Downfall Director Oliver Hirschbiegel reminds us he also directed The Invasion as he once again comes a cropper working with a famous blonde Australian actress.
Diana opens with Naomi Watts’ Sloane Ranger getting into the elevator which will take her to a fatal chase thru a Parisian tunnel. It then jumps back two years to late 1995 with the unsettled Princess preparing for her ‘Queen of Hearts’ TV interview with Martin Bashir, and assiduously hiding this from her adviser Patrick (Charles Edwards). Diana, as she complains to her acupuncturist/psychiatrist Una (Geraldine James), is feeling detached from her children (by Palace meddling only co-ordinating their schedules monthly), hounded by the paparazzi, and generally unloved. When Una’s husband is hospitalised Diana rushes to visit, and falls for Pakistani heart surgeon Hasnat Khan (Naveen Andrews). But though she visits his family in Pakistan to ask for their blessing can she really marry a workaholic who insists privacy is vital to maintain the concentration he needs as a surgeon?
This, unlike The Invasion, feels like a Hirschbiegel movie. Bookended by showy (and ultimately pointless) tracking shots, his camera roves constantly. But this style and Rainer Klausmann’s narrowly focused cinematography is brought to bear on Stephen Jeffrey’s stilted script. Despite being based on the allegedly true behind the scenes story, you never believe for a second this really happened. Dialogue like Hasnat’s “You don’t perform the operation, the operation performs you” should have been laughed out of the room at the read-thru stage, yet it remains; inciting unintentional hilarity. The longer the movie drags on the more it feels like a Mark Millar comic: history is a cover story, what we know about Diana’s romance with Dodi Al-Fayed was just an elaborate smokescreen created by her, in collusion with a favoured paparazzo, as part of her true romance with Hasnat.
Diana feels tediously endless because talented people are failing to achieve any insight. Watts’ head is pleasingly always tilted at an angle, but she and Andrews can’t make their characters escape the bad 1980s soap opera feel of their secret romance. Every one of their arguments is the same argument, rather like The X-Files: I Want to Believe, and so no dramatic momentum ever builds. The portrayal of Diana’s persona is just too much – especially as this is meant to reveal the woman behind the facade. A scene with a tearful blind man in Rimini joyously touching her face is the nadir: Diana as Jesus meets Obi-Wan Kenobi, power going out from her to console. Diana uses her children as an arguing gambit with Hasnat, but rarely seems to think of them otherwise; her full personality thus remains a mystery.
If you don’t believe that everyone in England was watching the Bashir interview, with entire pubs eschewing watching football or drinking for it, then Diana is not for you…