelessness.  No matter what course of action Georgiana takes, someone inevitably gets hurt.  This is a nicely accomplished, if somewhat pessimistic view of royalty.  But it never reaches the stage where it makes you want to stop watching.  Even Ralph Fiennes gives a competent performance, which makes a change at least. 

      The only bone of contention I have with the picture is Rachel Portman’s heavy handed score.  For some reason, the music never quite hits the right emotional chords.  Hardly Portman’s finest work – the orchestra seems to beat the audience over the head with the incessant, long-winded notes that don’t go anywhere.  As a matter of fact, if you asked me to hum a couple of notes from this particular score, I would just stare back at you with a blank look because the music is instantly forgettable.