![]() ![]() Of course, the very consumption of this documentary makes you feel as if you, too, are participating in this morbid royal sport and you may well have had enough. Where did the love end and the idolatry begin, and what does this say about us as a country? Supposed well-wishers outside the Lindo Wing merrily demanding she give birth to a boy just as many naysayers after the Panorama interview as supporters. ![]() There are the usual shots of crowds laying flowers outside Buckingham Palace in 1997, but what’s new is the selection of vox pop interviews with fans, whose love for Diana feels suffocating. sites the heads of bighom sheep and antlered deer have. ![]() Perkins also said he wanted to consider what Diana’s story says about us, the public, “about what we still consume and the demand we create”. Director of the Rock Art Research Unit in the Department of. Princess Diana in 1996 in Washington DC (Photo: Richard Ellis/Alamy) It reminded me of the documentary Framing Britney Spears – the fact that young women pursued by the press attempt sometimes to engage with them, and are good at it, too, is used against them if ever they then seek space. Yes, her famous fluttering side-eye sometimes seems a little posed, her interaction with the press pack alternately friendly and evasive, but the footage is so heavily weighted to the amount of intrusion she was expected to endure that her erratic behaviour feels far more like a coping mechanism amid unbearable living conditions than a long-term manipulative strategy. Later, gruff, middle-aged reporters make snide remarks about Diana’s supposed attention-seeking as she holds a press conference to plead for more privacy. DARK SHEEP HEAD ART DREAD ARCHIVEThe archive footage features sexist, catty media commenting on the 19-year-old princess-to-be’s virginity and weight. Is there really anything left to say about Diana? Director Ed Perkins (Oscar-nominated for his documentary short Black Sheep) said he wanted to create something without an agenda, but in a similar way to Pablo Larraín’s feature film Spencer, this documentary feels largely on Diana’s side even as it shows us her flaws. Made without talking heads, retrospective commentary or even particularly niche archive footage, it is a fast-paced ride from her engagement to Prince Charles through to her untimely death, replaying everything noteworthy – that cringeworthy engagement interview, the press intrusion, the Aids hospital visits, the water park rides with William and Harry, and of course that unbearably crushed car – yet it doesn’t dwell on anything long, zipping through 17 years in a way that feels frenetic and packed with dread. The Princess is a slick, compulsive round-up of all the things you already know about Princess Diana. ![]()
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