Defining an age: Fact flirts with fiction in ‘Victoria’ on PBS
The British Monarchy is often explored through the cinematic lens, with the lives of numerous kings and queens regularly adapted for film and television. While the regal males of history may have a longer list of fictional representation, the lengthy legacies of Britain’s queens have arguably provided far more captivating and immersive narratives.
In August 2016, British television powerhouse ITV continued this tradition, giving the life of one of the kingdom’s most beloved monarchs a stunning series treatment. Thankfully, those of us in North America have also had the opportunity to fall for this majestic, spirited queen, as the story of “Victoria” continues to unfold Sunday, Feb. 11, on PBS.
A part of “Masterpiece,” “Victoria” is a dramatic television series adaptation of the queen’s life, following Alexandrina Victoria (Jenna Coleman, “Doctor Who”) as she learns of the death of the king and her subsequent ascension to the throne at age 18. Still young, naive and not fully prepared, Victoria is determined to define her own reign and avoid the external influence of her mother’s adviser, or others bent on persuading her. Early assistance from the dashing Lord Melbourne (Rufus Sewell, “The Illusionist,” 2006) prepares her for both the court and the parliament, though it isn’t long before concerns shift — though not her own — to the need for her to be wed and assisted by a husband.
Enter Prince Albert of Saxe-Coburg and Gotha (Tom Hughes, “Cemetery Junction,” 2010), the choice of Victoria’s uncle who initially seems an undesirable choice. Their first meeting is lukewarm, but as time passes, Albert is able to introduce Victoria to the world beyond the throne, providing an education on the poverty and trials of her subjects and encouraging her to be the kind of monarch who will finally be a voice for the people. With a newfound sense of maturity and resolve, Queen Victoria now finds herself a match and a king.
Season 2 of “Victoria” begins a month after the birth of her first child, and as Victoria discovers all that has been kept from her while she has been in recovery from childbirth. Eager to regain control, she takes the necessary steps to reassert power while reintroducing herself to the British people. As the season progresses, each passing moment seems to emphasize the growing weight of royal and motherly responsibilities, as Victoria juggles family and political matters.
In a “Masterpiece” PBS featurette leading up to the premiere of season 2, Coleman discussed these developments. For the still relatively fresh Queen, the “honeymoon period is now over,” and Victoria’s life is now comprised of “balancing motherhood, marriage, work, job [and] baby.” A month away from her regal duties finds Victoria battling with “a bit of jealousy and ... quite a bit of insecurity” with regard to Albert’s assertion of leadership in her absence. Their relationship continues to be tested and often strained, as both Victoria and Albert delve into parenthood and continually attempt to renegotiate their roles as both spouses and monarchs.
Historically accurate, visually elaborate productions of Great Britain’s regal history seem to endlessly captivate audiences. Creator and writer Daisy Goodwin’s “Victoria” now joins the ranks of works by Michael Hirst (“Elizabeth,” 1998) and, more recently, Peter Morgan (“The Crown”). This is by no means the first depiction of Queen Victoria on the small or large screen, however. The Queen’s first foray onto the big screen came through Rose Tapley’s portrayal in the silent short “The Victoria Cross,” which dates back to 1912. Small-screen depictions began much later, with the first of these occurring in 1951 in an episode of the American series “Robert Montgomery Presents” called “Victoria Regina,” in which the queen is played by Helen Hayes.
The most successful film and television adaptations of royalty achieve greatness largely due to their carefully crafted narratives, which oh so elegantly dance over the boundary between fact and fiction. Goodwin addresses this dance in a Masterpiece Studio podcast episode, along with “Fact or Fiction: Inside Episode” posts on PBS’s website. These posts examine pivotal moments from the noted episode, with Goodwin either emphasizing the historical significance or justifying the fictitious indulgences portrayed.
What Goodwin wisely notes while discussing season 2 on the podcast is the challenge of navigating and maintaining this balance, so that the result is a “show that is ... compulsively watchable, entertaining, funny ... that you will learn something from ... [that] will also make you feel emotionally involved.” Subtle flourishes of fiction or factual exaggerations often make for a far more entertaining series, but, in order to have lasting resonance, a story grounded in truth can amplify the legacy of an already formidable historical figure.
Despite the western devotion to democracy, there is still a romantic allure attached to the reign of monarchy. Public fascination with royalty ebbs and flows, but the moment a royal wedding, birth or death is announced, it’s rare to find someone unaware of it by day’s end. Certainly, PBS had this in mind as it decided to bring the reign of Queen Victoria into North American homes, where it continues to receive a warm reception. Indulge in the life of the queen whose legacy defined an age, one that continues to be felt this very day. Prepare to receive a visit from the queen, when an all-new episode of “Victoria” airs Sunday, Feb. 11, on PBS.