Roger Michell | 90 mins | TV | 2.35:1 | UK / English | 12 / R
Wannabe-prestige picture Hyde Park on Hudson is like two films playing at once: the dramatic/romantic story of President FDR’s (Bill Murray) burgeoning affair with his distant cousin Daisy (Laura Linney), and the comedy-drama of his meeting with King George VI (aka “the one Colin Firth played in The King’s Speech”; here, Samuel West) and Queen Elizabeth 1.5 (Olivia Colman) in the build up to World War 2, at a time when America really didn’t want to get involved.
This internal battle between the two plots — and, consequently, the ways in which the film was promoted — seems to have caused some confusion with viewers. The trailer (or the British one, at least) sold it as being about the UK/US culture clash, a four-hander in which the British monarchs met FDR and… some woman. See how the British poster is a three shot of Murray, West and Colman, while the American one makes it all about Murray with Linney behind him (and they retained those images for the DVD and Blu-ray releases, too). Understandably, therefore, British viewers seem to expect a film about the UK/US meeting, and are surprised to find the visit is a poorly-integrated subplot to a tale of FDR’s philandering, while US viewers seem to expect a film about FDR having an affair with his cousin, and are surprised by how much time is spent on a poorly-integrated subplot about a British state visit.
For what it’s worth, the film was born of the discovery of Daisy’s letters and diaries, which told of the relationship. Apparently the screenwriter was one of the people who found these, so I guess that’s where his interest lies. The film is a UK production from Film4, however, and made in the wake of the global success of The King’s Speech, so perhaps that explains the root of the royal involvement. While both stories have some potential, they aren’t made to gel, switching back and forth as if in some kind of narrative relay that enables the film to run a theatrical distance.
The screenplay doesn’t help the cast, either. West and Colman are quality actors, but they’re not given good enough material to work with — they’re little more than the funny-Brits comic relief. Their performances seem pitched as a cheap Sunday afternoon TV movie, and are further hamstrung by the inevitable comparison to Colin Firth and Helena Bonham Carter’s award-winning portrayals of the same people just a couple of years earlier. With the material they’re given, West and Colman never stood a chance of matching that standard.
Elsewhere, Murray gives a good performance, though equally he’s never afforded a scene to really dig into his character, to display some of his inner life. Linney is landed with an over-explanatory voice over, and a character who’s three steps behind the viewer.
Roger Michell’s direction is adequate if unremarkable. DoP Lol Crawley provides a few spots of nice cinematography during any scene set in daylight, with vibrant colours evoking a place of sunny happiness, but anything set at night is graded with a terribly extreme, not to mention awfully rote, case of teal-and-orange.
While not strictly speaking a good film, Hyde Park on Hudson is passable as a Sunday-afternoon-style period drama (albeit one with an occasional risqué edge). One wonders if it could’ve been something more, somehow.